1. ARCHAIC GREECE

2. Male standing figure: usually found at
gravesites: known as a Kouros
Commemorative of individuals but not
representative of them…
Lifesize or larger
Influenced by Egyptian canon
Plural is Kouroi
Figure 5-8 Kouros, ca. 600 BCE. Marble, approx. 6’ 1/2” high. Metropolitan Museum of Art, New York.

3. Partial nudity is respectful but hints at ideal.
Figure 5-9 Calf Bearer (Moschophoros), dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE. Marble, restored height approx. 5’ 5”. Acropolis Museum, Athens.
Partial nudity is respectful
but hints at ideal.
Archaic smile is meant to
Break the Egyptian canon of
Eternal stasis and show some
vitality

4. More naturalism evolves and the marble
gives way to softer rounded flesh
Nudity begins to be a way to remove
The image from a specific time and place
And is associated with the non-specific here
Although we will see it associated with
Gods and goddesses specifically before long
Figure Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, approx. 6’ 4” high. National Archaeological Museum, Athens.

5. Female standing figure: usually found at
gravesites: known as a Kore
Always fully clothed because the heroic
Image of the nude athletic Greek hero
Commemorative of individuals but not
representative of them…
Often seems to reference a deity/priestess or
nymph
Lifesize or larger
Influenced by Egyptian canon but drape of
Clothing is very Greek
Plural is Korai
Figure Kore, from the Acropolis, Athens, Greece, ca. 520–510 BCE. Marble, approx. 1’ 9 1/2” high. Acropolis Museum, Athens.

6. Figure 5-12 Detail bust detail from left front
Flesh stays marble-colored
Lips, hair and clothes painted
With encaustic
Figure Detail bust detail from left front
© 2005 Saskia Cultural Documentation, Ltd.

7. Greek Vase Painting
Discuss the evolution of the human figure related to early Greek vase painting.
Know the different vase types, materials, and techniques.
Identify individual painters and potters who signed their vases.

8. Figure KLEITIAS and ERGOTIMOS, François Vase (Attic black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. General view (left) and detail of centauromachy on other side of vase (right). Approx. 2’ 2” high. Museo Archeologico, Florence.

9. Figure EXEKIAS, Achilles and Ajax playing a dice game (detail from an Attic black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. Whole vessel approx. 2’ high. Vatican Museums, Rome.

10. Figure ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Attic bilingual amphora), from Orvieto, Italy, ca. 525–520 BCE. Black-figure side (left) and red-figure side (right). Approx. 1’ 9” high. Museum of Fine Arts, Boston.

11. Figure EUPHRONIOS, Herakles wrestling Antaios (detail of an Attic red-figure calyx krater), from Cerveteri, Italy, ca. 510 BCE. Whole vessel approx. 1’ 7” high. Louvre, Paris.
Revolutionary piece: overlapping/red-figure allows for details/real depth of space-like
A space that is an illusion.

12. Figure EUTHYMIDES, Three revelers (Attic red-figure amphora), from Vulci, Italy, ca. 510 BCE. Approx. 2’ high. Staatliche Antikensammlungen, Munich.

13. Figure ONESIMOS, Girl preparing to bathe (interior of an Attic red-figure kylix), from Chiusi, Italy, ca. 490 BCE. Tondo approx. 6” in diameter. Musées Royaux, Brussels.