So as you have seen. No blog for Week 5. For week 6 everyone who attended class has their blog assignment. For those of you who missed e-mail me and I will give you your blog assignment. todonnell@aii.edu or venicetim@yahoo.com
Off you go
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SYLLABUS HAS BEEN UPDATED!
Thanks, Tim
Don't forget your project on Greek art for next week!
I went online and researched the statues that are made out of marble in the Parthenon. I learned that there are mainly four different areas that they are found, which are northern, southern, eastern, and western pediments. The parthenon was then later plundered, for lack of a better word, by lord elgis, a british ambassador. Granted it wasnt his original intention to just take the satues, as he originally wanted to bring the culture to share with his countryman. However, the fact remains that he took ancient peices of art from the temple. Also, in my research i found the methods that were, and are used to sculpt and shape marble.
The Propylaia were built as a monumental entrance to Acropolis Rock. The steps were originally straight leading up, but were later made zig-zag by the Romans. Mneskles was the architect. He began building the Propylaia immediately after the main construction of the Parthenon in 437 B.C.
The Propylaia represents Doric order with little ionic columns supporting the roof. It was meant to leave a lasting impression on the visitor.
The Erechtheion was built for religious purposes. Construction began in 420 B.C. The structure has elegant ionic lines and a very intricate design.
The caryatid is a sculpted female that serves as a column or pillar in marble architecture. They are often seen in pairs.
The Temple of Hera II - 460 B.C.
The temple of Hera II is was also thought to be the Temple of Poseidon [God of the Sea].
Today it's thought to be the temple that was dedicated to Apollo [Sun God], Zeus [Father of the Gods, God of thunder], or Hera [Mother of the Gods].
- The interior of the Temple was limestone throughout.
- The floor was made out of travertine slabs, and the roof, terracotta tiles.
- The architrave of the colonnade had a continuous crown modeling.
- The lower stories had 20 flutes, while the upper story had 16 flutes.
Lying in a city dedicated to Poseidon (now Paestum, Italy), the temple of Hera II was thought to be a Doric, which was thought to be used by the Spartans.
Also, because the temple was in Poseidonia it was preserved so well.
I had to reseach about the agraculturearel art workin on the buildings. The reason for the art on the building is to show people about there history or battles that they have won in the past. The art work would show so much detail in armer and figures of the people that they idealize. It gets alot of respect from alot of people in the cizialation.
The Siphnian Treasury was a dedicated building to the Greek polis, or city-state, of Delphi while the Oracle was still popular and in use. Such a dedication was common among city-states in order to win the favor of Apollo.
The treasury of the Siphnians was one of the finest
buildings, 525 BC. Delphi Museum.
The people of Siphnos gained enormous wealth from their silver and gold mines and were able to afford this luxurious dedication in the 6th century B.C. (ca. 525 B.C.E.) The building is similar to the porch of a Greek temple and was used to house the many gifts that were offered to Apollo. The pediment of the treasury shows the story of Herakles stealing Apollo’s tripod which was an important tool used in his powers of foresight. Around the frieze shows various scenes from the war between the gods and the giants. The columns are not a typical Greek style. Instead, caryatids were used to support the building and offer a greater amount of decoration. Caryatids are more popularly recognized in the Erechtheion, a temple atop the Athenian Acropolis.
Athens also had a treasury dedicated on the site and it is considered one of the most beautiful of the ancient buildings there today.
Treasury of Siphnos
East Frieze detail representing horses pulling Trojan chariot.
Treasury of Siphnos
East Frieze detail representing the battle of Troy. Aeneias and Hector against Menelaus and Ajax (next image below)
The marble relief exhibits traces of the original coloration
Treasury of Siphnos
Relief representing the Battle of Troy.
In this image from left to right: Dead warrior, Menelaus, and Ajax
Treasury of Siphnos
East Frieze detail representing four horses pulling Greek chariot.
East pediment of the Siphnian Treasury
The sculptures represent the strugle between Apollo and Heracles for the oracular tripod.
525 B.C.
Treasury of Siphnos
Detail of North Frieze depicting the battle between the gods and the Giants.
In this episode Aris fighting against two giants (Viatas and Enafas, while another giant (Astartas lies dead on the ground)
Treasury of Siphnos
Detail of North Frieze depicting the battle between the gods and the Giants. 525 B.C.
