UTD - AHST 1303 - Exam II Study Guide - Study Guide

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Schools > University of Texas at Dallas > OTHER > AHST 1303 > UTD - AHST 1303 - Exam II Study Guide - Study Guide

School: University of Texas at Dallas

Department: OTHER

Course: Survey of Western Art History: Ancient to Medieval

Professor: Dianne Goode

Term: Spring 2018

Tags: AHST, Greek, Classical, hellensitic, and Roman

Name: Exam II Study Guide

Description: These art works will be on the second exam.

Uploaded: 03/02/2018

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AHST Exam II Review Archaic (600 - 480 BCE) - Greek Art Geometric and Orientalizing: c. 900 - 600 BCE
Archaic: c. 600 - 480 BCE
Classical: c. 480 - 323 BCE
Hellenistic: c. 323 - 30 BCE

Kouros c. 600 BCE from Attica
Kouros c. 600 BCE from Sounion   • Life-size (over 6 ft high) • Attica: near Athens   • Purpose: grave markers and temple standing   o Stone sculpture replace the vase as a grave marker   • S: temple of Poseidon (god of the Sea)   • Medium: marble (local supply) o Painted   • Advanced leg: show movement • Egyptian influence: stiff, unrealistic, blocky, stylized, patterned hair   o Unrealistic torso (pointed and inverted arches) and triangular
face   • Arching Point of Greek Artistic Development: movement form
stylization to realism v quickly
Kouros, c. 530 BCE, from Anavysos • 6' 4" • Grave marker inscription   o Kroisos (name of deceased); warrior died in battle; mention of
Aries (god of War)   • Painted at one point (lips, face, eyes - more realistic)   • Similarity: stylized, one foot forward, male, nude, etc.

• Differences: (progression of 70 years) block of stone removed,
more realistic body (no more linear approach of torso), rounded
hips, rounded body (attempt at muscles), etc.   o Visual discernment   • Tools: iron tools (use more pressure, stronger,   • Nudity: 776 BCE Olympics games done all year long in the nude o Women were not performing in the nude, cloistered space in
the homes so no nude imagery of them o Men pride themselves in physical prowess - extreme shift and
development of realistic male nude body   • Archaic Smile: signifies life   o Disappear in 480 BCE - Persian sacking (destruction of buildings
and statues, serious, tough, sobering time for Greeks)
Peplos Kore, c. 530 BCE, from the Acropolis, Athens   • Peplos: long woolen garment • See traces of painted • Acropolis: high hill in Athens where the Persians will sack, center of
town, sanctuary to Athena   o Found buried on Acropolis   • Not nude - very cloistered lifestyle of women, fully clothed figure of
woman   • Might have represented a goddess - would have been able to
distinguish if we knew what she held in her hand   • Archaic smile   • Stylized, rigidity, etc.   • Patterning hair - symmetrical, three locks on each side   • Raised left arm: Piecing - different piece of marble, attached by a
metal dowel
   Greek Columns: Evolution from old post-lintel construction   • Doric: first, by Dorian   o Shaft (vertical part)

o Capital on top    • Abacus and Echinus o Entablature: on Top of Capital • Architrave, Frieze (triglyph and metopes), cornice
(projecting), pediment (triangle on roof)   o No base   • Ionic: second, island area (Cyclades) o Voluted Capital   o Base   o No T and M • Corinthian: third, found primarily at Corinth o Leaves (acanthys) on capital   o Blank frieze   o Base   o No T and M • Relief sculpture found in metopes, pediment, and frieze   • Brightly painted temples

Temples: evolution from simpler to more complex • Temple in Antis: cella (main room) would hold statue of dedicated
god/dess o Open on for priest class, normal people would worship statues
outside o Two columns between extending columns of the wall   • Prostyle: four column row on porch   • Amphiprostyle: column row on front and back (two porches -
symmetrical and balanced) • Peripteral: columns surround whole building, antis configuration
before you get to cella (two columns front and back) o Peristyle: external colunnade going all the way around    • Anta: extending wall

