A bronze statue of a warrior was found in a ship wreck near Riace, Italy, in The original purpose of the statue is unclear. The date assigned to the statue by scholars is c BCE. Why? Riace Warrior,, bronze, 6’ 6” tall, c BCE

Francois Vase, painted by Kleitias, made by Ergotimos, Athenian black-figure volute krater, c. 570 BCE, 2’ 2” tall Exekias, Achilles and Ajax throwing dice, black-figure amphora from Athens, c. 540 BCE

Francois Vase, painted by Kleitias, made by Ergotimos, Athenian black- figure volute krater, c. 570 BCE, 2’ 2” tall, detail Exekias, Achilles and Ajax throwing dice, black-figure amphora from Athens, c. 540 BCE

Minoan octopus jar, c BCE Exekias, Achilles and Ajax throwing dice, black-figure amphora from Athens, c. 540 BCE

Andokides, Achilles and Ajax throwing dice, Attic bilingual amphora, c. 525 BCE, side 1

Exekias, Achilles and Ajax throwing dice, black-figure amphora from Athens, c. 540 BCE Andokides, Achilles and Ajax throwing dice, Attic bilingual amphora, c. 525 BCE, side 1

Exekias, Achilles and Ajax throwing dice, black-figure amphora from Athens, c. 540 BCE Andokides, Achilles and Ajax throwing dice, Attic bilingual amphora, c. 525 BCE, side 1

Andokides, Achilles and Ajax throwing dice, Attic bilingual amphora, c. 525 BCE, side 2

Andokides, Achilles and Ajax throwing dice, Attic bilingual amphora, c. 525 BCE, side 1 Andokides, Heracles and the Cretan Bull, Attic bilingual amphora, c. 525 BCE, two sides of the same vase

Euphronios, Herakles wrestling Antios, red-figure calyx krater, c. 510 BCE, 1’ 7” tall Andokides, Heracles and the Cretan Bull, Attic bilingual amphora, c. 525 BCE, two sides of the same vase

Euphronios, Herakles wrestling Antaios, red-figure calyx krater, c. 510 BCE, 1’ 7” tall

Euthymides, Three Revelers, Attic red-figure vase, c. 510 BCE, 2’ tall

Dying Warriors from the west (weird smile) pediment of the Temple of Aphaia, c. 500 BCE

Temple of Aphaia at Aegina Transitional (Early Classical) 480 BCE Transitional (late Archaic), c. 500 BCE Dying Warriors from the west (weird smile) and… east pediments of the Temple of Aphaia

Temple of Aphaia at Aegina Transitional (Early Classical) 480 BCE Transitional (late Archaic), c. 500 BCE Dying Warriors from the west (weird smile) and… east pediments of the Temple of Aphaia

Persian invasions of Greece in 494 and 480 BCE

The Delian League (yellow) was formed to defend Greek- speaking states from attack by Persia (green). Its creation followed: the Persian destruction of Miletos in 494 BCE, the sack of the acropolis in Athens in 480 BCE and the Athenian defeat of the Persian navy at the Battle of Marathon in 479. Athens provided the league with military troupes while other member states contributed riches, which were stored in a temple on the island of Delos. Sparta created its own alliances (orange). Delian League

Myron, Discus Thrower, (Diskobolos), Roman copy in marble of a Greek bronze original, c. 450 BCE, 5’ 1” tall Early Classical Sculpture After the Persians attacked the Greeks, the Athenians abandoned the Archaic style and began to explore movement, balance and ideal form. Kritios Boy, from the Acropolis, Athens, c. 480 BCE, marble, c. 2’, 10” tall

Kroisos from Anavysos, marble, c. 530 BCE, marble, c. 6’ 4” tall Euthymides, Revelers, red- figure vase, c. 510 BCE Myron, Discus Thrower, (Diskobolos), Roman copy in marble of a Greek bronze original, c. 450 BCE, 5’ 1” tall

Myron, Discus Thrower, (Diskobolos), Roman copy in marble of a Greek bronze original, c. 450 BCE

c. 500 BCE: The Greeks develop hollow bronze sculpture, using the cire-perdu or ‘lost wax’ method. Bronze, though much more expensive than marble, has a higher tensile strength (less brittle) and permits innovative poses. The hollow casting uses much less bronze, so the finished work is lighter and more affordable.

“Lost Wax” Technique If necessary, make an armature of wood or iron for the clay model.

Lost Wax Method #2 Apply clay to the armature, if there is an armature.

Lost Wax Method #3 Apply wax to the clay model.

Lost Wax Method #4 Put a mold over the wax-covered model; secure it.

Lost Wax Method #5 Apply heat, melting the wax. Gap made between clay model and mold.

Lost Wax Method #6 Pour molten bronze in, filling the gap.

Lost Wax Method #7 Remove mold, reveal bronze statue. Break the clay model on the inside, remove in pieces.

Lost Wax Method #8 Add details. Because both the material and the process of casting were so expensive (much more so than marble), the figures were usually not cast in one piece, but in several that would be welded together. If the casting went wrong for one piece, all would not be lost.