Treasury of Siphnos
Detail of North Frieze depicting the battle between the gods and the Giants. 525 B.C.
Treasury of Siphnos
North Frieze depicting the battle between the gods and the Giants. 525 B.C.
Treasury of Siphnos
Detail of East Frieze depicting the battle between the gods and the Giants. 525 B.C.
Hera and Athena in the battle with the giants,
525 BC. Delphi Museum.
A lion seizes a giant, from the frieze of the Sifnian treasury,
525 BC. Delphi Museum
http://www.ancient-greece.org/museum/muse-delphi-siphnos.html
en.wikipedia.org/wiki/Siphnian_Treasury
www.sikyon.com/Delphi/Monuments/delphi_eg08.html
Andokides & Exekias: Red figure vs. Black figure painting on pots.
Andokides Painter is thought to be the creator of red-figure style painting; painting red figures with black backgrounds.
Exekias was the finest black-figure painter; painting black figures with with red backgrounds.
Since the red-figures were lighter in tone more detail could be used and seen than using the black-figure technique.
Andokides is thought to be a student of Exekias. He took the norm, black-figure, and reversed it to achieve superior artistry in his craft.
Hmm...I thought I had the Temple of Hera II? Well, that is what I researched, here's what I found:
The Temple of Hera II dates back to around 450 B.C. Originally, the temple was thought to be dedicated to Poseidon (or Neptune), so it shares those names as well. It is the largest and most complete temple of the three temples of Poseidonia, with most of the walls and ceiling still intact. The temple measures about 200 feet by 80 feet, with thirty-six columns 28 feet high, about seven feet in diameter at the base, and nearly five feet in diameter at the top. The limestone columns are mellowed by age, and the imprint of fossil reeds and aquatic plants are visible.
EUPHRONIOS- He lived in Athens from about 520 to 470B.C. He was a potter and a vase-painter, he worked in the red-figure technique, he also was interested in the human body and played with overlapping and foreshortening his paintings. He signed his name on 18 vases, 6 times as a painter and 12 as a potter.
EUTHYMIDES- was a rival of Euphronios. Euthymides worked as a red-figure vase painter an potter in the late 5th century B.C. He tended to work with minimalist approach, decorating his vases with a few large figure that rarely overlapped.
ONESIMOS- another rival of Euphronios. 500-480B.C. vase painter. Onesimos worked in Athens in the early 400s B.C. decorating vases primarily in the red-figure technique. He frequently decorated vases potted by Euphronios and seems to have learned many elements of his painting style. He favored active poses and realistic renderings of the human body.
RED FIGURE STYLE- on of the most important styles of figural Greek vase painting. It developed in Athens around 530 and remained in use until the late 3rd century B.C. It replaced the Black-figure vase painting style within a few decades. The style was also adopted in other parts of Greece and the vases were exported throughout Greece and beyond.
The parthenon in Athens is the most famous surviving building in Ancient Greece. It stood at top of the acropolis for nearly 2500 years and was built to give thanks to Athena the city's patron goddess. It was originally called the Temple of Athena the Virgin. It was functioning as a Greek Temple, but also used as a treasury, a fortress, a church, and a mosque. Started construction in 447 BC completed in 438BC. Athena Parthenos(athena the Virgin) was a massive chryselephantine sculpture of Greek goddess Athena by Phidias. It was housed in the Parthenon, and is one of the most renowned images of Athens. Made of ivory, silver, and gold, Phidias began this work in 447 BCE, and continued to stand in the parthenon in the fifth century.
-Matt wilder
uTHIS IS LISA COX..not Kenneth.
PRINIAS:
35 kilometers southwest of Iraklion, about halfway between Gortyn and Knossos, lies the seventh-century temple that has a similarity to the egyptians architecture.
The archaeological sight contains vestiges of "the first stone building since the fall of the Mycenaean kingdoms.
Temple A, dated around 625 BC, The first Greek temple to the knowledge of the living, to be decorated with sculpture.
The bulding had a flat roof and three massive piers on the facade.
The most astonishing feature is the limestone lintel bearing two monumental statues of goddesses, seated facing each other.The two women each are wearing long skirts and acape, reminiscent of the so called "lady of Auxerre." Bellow the women are three panthers on each side; a typical finding in North Syria.
In the Temple B there is sculptures which consists of a statue of a goddess seated on a throne and wearing a polos and a stiff garment decorated with animals, a horse, a lion, and a sphinx. The goddess could either be Rhea or Artemis ad the mistress of animals.