• Pronaos: a vestibule at the front of a classical temple, enclosed by a portico and projecting sidewalls. • Stylobate: top step on which the columns rest      Greek Architecture vocabulary
Temple to Hera I, c. 550 BCE, Paestum, Italy • Many temples to Hera, wife of Zeus, goddess of marriage, wives,
etc. • Italian location because Greeks controlled a lot of Italian area   • Doric: fat, supporting columns, holding up entablature with abacus
and echinus   o Don't see pediment - in ruins   o Evolution from old post-lintel construction   • Medium: local limestone (not in Greece, can't use Greek marble)   • Peripteral: 9 x 18 columns (1:2 ratio) o Be able to count columns - balance and proportion   • 3 columns in antis and a row along the center • Mirroring rooms flanking the cella
Temple of Artemis, reconstruction of west façade and detail of west
pediment, c. 600 - 580 BCE, Corfu   • Wealthy island due to trade between the west and east   • Artemis: twin sister of Apollo (god of reason, light); goddess of the
Hunt   o Medusa: monster, woman's body, snake hair, sight can turn
enemies to stone, protector of temple   • Defeated by Perseus   • Doric: no base on columns, abacus and echinus, bare architrave,
frieze (repetition of T and M), sculptures in pediment   • Pediment: sculpture of Medusa (9 ft tall) flanked by Sons (Pegasus
and Chrysaor) and panther-like creatures (heraldic arrangement)

• Sloped shape of Pediment poses an issue with spacing: largest
figure in center at point, all other figures are smaller or crouching o Figures not all in same scale   o No unified narrative: Medusa and sons, Trojan war king and
soldiers, battle between gods and giants   • Gigantomachy - battle of god's and giants; god's always win
- metaphor for victory of order and reason over chaos)
Siphnian Treasury, c. 530 BCE, Sanctuary of Apollo, Delphi • God of reason and light   • Siphnian Treasury - building to hold votive offers   o S: people from the island of Siphnos in Cyclades (gold and silver
mines)   • Painted white marble - really bright colors   • Sculpted and painted frieze and pediment (both sides and all
around) • Caryatids: female figures acting like columns   • North Frieze: gigantomachy (Apollo and Artemis fighting) - signifies
triumph of reason and order over chaos   o Painted labels to show who is who   • Overlapping: earliest way to show space (who's in front and who's
behind) o Lion over figure, Apollo over Artemis, arms over body, shields
over shields, shields over bodies, etc.   o Varying levels of relief carving: lower/shallow relief carvings
show farther away, higher relief show figures closer to viewer   o To indicate depth and space - very sophisticated   • Pediment: crouching figures to accommodate slope, but all figures
on the same scale - more realistic   o Thematic unity: story of Zeus and other gods on both
pediments   o Fast 50 year change

Temple of Aphaia, west facade, reconstruction, c. 500 - 490 BCE, Aegina • Local goddess of Aegina island (mothering, nurturing goddess) • Doric Temple   o 6 x 12 columns (1:2 ratio) o Triglyphs, metopes, and pediment sculptures • Pediment: Greek's fighting Trojans in Trojan war   o Unity of narrative   • Scale: realistic scale for humans, gods are bigger (see Athena -
goddess of wisdom and warfare) o Crouching to accommodate slope • Medium: local limestone, stucco-ed to look like marble
Temple of Aphaia and Archer from west pediment, c. 490 BCE, Aegina • More stylized than East - made 10 years earlier   • Attempt to show musculature, not realistic, archaic smile, stylized
face
Temple of Aphaia and Archer from east pediment, c. 480 BCE, Aegina • Archaic smile, taught muscles, realistic body (more knowledge of
anatomy and how to depict it)   • See crouching to accommodate sloping - life size    • See Dying Warriors - consumed with own death, more realistic
body
Kleitias and Ergotimos, Francois Vase (Volute Krater), and detail c. 570
BCE, found at Chiusi, Italy   • Painting - vase painting (not many canvas paintings that came
down to us) • Used to mix water and wine   • Etruscans (pre-Romans) lived in Chiusi, Italy and prized Greek vases
(found a lot in tombs, etc) • 2 ft 2 in high   • Know each figure due to inscriptions

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