Art History Week 7 Notes
Art History Week 7 Notes ART 1906
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This 5 page Class Notes was uploaded by Katie Warren on Thursday February 25, 2016. The Class Notes belongs to ART 1906 at East Carolina University taught by Michael Duffy in Winter 2016. Since its upload, it has received 36 views. For similar materials see Art History Survey 1 in Art History at East Carolina University.
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Date Created: 02/25/16
NOTE FOR READER: For notes in this class I will give the full name of the painting or piece of art so that you can either look them up in your book or hopefully online if you do not have a book. Hope this makes it easier to study! 2/22/2016 Week 7: Test #2 Notes Ancient Greece Late Classical and Hellenistic Art C .400-30 BCE Map: Hellenistic Greece: 323-31/30 BCE Pg. 142 (Map 05-02) Greek mainland becomes an Empire after alexander. Appealing more to the upper class. Praxiteles or his followers HERMES AND THE INFANT DIONYSOS: Late Classical 4 Century BCE. Pg. 143 (Figure 5-52) The authors of this textbook give a good point of the style changing. This was time period was the sculptors Lysippus and Praxiteles competing against each other. This statue is of Hermes the messenger god (from mount Olympus) talking to the young god Dionysos who was an infant. Dionysos was the wine god and also became the god of theater. In this piece of artwork the figures are looking at each other and were also looking at how the gods communicate with us and other figures. This is an example of how the sculptors wanted the scene to look: you could say we are looking at a play or they are actors on a stage. Figures are no longer stationary. In this sculpture the figure is imbalanced with his hip being pushed out. He is unstable but resting against something. The figures balance becomes more precarious. And in the frozen moment of the scene there is still a height of action. Praxiteles APHRODITE OF KNIDOS: 350 BCE Pg. 144 (Figure 5-53) This figure is fully nude and this was in earlier times uncommon for women figures. The figure even looks a little bashful. The figure was made out of marble and this image is a remake of the original. The hand position in front of private parts is there accidentally and is in the common process of natural movement. The figures leg also looks like it is moving or in the process of a reflexive action. The head is turned down slightly and the eyes are supposed to be lower to represent a feeling of motion. City of KNIDOS: this figure was made to be a work of art for the city to see. This was the goddess of beauty and love and this figure was set up in a public place to be scene. She is part of a story coming out of the bath and she is taking up her towel to wrap herself. Muscle tone is decreased in male and female figures from the past times. The hair is more commonly drilled ringlets. The body and tendons look swollen and they are constantly moving. The leg is turned up and makes the figure look more elegant. Lysippos MAN SCRAPING HIMSELF (APOXYOMENOS): 350-325 BCE Pg. 144 (Figure 5-54) This was an everyday thing for this time period, they would clean themselves up after a day of labor. Legs are spread apart and the arm is straight out which makes the figure look unbalanced. The figure is also looking out straight and his legs are spread apart a little. This figure is in a very common movement positon like it is posing in a specific moment of time. The sculptor tried to get the figure to look as realistic and alive as possible. EARRINGS: 330-300 BCE Pg. 145 (Figure 5-55) On the earrings is a story of Zeus and a man named Ganymede. Zeus became an eagle so that he could captured his pleasure which was Ganymede. These figures are hollow cast and this makes them lighter so that people could actually wear the heavy precious metal. ALEXANDER THE GREAT CONFRONTS DARIOUS III AT THE BATTLE OF ISSOS: 310 BCE Pg. 146 (Figure 5-56) This is an early wall painting and it shows a strong effort to create a single moment in time that is action packed. This is the moment that Alexander the Great rises up against his enemy. In this time period mosaics were done on floors of larger rooms and