Some 680 burials including ritual burials of dogs and horses were made in the area between the 13th century and 600 bc. The humans and animals that were burried, had their bodies cremated, and their heads buried separately.
Kleiteas- an ancient Athenian vase painter of the black figure style who flourished c. 580-550 BCE. he is known from five vases, two cups, and a number of cup fragments. In all but one of these cases, one of the vases, Kleitias' signature appears as the painter, and Ergotimos as the potter. A variety of other fragments have been attributed to him on a stylistic basis. Kleitas' most celebrated work today is the Francois Vase (c. 570 BCE), which bears over two hundred figures in its friezes. The pot depicts the killing of Troilis by Achilles with a scene of daily life (women at a fountain).
The Francois Vase, a huge part of Greek pottery, is a large volute krater decorated in the black figure style which stands at 66cm in height. Dated at circa 570 BCE it was found in 1844 in an Etruscan tomb in the necropolis of Fonte Rotella near Chiusi and named after its discoverer Alessandro Francois; it is now in the Museo Archeologico at Florence. It bears the inscription "Ergotimos epoieson; Cleitias egraphsen" This is the first evidence that the painter and potter become seperate at this early date. it depicts over 200 figures representing a number of mythological themes and as such it perhaps makes no overall narrative sense, however it is suggested that it is about the marriage of Peleus and Thetis. In the 1900s a museum guard threw a stool at the case that contained the vase and smashed it into 638 pieces. it was restored in 1904 by Petro Zei and a second reconstruction in 1974 incorporating previously missing pieces.
The shape, Ergotimos' work, is what is known as a volute-krater, a krater with volute handles. This is the earliest Attic volute-krater, and one og the earliest Greek. It is a finer and more eloborate version of the column-krater, which oroginally may have been a Corinthian type of vase, but if so had long been acclimated in Attica. Later potters enlarged the volutes of the volute-krater, added a lip abovethe mouth, altered the form of the foot, and made the whole vase taller, but Ergotimos' model remains unsurpassed. The volute-kraters that have reached us have no special connection with the Francois vase, the design of which is ceramic.
I was assigned the Lentel at Prinias, most of the information I found from Wikipedia and a word document from www.csub.edu/~sstone/art381/greekho2.doc. The Lentel has similarities to Egyptian architecture and two seated Goddesses. The site has remains of “the first stone buildings since the fall of the Mycenaean kingdoms.” The two Goddesses are facing each other with rows of panthers underneath them. The lentel at Prinias is located in Crete.
Kouros are the male statues that where made back around 650-500bc. They were more or less life size and where made using skill learned from the Egyptians, but the Greeks quickly improved or at least altered their styles and methods of creating the statues. the Kouros (of that period) where always naked, standing strait with their hands at their sides and thumbs facing frontwards, they also had a faint smile and since they where made in the archaic period that form of smile as become known as the "archaic smile". Although the Greeks used models to make the statues they weren't actually of anyone in particular, instead they where made to represent the Idea of youth. eventually the statues became extremely realistic, and more freedom was given to the stance.
Keith Frevold
The description of the Hero and Centaur statue is as follows: Half-man, half-horse, the centaurs were said to inhabit remote wooded areas. In much of Greek art they appear in combat with humans and, by implication, are the antithesis of civilized man. The classic rendering of this subject appears in the metopes of the Parthenon in Athens. It is, however, already fully presented in this bronze statuette. The outcome of the conflict is indicated by the end of the spear preserved in the centaur's left flank and by the greater height of the man.
The bronze work in the 7th to 9th century was done by many different civilizations. It depended on where they were from and what their culture was. For expample the greeks did bronze work in the shape of their gods and major authority figures that were significant to them. So the bronze work did vary in this time ear according to how the civilization lived.
