1. Chapter Two: The Rise of Greece

2. Map 2.1 Ancient Greece
Map 2.1 Ancient Greece

3. History of Early Greece
The Heroic Age
Geometric Style
The Age of Colonization
Orientalizing Art
The Archaic Period
Beginnings of Greek Sculpture

4. 2.5 Phidias, statue of Zeus in the Temple of Zeus at Olympia, Greece (imaginary reconstruction, gouache, c. Sian Frances), ca. 435 B.C.E.
Fig Phidias, statue of Zeus in the Temple of Zeus at Olympia, Greece (imaginary reconstruction, gouache, c. Sian Frances), ca. 435 B.C.E.

5. Homer and the Heroic Age
Significance of the Polis
Religion and Mythology
Art & Literature

6. The Iliad and The Odyssey
“the Homeric question”
Oral Tradition
Epithets, Elaborate Similes
Heroic Verse
Iliad
Theme of Human Responsibility
Odyssey
Return of the Epic Hero

7. Geometric Art Painted Vases Krater Linear designs, the meander
Human Forms (~800 B.C.E.)

8. Age of Colonization Prosperity of City-States
Competition, Image
Wealth + Over-Population = Colonization
Italy, Sicily, Egypt, Asia Minor
Trade and Cultural Exposure
Orientalizing Art
Amphora

9. The Beginnings of Greek Sculpture
Near Eastern and Egyptian influences
Kore, Kouros
Increasing Realism, Naturalism
Careful study of human anatomy
Representation of Life and vigor

10. 2. 13 New York Kouros, c. 600 bce. From Attic, Greece
2.13 New York Kouros, c. 600 bce. From Attic, Greece. Naxian marble, 6´41⁄2˝ (1.95 m) high without plinth. The Metropolitan Museum of Art, New York, USA//Image copyright © The Metropolitan Museum of Art/Art Resource, NY
2.13 New York Kouros, c. 600 bce. From Attic, Greece. Naxian marble, 6´41⁄2˝ (1.95 m) high without plinth. The Metropolitan Museum of Art, New York, USA//Image copyright © The Metropolitan Museum of Art/Art Resource, NY

11. 2. 14 Kroisos, c. 530 bce. From Anavysos, Greece. Marble, 6´4˝ (1
2.14 Kroisos, c. 530 bce. From Anavysos, Greece. Marble, 6´4˝ (1.93 m) high. National Archaeological Museum, Athens, Greece//© Scala/Art Resource, NY
2.14 Kroisos, c. 530 bce. From Anavysos, Greece. Marble, 6´4˝ (1.93 m) high. National Archaeological Museum, Athens, Greece//© Scala/Art Resource, NY

12. Sculpture and Painting in the Archaic Period
Solon’s Legal Reformations
Tyrants / Artistic Patronage
Artistic Developments
Freestanding Figures
High & Low Relief Carvings
The “Archaic Smile”
Vase Painting
Black- and Red-Figure Styles

13. 2. 15 Calf-Bearer, c. 550 bce. From the Acropolis, Athens
2.15 Calf-Bearer, c. 550 bce. From the Acropolis, Athens. Marble, 5´5˝ (1.65 m) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY
2.15 Calf-Bearer, c. 550 bce. From the Acropolis, Athens. Marble, 5´5˝ (1.65 m) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY

14. 2. 16 Peplos Kore, c. 530 bce. From the Acropolis, Athens
2.16 Peplos Kore, c. 530 bce. From the Acropolis, Athens. Marble, 4´ (1.21 m) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY
2.16 Peplos Kore, c. 530 bce. From the Acropolis, Athens. Marble, 4´ (1.21 m) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY

15. 2. 18 Kritios Boy, c. 490 bce. From the Acropolis, Athens
2.18 Kritios Boy, c. 490 bce. From the Acropolis, Athens. Marble, 2´10˝ (86 cm) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY
2.18 Kritios Boy, c. 490 bce. From the Acropolis, Athens. Marble, 2´10˝ (86 cm) high. Acropolis Museum, Athens, Greece//© Nimatallah/Art Resource, NY

