Week 2 Notes
Popular in Ancient Art, CR # 41908
Popular in Art
This 7 page Class Notes was uploaded by Mary Bone on Thursday September 29, 2016. The Class Notes belongs to Art 104B at Humboldt State University taught by Jeanette Cooper in Fall 2016. Since its upload, it has received 7 views. For similar materials see Ancient Art, CR # 41908 in Art at Humboldt State University.
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Date Created: 09/29/16
Week 2 Greek Art—The Orientalizing Period 700600 BC Parts of a Pot 1 o 1. Rim o 2. Lip 1 o 3. Handle o 4. Body o 5. Base 6 2 o 6. Neck Colonial Expansion 3 o Sicily 4 o South Italy o Libya o Egypt o The Black Sea Pottery in General 5 o The “xxxxxx” Painter o What was pottery used for? Holds fluids For serving For mixing For storage Gifts for the dead Prizes in competition o What can pottery tell us? Dates About the economy Individual/family o Single residential structure Community o Settlement Sociopolitical info Socioeconomic differences Trade Craftsmanship Culture Behavior Value system Method of operation Artistry Mythology Styles and tastes Pottery and the City of Corinth o Well placed for communication and commerce o Had a geometric tradition in place o Had only partially adopted same of the ideas from Athens ProtoCorinthian Pottery o Popular shapes Aryballos Perfume or oil flask Olpe Oinokoe Kotyle(Skyphos) o Popular motif Floral and vegetal designs Animals Animal hybrid The “Full” or “Ripe” Corinthian Style (625550/540 BC) o Incision still important o Eastern animals and mythological beasts still used o Beasts now enlarged and less carefully drawn o “Splinter” rosettes replace “Dot” rosettes less careful o style copied widely in Italy ProtoAttic o Style originated in Athens o Unlike Corinthian th Does not use the blackfigure technique until the end o the 7 c. BC Uses fewer animals and hybrids Uses more human figures Painted scenes are much larger Focus on larger vessels Amphorae Kraters Some oinochoai and Skyphos Interested in filing spaces No ensizing on The Eleusis amphora 650 BC Gorgons are female, faceforward, wards off evil Reliefcarved out spaces Wildgoat style—rows of repetitious goats/animals Temple Architecture o Influence from Egypt Stone construction Use of columns Archaic Greek Temples o Greek Temples Columns First of wood Later of stone Walls At first only the lower courses were o Upper courses of mud brick Changed to stone o Rebuilt Houses and Town Planning o 7 c. colonial towns were planned “Hippodamian” town plans o streets laid out on a grid o block houses Sculpture o Media Bronze Stone Terracotta o Subjects Male warrior type Construction from either period Athletic male Protomes Head or neck of an animal or mythological creature Applied to the edge of bronze cauldrons and tripods Sculpting the Human Form o Geometric forms are used at first Cylindrical thighs Triangular torso Pyramidal neck Triangular face The Daedalic Style o Egyptian influence o Key characteristics Frontally Rigidity Facial flatness Earless Triangular faces Low brows Big noses Big eyes Flat skulls Marble—new material for sculpting/building o Begins in 7 c. BC o Best marble: Paros and Naxos o Life size statues of males and females Males are naked except for a belt Females are clothed o Predecessors of Archaic statues Kore(ai)—female Kouros(oi)—male Archaic Greece 600400 BC The Archaic Dynamic o Continued economic prosperity In Greece and in the colonies o Increased rivalries within and between citystates Mostly in Greece o Continued colonial expansion o Increased trade and commerce In Greece and in the colonies o Increased activity by sea From Greece, the colonies, and competing culture o Politics o Expansion and cultural connections o Warfare o Philosophy o Architecture o Sculpture o Vase painting Architecture and Architectural Sculpture o Revolution in Temple Building The material of choice is made Architectural choices include Styles of columns Styles of capitals Size Number of rooms/areas Number of columns Temple Architecture o Certain essential parts The Cella Room for the cult statue Pranaos Porch at the front of the building Doric temples also had back chambers Columns and Capital Styles o Doric order No valute Frieze has triglph and metope o Ionic order Valute Capital Doric Order o Popular in Mainland Greece and in the West o Columns No bases Fluting Come to a point where they meet each other o Capitals Two parts A bacus Echinus o The frieze Triglph Metope o Entablature 3 parts highest—cornice middle—frieze lowest—architecture o the cornice a horizontal capstone above the frieze slanting members to frame the gables at the ends of the building the pediment often decorated Ionic Order o Popular in the Near East and in the Aegean Islands o Columns Bas a base More/narrower flutes Flutes separated by a vertical small flat space o Capitals Valutes and abacus o Architecture In three pieces o Frieze One continuous piece Sometimes decorated with figures Sometime with tooth pattern o Ex: Temple of Athena Nike, Acropolis, Athens Construction started at the end of the Archaic period Treasures o Built to house offering of cities o Treasury of the siphnians o Constructed from mining profits o Original version had columns in the front Replaced later by figures Treasury of the Siphinians o Pediment sculptures o Akroteria o East pediment o East frieze o North frieze Sculpture o Relief sculpture Architectural Other o Sculpture in the round Architectural Relief Sculpture o Ex: Treasury of the Siphinians, east pediment Temple Metopes from Selinus, Sicily Herakles and the Kerkopes Europa and the Bull Other Relief Sculpture o Grave stele Ex: grave stele of Aristion Originally painted o Background red, Armor Blue o Sarcophagi Ex: Polxena sarcophagus, Turkey c. 520500 BC o Bronzes Ex: Krater from Vix Cire—Perdue method 6 c. Sculpture intheround o 2 major types of sculpture intheround standing nude male standing clothed female o development of the Kouros/Kore from overlifesize abstraction to naturalistic human proportions Kouros Development o From belted male to naked male o Male nakedness was a distinguishing marker of Greekness and maleness o Gifts to the gods in sanctuaries or markers for the dead o Symbols of wealth, aristocratic excellence and superiority
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