simbad889
The Acropolis hill (acro - edge, polis - city), so called the "Sacred Rock" of Athens, is the most important site of the city and constitutes one of the most recognizable monuments of the world. It is the most significant reference point of ancient Greek culture, as well as the symbol of the city of Athens itself as it represent the apogee of artistic development in the 5th century BC. During Perikles' Golden Age, ancient Greek civilization was represented in an ideal way on the hill and some of the architectural masterpieces of the period were erected on its ground. During the Mycenaean era many kings and retainers had their homes built inside of high walls for protection. These walls were known as acropolis or "the peak of the town". The Athenian Acropolis was one of the Mycenaean citadels of the time. With the end of the Mycenaean period the Athenian Acropolis became an old temple dedicated to the patron goddess of Athens, Athena. Within the compounds of this grand structure the Greeks worshipped and honored the goddess Athena as well as other gods, goddesses, demi-gods, heroes, spirits and other "guardians of the city". The development of the Acropolis has been a slow process, but each development leaves a mark of its time. In the early Archaic period (6th and 7th C) soon after; the Mycenean period died away, new developments were made to the Acropolis. In the age of Peisistratos, when the first Panathenaic festival was held, the Propylaia (or gate) was built on the western side as well as the Alter of Athena Niki. This was the period when Athens and its art flourished. Characteristic of this period are the statues, the multicolored pediments, the delightful maidens and the graceful horsemen set on pedestals. Toward the end of this period, the Athenians began to build the south area of the Acropolis where they built the Thermopylai. Soon a war began between the Greeks and the Persians and many of these beautiful statues and structures were destroyed.
The Parthenon rests on a plinth three steps high. The upper level of the plinth measures about 225 x 85 feet (30.88 m x 69.50 m). It is a Temple surrounded by a single row of columns. This peristyle consists of eight Doric columns on the west and east sides and seventeen along the north and south sides. The shafts consist of twelve fluted drums and are about 33 feet high (10.43 m), including the capitals, with diameters tapering from 6 feet 3 inches (1.92 m) at the base to 4 feet 9 inches (1.49 m) at the top. There is a perceptible bulge two fifths up each column; the Greeks knew the principle of the outward curvature of a column (entasis), which compensates for the optical effect that makes columns seem thinner in the middle when viewed from below. The corner columns are thicker, reducing the space between them and their neighbors: because they receive more sunlight, they would otherwise have appeared thinner than the rest. Finally, to give the impression of absolute perfection, the plinth gradually increased in height, by about 4 inches in the middle of the long sides and by about 3 inches at the center of the facades.
Inside, the Temple has a double cella (inner sanctum) with pronaos (the antechamber, with the only door into the cella) and opisthodomos (the rear room). The smaller west cella had 4 interior columns. Inside the east cella was a U-shaped colonnade of 9 columns and a pier on each long side, and 3 columns between the 2 piers on the short side. (Travlos reconstructs columns in place of the piers.) Toward the west end of the interior colonnade was a statue base for the cult statue of Athena Parthenos with a large shallow rectangle cut to create a reflecting pool in front of it. The Phidias' statue was made of gold and ivory with polychrome details. The sculptor handed his work to a painter, whose job was to add the final touch of perfection and endow the statue with religious meaning. Bronze doors are postulated for both eastern and western cellas.
The Parthenon is a Doric peripteral temple, which means that it consists of a rectangular floor plan with a series of low steps on every side, and a colonnade (8 x 17) of Doric columns extending around the periphery of the entire structure. Each entrance has an additional six columns in front of it. The larger of the two interior rooms, the naos, housed the cult statue. The smaller room (the opisthodomos) was used as a treasury. At the approximate position where the Parthenon was built later, the Athenians began the construction of a building that was burned by the Persians while it was still under construction in 480 BCE. It was presumably dedicated to Athena, and after its destruction much of its ruins were utilized in the building of the fortifications at the north end of the Acropolis. Not much is known about this temple, and whether or not it was still under construction when it was destroyed has been disputed. Its massive foundations were made of limestone, and the columns were made of Pentelic marble, a material that was utilized for the first time. The classicalParthenon was constructed between 447-432 BCE to be the focus of the Acropolis building complex. The architects were Iktinos and Kallikrates (Vitruvius also names Karpion as an architect) and it was dedicated to the goddess Athena Pallas or Parthenos (virgin). The temple’s main function was to shelter the monumental statue of Athena that was made by Pheidias out of gold and ivory. The temple and the chryselephantine statue were dedicated in 438, although work on the sculptures of its pediment continued until completion in 432 BCE.
5th century bronze work of the Greek empire was called Severe Style of Early Classic style. For centuries, Greek statues sought to depict the ‘ideal’ male figure. But only in the 5th century BC was the ‘Greek ideal’ we recognize today created. The Severe Style dominated Greek statues in 490- 450 BC.
