Historical Context

2. Historical Context Mycenaean civilization collapsed ca. 1200 BC, causing the urban prosperity of the Aegean region to crumble into the Greek Dark Age (ca. 1200-800 BC), during which all art forms languished. The Dark Age ended with the rise of the Greek city-states, of which Athens was the undisputed cultural leader. Then came the formative period (Archaic age) and culmination (Classical age) of Greek art. The primary materials of large-scale Greek sculpture were marble and bronze. The general aesthetic of Classical-era Greek art is known as classicism (see Western aesthetics). Classical sculpture is simple, balanced, and restrained; the facial expression of a classical figure is composed and solemn. Hellenistic sculpture, on the other hand, is typically dynamic and extravagant (i.e. Baroque), with passionate facial expressions. The style of Etruscan sculpture largely parallels that of the Greeks, due to the strong cultural influence of the latter on the former. The Etruscan preoccupation with funerary matters is reflected in one of their most striking sculptural types, the clay sculpted sarcophagus, in which figures are presented as lying on the coffin lid as though it were a couch (see examples ). The most distinctive Etruscan statues are two animal bronzes, Chimera of Arezzo and Capitoline Wolf, which strike a fantastic blend of realism and stylization (see photo , photo ).

3. Archaic Greek Sculpture • 800-500 BC Compared with the lifelike statues of the Classical era, Archaic Greek sculpture is rigid and stylized (see realism vs stylization). The principal Archaic types are the kouros (plural kouroi) and kore (plural korai) statues. These roughly symmetrical, forward-facing statues were derived from the sculpture of Southwest Asia and Egypt. Kouroi (the male statues) are usually nude, while korai (the female statues) are typically robed. Kouros. Kore

4. Classical Greek Sculpture • 500-330 BC The Classical age is considered the apex of Greek cultural achievement. Archaic stylization gave way to breathtaking realism of human anatomy and posture, as well as intricately folded draperies. A crucial development was contrapposto, a key quality of lifelike statues, in which a figure's weight is supported mainly by one leg (causing a slight twisting of the torso and curvature of the spine). Few original Greek works have survived; most are known only through Roman copies. The two foremost sculptors of the Classical age were Phidias and Polyclitus. Phidias is best known for designing the sculptures of the Parthenon, as well as two colossal works: a statue of Athena (for the Parthenon) and a statue of Zeus (for the Temple of Zeus at Olympia). These colossal statues (neither of which survives) were about forty feet tall and composed of ivory plates laid over a wooden frame, with gold detailing. The Parthenon, like other Greek temples, was covered in both in-the-round sculptures (fully three-dimensional sculptures) and relief sculptures. A large portion of the Parthenon sculptures, known as the Elgin Marbles, are found in the British Museum. Parthenon pediment sculptures Reconstruction of Parthenon pediment sculptures. Artist's conception of Phidias' great statue of Zeus. • Scaled-down replica of Phidias' great statue of Athena.

5. Classical Greek Sculpture • 500-330 BCContinued Polyclitus is famous for developing aesthetic theory on how to achieve classicism in a statue. He argued that a figure should have ideal bodily proportions, balance between tensed and relaxed muscle groups, and balanced orientation of limbs. These considerations are evident in Polyclitus' three foremost works: Spear-bearer, Discus-bearer, and Athlete Tying on a Fillet. (Fillet is a synonym for headband. Headbands, like laurel wreaths, were often awarded to victorious athletes.) Replica of Athlete Tying on a Fillet Replica of Discus-bearer Replicas of Spear-bearer

6. Hellenistic Greek Sculpture • 330-27 BC During the Hellenistic era, Greek culture flourished throughout the vast region conquered by Alexander. Leadership of Greek culture passed from Athens to various centers around the eastern Mediterranean, including Rhodes, Pergamum, and Alexandria. Hellenistic sculptors typically imbued their works with dynamism and dramatic effect, as opposed to the cool majesty of Classical statues. No statue better illustrates the Hellenistic style than the group sculpture Laocoön and his Sons. This work depicts a scene from Homer's Iliad, in which the Trojan priest Laocoön and his two sons are killed by sea serpents (at Athena's bidding) when he tries to warn his people about the Trojan horse. Potent dynamism also characterizes Winged Victory of Samothrace, whose robes are dramatically ruffled as though she were facing into a storm. Winged Victory of Samothrace. Laocoön and his Sons

7. Sources 1 - "Greek art and architecture", Encarta 2004. 2 - "Greek art", Columbia Encyclopedia. Accessed August 2010. 3 - "Etruscan art", Columbia Encyclopedia. Accessed August 2010. 4 - "Polyclitus", Encyclopedia Britannica. Accessed August 2010. 5 - "Phidias", Encyclopedia Britannica. Accessed August 2010.