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Final

Exam Study Notes - Lectures 6 to 12

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Department
Art
Course Code
FAH207H1
Professor
B Ewald

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FAH207 - Greece and Roman Art-Architecture
Final Exam Study Notes (12 April 2011)
Lecture Six - Eight: Greek Ceramics and Vase Painting from Geometric to
Hellenistic
02/17/2011
Greek Pottery
Ceramics is derived from the Greek word for clay (keramos), potters were called
Kerameus and, in Athens, were centralized around the Kerameikos (outside the city
walls)
Quality of the clay and firing control (three stage process)
oOxidizing phase (pottery stacks, heated up to 800 degrees with the pottery
turning red)
oReducing phase (no oxygen, temperature increased to 950 with pottery
turning black)
oOxidizing phase (kiln cooled completely and the pottery turned back to red
with the parts painted by the black 'slip' remaining a glossy black)
Sometimes used real names (Exekias, Euthymides, Euphronios); named after the
potters they worked with (Amasis painter, Andokides painter); named after where
the vase was found or kept (Berlin painter); named after the subject they painted
(Pan painter, Penthesileias painter)
Types of vases:
oAmphora (two-handled narrow vase with skinny neck, storage and
transportation)
oKrater (large two-handled vase used for mixing water and wine)
oHydria (three-handled, used for carrying water)
oPsykter (bulbous body set on a small, narrow neck used in symposia)
www.notesolution.com
oKylix (broad cup with shallow body raised on a stem with two-handled sides)
oSkyphos (two-handled deep wine cup on a low-flanged base)
oLekythos (long and narrow with single handle on neck, used for storing olive
oil)
ProtoGeometric (1000 - 900 BCE)
The only surviving material from the ProtoGeometric period is pottery, with
Mycenaean shapes and decorations applied in few geometric patterns/lines applied
with a 'multiple brush'
Geometric (900-700 BCE)
Greater prosperity and trade in the polis of Greece, with re-establishment of
contacts to the Near East and the adoption of themes-motifs from weaving
Continuous and repetitive decorative bands (meanders, zigzags, triangles, etc)
Reducing all natural forms into a series of definable geometric shapes/patterns
(analysis and conception of nature to the Greek artist)
Clarity and legibility in distinguishing the constituent parts of the body (angular-
triangular) and between the types of figures represented rather than pictorial
verisimilitude
Desire for reason, logic and hierarchy (structure) amongst the aristocratic elite who
were the patrons of the artist and the chief market for the early goods (used by the
elite to reinforce supremacy)
Proliferation of literal figurative scenes (Homeric) were developed during the late
Geometric as a aristocratic reaction to incipient social instability in the 8th century
Geometric Amphora from Dipylon Cemetery, Athens (c. 750 BCE)
Large dimensioned (1.55 metres tall) meant it was used as a grave marker
Amphora (storage and household duties) was associated with the female sphere
www.notesolution.com
Prothesis scene (ceremonial display of the female body upon a funeral pyre) and the
Ekphora (procession from the house to the cemetary)
Important public displays of wealth and social status by an aristocrat
Geometric Krater from Dipylon Cemetery, Athens (c. 750 BCE)
Krater (symposia) associated with the male realm
Male deceased depicted being drawn along during the ekphora (funeral procession)
on a funeral bier drawn by a chariot (aristocratic symbol) accompanied by warriors,
mourners and processional chariot
Departure Krater, Thebes (c. 730 BCE)
Depiction of some of the first mythological/narrative representations on vase
painting (departure scene, abduction, Theseus-Adriane, Helen-Paris)
The theme of winning a bride (possibly through abduction) resonated with the
aristocratic ideals of the late 8th century
Depictions of approaching battleship and war-chariots/horsemen
Eleusis Amphora, Athens (c. 660/650 BCE)
Protoattic Style (Black and White) with the addition of a sense of polychromy
(shading)
Mythological themes (heroes overcoming exotic monsters) spoke of the psychological
experience of Greek colonization as Greeks were interacting and overcoming the
native inhabitants of the Mediterranean world.
In Athens the Protoattic works are more subdued but differed from Corinthian
models:
oLarger figures derived from the monumental character of Geometric grave-
markers
oContinued narrative as well as incursions of Eastern animals-monsters
www.notesolution.com

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Description
FAH207 - Greece and Roman Art-Architecture Final Exam Study Notes (12 April 2011) Lecture Six - Eight: Greek Ceramics and Vase Painting from Geometric to Hellenistic 02172011 Greek Pottery Ceramics is derived from the Greek word for clay (keramos), potters were called Kerameus and, in Athens, were centralized around the Kerameikos (outside the city walls) Quality of the clay and firing control (three stage process) o Oxidizing phase (pottery stacks, heated up to 800 degrees with the pottery turning red) o Reducing phase (no oxygen, temperature increased to 950 with pottery turning black) o Oxidizing phase (kiln cooled completely and the pottery turned back to red with the parts painted by the black slip remaining a glossy black) Sometimes used real names (Exekias, Euthymides, Euphronios); named after the potters they worked with (Amasis painter, Andokides painter); named after where the vase was found or kept (Berlin painter); named after the subject they painted (Pan painter, Penthesileias painter) Types of vases: o Amphora (two-handled narrow vase with skinny neck, storage and transportation) o Krater (large two-handled vase used for mixing water and wine) o Hydria (three-handled, used for carrying water) o Psykter (bulbous body set on a small, narrow neck used in symposia) www.notesolution.com o Kylix (broad cup with shallow body raised on a stem with two-handled sides) o Skyphos (two-handled deep wine cup on a low-flanged base) o Lekythos (long and narrow with single handle on neck, used for storing olive oil) ProtoGeometric (1000 - 900 BCE) The only surviving material from the ProtoGeometric period is pottery, with Mycenaean shapes and decorations applied in few geometric patternslines applied with a multiple brush Geometric (900-700 BCE) Greater prosperity and trade in the polis of Greece, with re-establishment of contacts to the Near East and the adoption of themes-motifs from weaving Continuous and repetitive decorative bands (meanders, zigzags, triangles, etc) Reducing all natural forms into a series of definable geometric shapespatterns (analysis and conception of nature to the Greek artist) Clarity and legibility in distinguishing the constituent parts of the body (angular- triangular) and between the types of figures represented rather than pictorial verisimilitude Desire for reason, logic and hierarchy (structure) amongst the aristocratic elite who were the patrons of the artist and the chief market for the early goods (used by the elite to reinforce supremacy) Proliferation of literal figurative scenes (Homeric) were developed during the late Geometric as a aristocratic reaction to incipient social instability in the 8 century Geometric Amphora from Dipylon Cemetery, Athens (c. 750 BCE) Large dimensioned (1.55 metres tall) meant it was used as a grave marker Amphora (storage and household duties) was associated with the female sphere www.notesolution.com
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