The Bronzi di Riace (Riace Warriors) are two famous full-sized bronze statues of young warriors. Their eyes are made from glass and bone, the teeth are silver, with the lips and nipples made in copper.
One of the best known Greek statues and best preserved is the “Charioteer of Delphi”. It is considered a prime example of the Severe Style. Like the Riace Warriors, the Charioteer is a young male.
Poseidon/Zeus represents great power, as well as the power of potential strength. With his right arm raised ready to throw a thunderbolt or us his trident the slightly over sized god was dated 460 BC. The confusion comes when deciding which god he is because he is missing his weapon.
The potter first shaped the vessel on a wheel. Most sizeable pots were made in sections; sometimes the neck and body were thrown separately, and the foot was often attached later. Once these sections had dried to a leather hardness, the potter assembled them and luted the joints with a slip (clay in a more liquid form). Lastly, he added the handles. In black-figure vase painting, figural and ornamental motifs were applied with a slip that turned black during firing, while the background was left the color of the clay. Vase painters articulated individual forms by incising the slip or by adding white and purple enhancements (mixtures of pigment and clay).
Painted vases were often made in specific shapes for specific daily uses—storing and transporting wine and foodstuffs (amphora), drawing water (hydria), drinking wine or water (kantharos or kylix), and so on—and for special, often ritual occasions, such as pouring libations (lekythos) or carrying water for the bridal bath (loutrophoros). Their pictorial decorations provide insights into many aspects of Athenian life, and complement the literary texts and inscriptions from the Archaic and, especially, Classical periods.
Irma Villanueva (Black figure style painting in Greek vases)
Samuel Torres (Red figure style painting in Greek vases)
In contrast, the decorative motifs on red-figure vases remained the color of the clay; the background, filled in with a slip, turned black. Figures could be articulated with glaze lines or dilute washes of glaze applied with a brush. The red-figure technique was invented around 530 B.C., quite possibly by the potter Andokides and his workshop. It gradually replaced the black-figure technique as innovators recognized the possibilities that came with drawing forms, rather than laboriously delineating them with incisions. The use of a brush in red-figure technique was better suited to the naturalistic representation of anatomy, garments, and emotions.
The firing process of both red- and black-figure vessels consisted of three stages. During the first, oxidizing stage, air was allowed into the kiln, turning the whole vase the color of the clay. In the subsequent stage, green wood was introduced into the chamber and the oxygen supply was reduced, causing the object to turn black in the smoky environment. In the third stage, air was reintroduced into the kiln; the reserved portions turned back to orange while the glossed areas remained black.
Greek Humanism, a loose ethical philosophy devoted to the inherent goodness of human abilities, emerged during 5th century BCE; though the term was not actually applied as a philosophy until the European Renaissance, when the manuscripts of ancient Greek thinkers were rediscovered. Humanism as it began in ancient Greece regarded a few central ideas that became the basis for this specific philosophy, such as the desire for material explanations of the natural world, radical speculation for the possibility of all truth, and specifically the placement of human beings as primary creators of all social concerns.
the philosopher Protagoras is largely credited to be the first or most influential 'free-thinker' for the development of humanism, famous for the quote 'Man is the measure of all things.' He is historically recognised for rejecting what he considered to be unreasonable beliefs, such as the superstitious worship of the Greek pantheon without any actual proof of the existence of any divine interlopers with human reality. He referred to these gods as 'obstacles impeding true knowledge' with their obscurity and the unquestioning acceptance of the populus. Socrates, another famous philosopher, spends the majority of Plato's Dialogues discrediting most religious standards of belief and offering new, independent alternatives to explain the natural world. Aristotle sought to standardise methods of logical thought and the process of rationalising human awareness of reality. Democritus is considered the first person to ever suggest that the natural world be composed of tiny material particles, rather than the fantastical manifestations of an unknown divine will. Epicurus believed that enjoying the material world, insofar as humanity relates to it, to be the highest ethical standard one could achieve. Two famous playwrights, Euripides and Sophocles, satirised the importance of religious ceremony and the reliance upon unproved divine assitance while praising the wonders of human creation.
Humanism became a group of processes used to elevate humankind at large, such as analysing and understanding the aspects of human life that make it worthwhile in order to better the creation and use of these aspects. Aesthetics, or recognition and genesis of beauty; politics; ethics; all human structures and lifestyles were subject to the philosophical inquiry of these radical and optimistic thinkers.
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