Myron, Discus Thrower, (Diskobolos), Roman copy in marble of a Greek bronze original, c. 450 BCE, 5’ 1” tall Early Classical Sculpture comparison Kritios Boy, from the Acropolis, Athens, c. 480 BCE, marble, c. 2’, 10” tall

Polykleitos, Spear-bearer (Doryphoros), Roman copy in marble of a bronze Greek original, c BCE, 6’ 11” h High Classical Sculpture Bronze bust, copy of the Doryphoros

Canon & Chiasmus & Symmetria Contrapposto Naples Minneapolis Polykleitos’s new canon

Polykleitos wrote an account of his “Canon,” which is lost, but Galen, a 2 nd -Century physician summarized it as follows: [Beauty arises from] the commensurability (symmetria) of the parts, such as that of finger to finger, and of all the fingers to the palm and the wrist, and of these to the forearm, and of the forearm to the upper arm, and in fact, of everything to everything else, just as written in the Canon of Polykleitos. Chiasmus is a literary term derived from the Greek letter chi (X) that describes switching words between two similar sentences. In antiquity it is associated with Chroesus, the 6 th century King of Lydia, who is quoted as saying: "In peace sons bury their fathers, but in war fathers bury their sons."

450 BCE 420 BCE 10 BCE 1411 CE 1501 CE 1808 CE The Classical Tradition in Western Sculpture

A bronze statue of a warrior was found in a ship wreck near Riace, Italy, in The original purpose of the statue is unclear. The date assigned to the statue by scholars is c BCE. Why? Riace Warrior,, bronze, 6’ 6” tall, c BCE

600 BCE 530 BCE 480 BCE450 BCE 450 BCE 420 BCE Circa ? 480 BCE

Description…

The date assigned to the statue by scholars is c BCE. Why? They place the date: after 500 BCE because it was made using cire- perdu process. after c. 480 because it has contrapposto (S-curve through the body) similar to, but more pronounced than, Kritios Boy (left).

They place the date before 450 BCE because the Warrior rests on two feet, and thus seems to lack the potential for movement suggested in both Myron’s Discus Thrower of c. 450 BCE or Polykleitos’ Spearbearer of c BCE. Riace Warrior,, bronze, 6’ 6” tall, c BCE

They place the date: close to 450 BCE because it shows evidence of chiasmus (right leg and left arm working) similar to Polykleitos’s Spearbearer of c BCE. slightly before 450 BCE because the proportions are somewhat different from Polykleitos’ canon.

600 BCE 530 BCE480 BCE 460 BCE 450 BCE 450 BCE Circa …

Greek Art 404 to 27 BCE Late Classical Art 404 to 323 BCE and Hellenistic Art BCE

When Alexander died in 323 BCE, the Mediterranean and the Near East were divided among his generals. Greek was imposed on defeated nations and became the common language of the entire region. As Greek artistic and intellectual ideas were exported widely, foreign ideas were imported. Having been defeated by Macedonia, Greeks began to lose their sense of superiority, including their mathematical idealism and their belief in the ability of man to perfect nature through reason and order. In contrast to the rational order of the High Classical era, Greek-speaking regions of the world during the “Hellenistic age” began to create new forms of visual art and literature including poetry and drama (both tragedies and comedies) that emphasized human irrationality, seductive sensuality and emotion. The god of wine Dionysus emerged as a major cult figure during this period, which lasted until the Romans conquered Greece in 27 BCE.

Hellenistic Sculpture 323 to 27 BCE Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1 st century CE

Michelangelo, Ignudi from the ceiling of the Sistine Chapel, c Laocoön and His Sons was dug up in Rome in 1506 with Michelangelo watching. It became the foundation of the so-called Baroque tradition. Various dates have been suggested for the statue, ranging from about 160 to about 20 BC. Inscriptions found in Rhodes date Athanadoros and Hagesandros to a period after 42 BCE, making this date the most probable for the Laocoön statue's creation. It is not known whether it is an original work or a copy of an earlier sculpture, possibly of a bronze sculpture from Pergamon (Turkey), created around 200 BC. Pliny states that this marble statue was located in the palace of the emperor Titus and carved from a single piece of marble, though when found it was discovered to comprise seven interlocking pieces.

Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1 st century CE Peter Paul Rubens, Drawing of the Laocoön,

Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1 st century CE Peter Paul Rubens, Elevation of the Cross, c

Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1 st century CE Giovanni Panini, Ancient Rome, 1757

Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

“King Attalos having conquered in battle the Tolistoagii Gauls around the springs of the river Kaikos [set up this] thank-offering to Athena.”

Epigonos (?), Gallic Chieftain and wife, Roman copy of a bronze original from Pergamum, Turkey, c BCE

Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

According to the Metropolitan Museum of Art: During the Hellenistic period, artists became concerned with the accurate representation of childhood, old age, and even physical deformity. The range of subject matter was extended to include genre- like figures from the fringes of society. Fine, large-scale statues of fishermen, peasants, and aged courtesans became valued religious dedications, sometimes placed in a park-like setting within the sanctuary of the god. Although this statue is known familiarly as The Old Market Woman, it probably represents an aged courtesan on her way to a festival of Dionysos, the god of wine. Her delicate sandals and the ample material in her thin, elaborately draped chiton are a far cry from the rough garb of a peasant woman. The ivy wreath on her head marks her association with Dionysos, and the basket of fruit and the two chickens must be dedicatory gifts to the god or simply her own provisions for a long day of celebration. Veneration of Dionysos was widespread during the Hellenistic period, and ancient literary descriptions give an idea of the extraordinary processions and festivals held in his honor. The flattened composition of the figure is typical of sculpture created in the late second century B.C. The original work may have been dedicated in a sanctuary of Dionysos. The Roman copy could have decorated a garden. Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

Caryatid from the Porch of the Maidens, British Museum, 7’ 7” tall

Sleeping Satyr (Barberini Faun), c BCE Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

Sleeping Satyr (Barberini Faun), c BCE

Hero and Centaur (Herakles and Nessos?), c. 740 BCE, 4 ½” high, Metropolitan Museum of Art, lost wax cast bronze

Sleeping Satyr (Barberini Faun), c BCE