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Visual Arts History
Visual Arts History 1040
Cody Barteet

ANCIENT GREECE ARCHAIC STATUARY - New York Kouros (nude male), ca. 600 BCE - Canon of proportions, foot setting forward, removed from original block (marble) - Often markers of something, sometimes offerings - Not completely naturalistic - Calf bearer, dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE - a bearded man bringing a calf to sacrifice in thanksgiving to Athena is one of the first to employ the so-called Archaic smile, the Archaic Greek sculptor‟s way of indicating a person is alive - Kroisos, from Anavysos, Greece, Ca. 530 BCE - More muscular, more natural (face: „archaic smile) - More relaxed, proportions more accurate - Sense of motion - Peplos Kore, from the Acropolis, Greece Ca. 530 BCE - Clothed (female; nudity tied more to slaves) - Not v realistic proportions - Kore, from the Acropolis, Athens, Greece, ca. 520–510 BCE - intricate asymmetrical patterns created by the cascading folds of garments - Dying warrior, from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 490 BCE - still has a rigidly frontal torso and an Archaic smile - Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE - already belongs to the Classical era - posture more natural, exhibits a new self-consciousness - Concerned with his own pain, he does not face the viewer EARLY AND HIGH CLASSICAL STATUARY - Kritios Boy, from theAcropolis, Athens, Greece Ca. 480 BCE - More natural movement, close to contrapposto („counter-posed‟), natural standing - Hipline changing relating to leg being relaxed - Starting to pay attention to human nude body, how it moves - Related to progressions in Gr empire, interest in human existence - Warrior, from the sea off Riace, Italy, ca. 460–450 BCE - bronze - inlaid eyes, silver teeth and eyelashes, and copper lips and nipples - natural movement, contrapposto more pronounced than in ^ - still ideal human athletic warrior form - Charioteer, from a group dedicated by Polyzalos of Gela in the sanctuary of Apollo, Delphi, Greece, ca. 475 BCE - almost all that remains of a large bronze group that also included a chariot, a team of horses, and a groom, requiring hundreds of individually cast pieces soldered together - Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460–450 BCE - Zeus hurling a thunderbolt - both arms are boldly extended and the right heel is raised off the ground, underscoring the lightness and stability of hollow-cast bronze statues - Myron, Diskobolos (Discus Thrower), Roman marble copy of a bronze original of ca. 450 BCE - Myron‟s lost bronze statue captures how the sculptor froze the action of discus throwing and arranged the nude athlete‟s body and limbs so that they formed two intersecting arcs - Polykleitos, Doryphoros (spear bearer), Roman copy from Pompeii, Original ca. 450- 440 BCE - True contrapposto stance, naturalistic, head turned, „ideal human body‟ - Polyk developed sequence of canon of prop for himself - Kresilas, Pericles, Roman marble herm copy of a bronze original of ca. 429 BCE - Idealized, godlike - Noble - Phidias, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE - 38-foot-tall gold-andivory statue of Athena Parthenos (the Virgin), fully armed and holding Nike (Victory) in her extended right hand LATE CLASSICAL STATUARY - Praxiteles, Aphrodite of Knidos, Roman copy, Original ca. 350-340 BCE - Curvy, one of first repr of deity, more humanlike - nude (created scandal, commissioner rejected, other pace took it) - s-curve (sense of beauty and naturalism) - Praxiteles, Hermes and Dionysos, Copy by son? Original ca. 340-270 BCE - Nude gods, myth scene, v natural, most larger than life size - Grave stele of a young hunter, found near the Ilissos River, Athens, Greece, ca. 340– 330 BCE - The emotional intensity of this stele representing an old man mourning the loss of his son and the figures‟ large, deeply set eyes with fleshy overhanging brows reflect the style of Skopas of Paros - Lysippos, Apoxyomenos (Scraper), Roman Copy, Originalca. 330BCE - Slender athlete - Lysippos, Weary Herakles, Roman Copy, Original ca. 320BCE - V muscular, tired, thinking, worn out (after fulfilled all trials, held world on shoulder, Atlas took apples, holding apples behind back, dat ass, - 3D, mass, volume, shape - Lysippos, Head of Alexander the Great, from Pella, Greece, third century BCE - official portrait sculptor of Alexander the Great - sharp turn of the head and thick mane of hair HELLENISTIC STATUARY - Epigonos (?), Gallic chieftain killing himself and his wife, & Dying Gaul, Roman copies,Originals ca. 230-220 BCE - Gr fallen apart, Persians sacked them, vulnerable - Human suffering coming through in art - Blood squirting out, idea of death - Nike of Samothrace, Greece, ca. 190 BCE - Victory symbols, lighting onto bow of boat (originally part of fountain), theatricality, wings, drapery - Alexandros of Antioch-on-the-Meander, Aphrodite(Venus de Milo), Melos, ca. 150- 125 BCE - Elements of sexuality, sense of beauty, curves - Barberini Faun, Rome ca. 230-200 BCE - Reclining, relaxed, legs spread, elements of sexuality - SeatedBoxer, from Rome, ca. 100-50 BCE - Showing expression, older muscular, past prime - Old market woman, ca. 150-100 BCE - Haggard, extremes of age and econ deprivation - Polyeuktos, Demosthenes, Roman marble copy of a bronze original of ca. 280 BCE - One of the earliest Hellenistic portraits, frequently copied, was Polyeuktos‟s representation of the great orator Demosthenes as a frail man who possessed great courage and moral conviction - Athanadorus, Hagesandros, and Polydoros of Rhodes, Laocoön and his sons, Rome, Early 1st century CE - Epitome of Hellenistic sculpture - Anguish, pain coming through, things happening to body - Athanadoros, Hagesandros, and Polydoros of Rhodes, Head of Odysseus, from Sperlonga, Italy, early first century CE - This emotionally charged depiction of Odysseus was part of a mythological statuary group that the Laocoön sculptors made for a grotto at the emperor Tiberius‟s seaside villa at Sperlonga. POTTERY - Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE - mourning scene and procession in honor of the deceased - Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625– 600 BCE - The Corinthians invented the black-figure technique of vase painting in which artists painted black silhouettes and then incised linear details w/n the forms - This early example features Orientalizing animals - Kleitias and Ergotimos, François Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE - Found in Etruscan tomb - Huge, signed by both the painter and the potter - more than 200 mythological figures presented in registers - Exekias, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE - Master of black figure - dramatic tension, adjustment of figures‟ poses to the vase‟s shape, and intricacy of the engraved patterns of the cloaks are hallmarks of his - Andokides, Achilles and Ajax playing a dice game from Orvieto, Italy, ca. 525–520 BCE - „black-figure‟ and „red-figure‟ styles („bilingual‟) - depict n
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