1. Greek Sculpture The Archaic Period-----------------------Eve
The Classical Period Phoenix
The Hellenistic Period Katherine

2. The Archaic Period
Eve Chang

3. The Archaic Period (ca. 700-480 B.C.E) Style: freestanding
Characteristic:
1.male nude (natural)
2.ideal form
3.frontal pose, rigid look & left foot extended
forward…etc
4.proportionally geometric entities:
→influence by Egypt

4. Function:
1.decorations of religious buildings
2.immortal reminders of a deceased

5. Representative Statues
Kouros (Early Archaic) :
1.male
2.rigid pose-vertical
3.arms closed to its body
4.wide shoulder
5.left foot stretched forward

6. Kouros (Late Archaic):
1.Kroisos (warrior)
2.anatomical attention
(calf, knee, arm )
3.blissful smile
4.more like human

7. Kore:
1.female
2.less important than kouros
3.smiling
4.ornamental & columnar

9. Calf-Bearer: 1.movement & plot 2.more realistic 3.abdominal muscles
& bull calf
4.eyes:once inlaid with
pearls
lapis lazuli
gray agates
mother-of-pearl

10. at dig site on Acropolis in 1865

11. Greek Statue Egyptian Statue 1. technical, proportional and
obvious formal similarities
2. Greek: unclothed
Egyptian: wear a kilt
3. Greek: freestanding
Egyptian: a support
lean against a back support

12. The Classical Period
Phoenix Zhang

13. The Classical Period (480-323 B.C.E.)
Early Classical Period (480 B.C.E)
High Classical Period ( B.C.E)
Late Classical Period ( B.C.E)
During the Classical period, Greek sculptors focused their energies on the human figure

14. Early Classical Period (480 B.C.E)
Marble figure known as the Kritios Boy
The concept of “ weight shift “ first applied to sculpture
Counterpose: the body turns slightly to one side and its weight rests mainly on one leg
Implied the concept of movement

15. Compare and contrast: Kroisos vs. Kritios Boy Rigid→ relaxed but
Pose:
Rigid→ relaxed but
balanced
Weight shift:
both legs → on the
left leg
Facial expression:
smiling → solemn, contemplative
(P.112 Figure 5.8)
(P.113 Figure 5.9)

16. Early Classical Period (480 B.C.E)
Knows as “Severe Style”:
the change in facial expression reflects the reevaluation of human potential and self-knowledge

17. High Classical Period (480-400 B.C.E)
The application of a Platonic canon of proportions to sculpture
“Canon” of Proportions: an idealized mathematical system for depictions of the human body.
Geometric & symmetrical concept evolved

18. High Classical Masterpiece
Doryphorus (Spear-Bearer)
Sculptor: Polycletius
Qualities of idea warrior-athlete: energy, confidence and grace
Idealism: presenting the idea conception of male figure
(Broad shoulders, thickly muscled limbs and muscular.)
“Canon” of Proportions:
Harmonious balance
(P Figure 5.1)

19. High Classical Period
Prominent feature: capture the “idea moment” before action
Depiction of more vigorous action
Dynamically posed of the figures
(P Zeus/ Poseidon)
(P Discus Thrower)

20. Late Classical Period Remains the concept of “Weight Shift”
“curve” in the body is more pronounced
Ex : Hermes and Dionysos

21. Late Classical Period female figure was depicted completely naked
Ex: The Aphrodite of Knidos
point:
1. Smooth curve of the body
2. Idea female form:
Tall
Small breasts
Broad hips

22. Hellenistic Art
Katherine Liu

23. Hellenistic Era Larger, monumental form Utilitarian Structure
E.g. Lighthouse
Theatre
Library

24. Hellenic Lighthouse

25. Hellenic Theatre

26. Hellenic Library

27. Altar of Zeus Place: Pergamon Erected time: 180 B.C.E
Purpose: To celebrate victory
minor kingdom of Pergamon
V.S.
Gauls

28. Pergamon

29. 20-foot high platform

30. Ionic Colonnade

31. Athena Battling with Acyoneus

32. Free-standing Hellenistic sculpture
Momentary
Expression
Spear-Bearer V.S.
High classical
Apollo Belvedere
Animated, feminized, self-conscious style

33. Spear-Bearer V.S. Apollo Belvedere

34. Carving Techniques Contrast of light and dark Semi-transparent robes
Vigorous movement
Deeply cut drapery

35. Nike of Samothrace

36. Laocoon and His son

37. Work Cited ‧ ‧
sculpture.htm ‧ ‧
authority_2_greek.html ‧ ‧ ‧ ‧
Architecture.html