16. 2.21 Euphronios (vase painter), Crater of Antaeus, Death of Sarpedon, c bce. From Cerveteri, Italy. Red-fi gure calyx krater, terracotta, 1´7˝ (44.8 cm) high, 1´91⁄2˝ (55 cm) in diameter. Louvre, Paris, France//© Erich Lessing/Art Resource, NY
2.21 Euphronios (vase painter), Crater of Antaeus, Death of Sarpedon, c bce. From Cerveteri, Italy. Red-fi gure calyx krater, terracotta, 1´7˝ (44.8 cm) high, 1´91⁄2˝ (55 cm) in diameter. Louvre, Paris, France//© Erich Lessing/Art Resource, NY

17. Music and Dance in Early Greece
Doctrine of Ethos (Musical Theory)
Dorian, Phrygian modes
Music=Primarily vocal
Paean, dithyramb
Instrumentation
Cithera, aulos
Significance of Narratives
Music and Dance

18. Figure 2.25

19. Literature and Philosophy
Hesiod
Theogony
Lyric verse vs. Heroic verse
Sappho
Presocratics
Materialists, Pythagoreanism, Dualists, Atomists
Herodotus (Father of History)
Hubris

20. Chapter Three: Classical Greece and the Hellenistic Period

21. The Classical Ideal Classical period (500-323 B.C.E.)
Contributions of “pioneers”
Search for order and control
Value of human potential, capability

22. Athens Exemplar of human achievement Democratic Government
Defeat of Persians (479 B.C.E. )
Democratic Government
Ecclesia, boule, magistracies
Delian League
Peloponnesian War ( B.C.E.)
Pericles
Thucydides

23. 3.1 Cresilas, Pericles, 2nd century B.C.E.
Marble, 23” (58.5 cm) high. British Museum, London, United Kingdom

24. Pericles and the Athenian Acropolis
Pericles’ building program
Delian League funds
Parthenon
Proportion, balance
Ideal beauty in realistic terms
Erechtheum
Porch of the Maidens (caryatids)

25. 3. 4 Ictinus and Callicrates, The Parthenon, 447–432 bce. Parthenon
3.4 Ictinus and Callicrates, The Parthenon, 447–432 bce. Parthenon. Column height 34´ (10.36 m), Acropolis, Athens, Greece. Diagram after Andrew Stewart. Contemporary photo © William Katz/Photo Researchers, Inc.

26. 3.8 The Erechtheum with the Temple of Caryatids
Acropolis, Athens, Greece, B.C.E.

27. Classical Sculpture and Vase Painting
Naturalism, realism
Myron’s Discus Thrower
New standard of human beauty
Proportion, symmetry, balance
Riace Bronzes
Polykleitos of Argos, The Canon
Focus on individual
Emotional responses
Death and mourning

28. 3. 12 Myron, Discobolos (Discus Thrower)
3.12 Myron, Discobolos (Discus Thrower). Roman copy of bronze original of c. 450 BCE. Marble, 5´1˝ (156.5 cm) high. Museo Nazionale Romano—Palazzo Massimo alle Terme, Rome, Italy

29. 3. 11 Warrior, c. 460-450 bce. From the sea off Riace, Italy
3.11 Warrior, c bce. From the sea off Riace, Italy. Bronze with glass, bone, silver, and copper inlay, 6´6˝ (2 m) high. Museo Archeologico Nazionale, Reggio Calabria, Italy//© Scala/Art Resource, NY
3.11 Warrior, c bce. From the sea off Riace, Italy. Bronze with glass, bone, silver, and copper inlay, 6´6˝ (2 m) high. Museo Archeologico Nazionale, Reggio Calabria, Italy//© Scala/Art Resource, NY

30. 3.14 Niobid Painter, Artemis and Apollo Slaying the Children of Niobe, ca. 450 B.C.E. Orvieto, Italy. Athenian clay, red-figure (white highlights) calyx krater, 21 ¼” high x 22” diameter (54 x 56 cm). Musee du Louvre, Paris, France.