these were done for the eye of the public. These could be pebbles or other objects made of stone that were laid into cement. The sculptors of this art had a very slow process because it took a long time. Gnosis STAG HUNT: 300 BCE. Pg. 146 (Figure 5-57) A floral designer and the painter both come the art at the same time and the painter Pausias won a contest that they had because his work was more complex and real looking. Pebble mosaic was done in this piece of work and the painter Gnosis was the artist who painted it. The men in this piece of art were nude engaging in a hunt. The figures in the painting seem to be turning in space. There is for shortening and lightened shadowing also to show a 3 dimensional space. Boarder is curvilinear and shown in the flowers and vines. TEMPLE OF OLYMPIAN ZEUS, ATHENS: 520-510 BCE. Pg. 147 (Figure 5-58) Was made in the Hellenistic period. Three of Alexander’s successors (generals) became important kings and ruled ½ of the eastern Mediterranean. OVERALL VIEW (A) AND RECONSTRUCTION DRAWING (B) OF THE THEATER, EPIDAUROS: 4 THCentury BCE. Pg. 148 (Figure 5-59b) This was on a hill and the seating was very similar to bleachers. This space was made for entertainment and activities that were communal. Epigonos (?) DYING GALLIC TRUMPETER: 220 BCE. Pg. 149 (Figure 5-60) Gaul (Keltic people) were featured here. Pergamon: this was the capitol of a state that broke away from the Seleucid area and became a leading area of the arts and a go-to place for experimental sculptural styles. This was all through the Helenistic period. The king Attalos I ruled during this time which was from 241-197 BCE. This sculpture is from the victory of the Celtics (King Attalos’ I people) over the Gauls. The artist of this piece was Epigonos. The character of this figure: o His identity is showing naturalistic parts of his body. Wearing a ring necklace (torc) that is made of gold strands braided together to form a rope. o The Gaul has a mustache and his hair has some sort of gel. This is probably a representation of what these warriors looked like in this time. o He has found some courage and can support himself on his right arm, but it seems like it is failing and he is dying. rd st TORC: 3 -1 Century BCE. Pg. 150 (Figure 5-61) Was made of solid gold and this could be multiple strands braided together. Only nobles, rulers, and trophy winners wore these. Great worries were sometimes given these to represent how good they are at battle. The circle could represent the cosmic forces. RECONSTRUCTED WEST FRONT OF THE ALTAR FROM PERGAMON (IN MODERN TURKEY): 175-150 BCE. Pg. 151 (Figure 5-62) Greeks called foreigners barbarians. This reconstructed altar is in a Berlin museum. The original altar was enclosed inside of a single-story colonnade raised on a podium so that visitors had to climb a large staircase to visit it. ATHENA ATTACKING THE GIANTS: 175-150 BCE. Pg. 151 (Figure 5-63) This Frieze has Athena attacking the earth goddess Ge’s son and his name is Alkyoneos. Ge is asking Athena to spear the life of her son. The texture of this frieze is very intense because it was carved out of the wall to look 3D. Hagesandros, Polydoros, and Athenodoros of Rhodes LACOON AND HIS st SONS: 1 century BCE. Pg. 152 (Figure 5-64) Laocoon tried to warn the Trojans when the Romans were about to invade them and this sculpture is the punishment of a sea serpent killing him and his sons for his warning. Laocoon has be bitten and is in pain but watching his sons die in front of him. NIKE (VICTORY) OF SAMOTHRACE: 180 BCE. Pg. 153 (Figure 5-65) At Samothrace which is a sanctuary of the Great Gods Nike was arriving on the prow of a ship and she seems to be moving. Her pose is imbalanced but she is balanced by her wings. Her help enabled victory or King Antiochus III in 190 BCE. OLD WOMAN: 2 ndcentury BCE Pg. 154 (Figure 5-66) This woman seems to be carrying a lot and her drapes are very detailed. Alexandros from Antioch-on-the-Orontes APHRODITE OF MELOS (ALSO CALLED VENUS DE MILO): 150-100 BCE Pg. 154 (Figure 05-67) In the figure Aphrodite’s knee is showing her elegance and her spine is a little bit curved and natural which adds to her elegant look.
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