1. ANCIENT GREECE GARDNER CHAPTER 5-8 PP. 145-154

2. HELLENISTIC PERIOD  Alexander’s conquest of the Near East and Egypt ushers in a new cultural age called the HELLENISTIC PERIOD  Begins with the death of Alexander in 323 BCE and ends with the double suicide of Mark Anthony and Cleopatra -> they were defeated by Augustus at the Battle of Actium  Cultural centers were the court cities of the Greek kings who succeeded Alexander 1. Antioch in Syria 2. Alexandria in Egypt 3. Pergamon in Asia Minor 320-30 BCE Athena battling Alkyoneos, detail from gigantomachy frieze from the Altar of Zeus, Pergamon, 175 BCE, 7’6” high

3. HELLENISTIC ARCHITECTURE  Variety, complexity and sophistication of Hellenistic culture  Architecture on an imperial scale and wide diversity -> the wealth of the East  Center of culture shifts from the Greek mainland to the wealthy lavish cities of the Hellenistic monarchs in the East Pergamon in Asia Minor – Altar of Zeus at center right

4. TEMPLE OF APOLLO, DIDYMA  Great scale, theatrical element of surprise, and willingness to break the canonical rules of temple design = the Temple of Apollo at Didyma 313 BCE  DIPTERAL PLAN = double colonnade  10 huge Ionic columns on facades, 21 columns on sides  No pediment or roof -> open to the sky -> colonnade was a frame for courtyard -> in courtyard was a small shrine w/ statue of Apollo  Complex interior spatial planning = new

5. HIPPODAMOS OF MILETOS  Hippodamus of Miletus = the father of rational city planning  Strict grid plan imposed on city site regardless of terrain -> all streets meet at right angles = ORTHOGONAL PLAN  Hippodamian plan also designated separate quarters/part of the city for public, private, religious functions  Logically and regularly planned cities  4 th century city of Priene in Asia Minor

6. STOA OF ATTALOS, ATHENS  AGORA = open square or space used for public meetings or business  STOA = a covered colonnade or portico -> often housed shops and civic offices -> staples of Hellenistic cities  Finest of the new Athenian stoas was the Stoa of Attalos -> 2 stories, 21 shops opening onto the colonnade -> façade columns are Doric on ground level and Ionic on 2 nd story -> columns more widely spaced for easy access

7. PERGAMON  One of the most significant Helllenistic cities -> the kingdom controlled most of western and southern Asia Minor  Bequeathed to Rome in 133 BCE  Immensely wealthy -> vast sums spent on the capital city and its acropolis  GALLIC CHIEFTAIN KILLING HIMSELF AND HIS WIFE, Roman marble copy of bronze original, 230-220 BCE, 6’11”, from Pergamon

8. ALTAR OF ZEUS, PERGAMON  The most famous Hellenistic sculptural ensemble, 175 BCE  Altar was an elevated platform, framed by Ionic stoalike colonnaded with projecting wings on either side of broad staircase  All around the platform was a larger than life sculpted 400 ft long frieze -> gigantomachy  The frieze = violent movement, swirling draperies, vivid scenes of death and suffering

9. DYING GAULS  Dying Gaul, Roman marble copy of bronze original 230-220 BCE, 3’ ½” high  Victory of Pergamon over the Gauls -> barbarians shown w/bushy hair, mustaches, neck bands  Gallic trumpeter collapsed on his shield -> stares at the ground in pain -> recalls the dying warrior from east pediment of Temple of Aphaia at Aegina  Enemy is presented as a noble and savage foe who fights to the end

10. NIKE OF SAMOTHRACE  Nike alighting on a warship, from Samothrace, Greece, 190 BCE, marble, 8’1” high  Nike is crowning the naval victor -> right arm held crown  Wings still beating, wind sweeps her drapery  Statue was part of a two-tiered fountain with war galley and nike in upper portion, large boulders in lower portion, flowing water created sound and drama

11. VENUS DE MILO  In Hellenistic period sculptors undressed Aphrodite and explored the eroticism of the nude female form  Larger than life marble statue of Aphrodite found on Melos, 150- 125 BCE, 6’7” high  More overtly sexual than the Knidian Aphrodite -> slipping garment teases the spectator

12. BARBERINI FAUN  Sleeping Satyr (Barberini Faun), 230-200 BCE, marble, 7’1” high  Archaic statues smile, Classical statues look away, Hellenistic statues often portray sleep -> fantasy and dreams -> the antithesis of Classical ideal of rationality and discipline  Satyr has consumed too much wine -> thrown down panther skin on a convenient rock -> fallen into a drunken, restless sleep  Blatantly sexual -> spread legs focus attention on the genitals

13. DEFEATED BOXER  Seated boxer, from Rome, ca. 100- 50 BCE, bronze, 4’2”  Hellenistic art treated traditional themes but in novel/new ways -> Greek athlete -> but not a young victorious athlete w/ a perfect face and body  Older, defeated boxer w/a broken nose and battered ears  Compare the Hellenistic boxer to the Early Classical Riace warrior -> appeals to the emotions and compassion not the intellect

14. OLD MARKET WOMAN  Old market woman, ca. 150-100 BCE, marble, 4’ ½ “ high  Classical period = idealism  Hellenistic period = this statue = realism  Many Hellenistic statues portray old men and women from the bottom on the social order  Haggard old woman -> bringing chickens, fruits, vegetables to sell at the market -> wrinkled, bent with age, broken spirit and lifetime of poverty  New interest in social realism -> the poor, foreigners

15. DEMOSTHENES  Demosthenes by Polyeuktos, Roman marble copy of bronze original, ca. 280 BCE, 6’7” high  Growing interest in the production of true likenesses of specific persons  Hellenistic art = redefinition of portraiture -> record actual appearance and capture the essence of their personalities  Demosthenes -> Athenian statesman -> frail man -> great courage and conviction -> tried to rally opposition to Macedonian imperialism Aged, slightly stooped body, deep in thought, lined face, receding hair, expression of sadness

16. HELLENISTIC ART UNDER ROMAN PATRONAGE  Beginning of the 2 nd century the Romans defeat the Macedonians and “free” Greece  Greece becomes a Roman province in 146 BCE  In the 80’s Athen’s sides with an enemy of Rome -> Roman general Sulla crushes the Athenians  Greeks artist will continue to be in great demand to furnish Romans w/endless copies of Classical and Hellenistic masterpieces -> and create new statues A LA GRECQUE = in the Greek style Lucius Cornelius Sulla

17. LAOCOON  Laocoon and his sons, from Rome, early 1 st century, marble, 7’10” high  Depicts the Trojan priest Laocoon and his son being strangled by sea serpents in punishment for trying to warn the Trojans about bringing the the Greek’s wooden horse into the city  The 3 Trojan writhe in pain as they struggle to free themselves from the death grip of the serpents  Akin to images of the great frieze on the Altar of Zeus at Pergamon

18. SPERLONGA  Head of Odysseus, from Sperlonga, Italy, early 1 st century CE, marble, 2’ 1 ¼ “ high  This emotional depiction of the hero was part of a mythological statuary group that was made by the Laocoon sculptors for the grotto at emperor Tiberius’s seaside villa at Sperlonga  Rome adopts and becomes heir to the Greek artistic legacy -> and passes it on to the medieval and modern world