31. Philosophy in the Late Classical Period
Protagoras
Sophists
Socrates
Fate of the individual
Questioning traditional values
The Socratic problem

32. Philosophy in the Late Classical Period
Plato
Disciple of Socrates
Apology, Crito, Phaedo
The Academy
Political theory / ideal society
Theory of Forms
Inspired by chaos of 4th c. Greek politics

33. Philosophy in the Late Classical Period
Aristotle
Pupil of Plato
The Lyceum
Platonist vs. Aristotelian
Metaphysics, Nicomachean Ethics, Rhetoric, Poetics
“Master of those who know.”

34. Music in the Classical Period
Popularity of instrumental music
Doctrine of Ethos
Plato
Aristotle
Pythagorean principals
Octaves, fourths, tetrachords, modes
Rhythmic instrumentation
Musical notation

35. Drama Festivals of Dionysus
Theater = religious ritual
3 Tragedies + Satyr Play
Plots
Actors and props
Function of Chorus
Athenian Tragic Dramatists
Aeschylus
Sophocles
Euripides

36. 3. 17 Polyclitus the Younger, Theater of Epidaurus, Greece, ca. 350 B
3.17 Polyclitus the Younger, Theater of Epidaurus, Greece, ca. 350 B.C.E. Photography by Raymond V. Schoder S.J., c Bolchazy-Carducci Publishers, Inc.

37. Aeschylus (525-456 B.C.E. ) Optimistic philosophy / themes
Orestia Trilogy (458 B.C.E. )
Agamemnon, The Libation Bearers, The Eumenides
Growth of civilization through reason and order

38. Sophocles (496-406 B.C.E. ) Friend of Pericles
Consequences of human error
Most traditionally religious in theme
Antigone, Oedipus the King

39. Euripides (484-406 B.C.E. ) Realistic, rational
Social, political, religious injustice
Concern for psychological truth
Suppliant Women, Helen, Iphigenia in Taurus, Bacchae

40. Aristophanes (450-385 B.C.E.) Athenian comic poet
Political satire + fantasy
The Birds
Lysistrata

41. Late Classical Sculpture
Realism and emotion
Fate of the individual (Plato)
Praxiteles
Female body = object of beauty
Lysippus
Portraiture, scale

42. 3.20 Lysippus, Apoxyomenos ( Scraper), Roman copy of a bronze statue of ca. 330 B.C.E. Marble, 80 ¾” (205 cm) high. Musei Vaticani, Vatican City State, Italy.

43. 3.22 Theodoros of Phokaia, the Tholos of the Sanctuary of Athena Pronaia, c. 375 bce. Marble and limestone, diameter of cella 28´25⁄8˝ (8.6 m). Delphi, Greece
3.22 Theodoros of Phokaia, the Tholos of the Sanctuary of Athena Pronaia, c. 390 bce. Marble and limestone, diameter of cella 28´25⁄8˝ (8.6 m). Delphi, Greece//© Robert Everts/Getty Images

44. The Hellenistic Period
Division of Macedonian Empire
Syria, Egypt, Pergamum, Macedonia
Spread of Greek influence
Artistic freedom vs. Classical order
New patrons = new artistic roles
Altar of Zeus at Pergamum
Laocoön
Return to Classic principles

46. 3.26
Athenadorus, Agesander, and Polydorus of Rhodes, Laocoon and His Sons, early first century ce. Roman copy, marble, 82 ¾” (210 cm) high. Musei Vaticani, Vatican City State, Italy.

47. Chapter 2: Discussion Questions
What significant differences exist between the cultures of the iron age and those of the bronze age? Explain.
Consider the role of religion in Early Greece. What does Early Greek theology suggest about the concerns of the society? Explain.
What were the causes for and the results of Greek colonization? Cite specific examples.
Explain the new directions of art in the Archaic Period. What do these changes suggest about the culture that was producing and patronizing this art?

48. Chapter 3: Discussion Questions
In what ways can the manifestation of chaos, confusion, and uncertainty be seen in art from the Classical and/or Hellenistic periods? Explain, citing specific examples.
What is the “Classical Ideal”? In what works is this ideal best illustrated? Explain.
Compare the Acropolis with the buildings at Pergamum. How does each entity symbolize the cultural attitudes of its time and locale? Explain.
What role did drama and music play in the lives of the Greeks? How were the two forms interrelated?