1 / 20

Greek, Athenian Statue of a Kouros , 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art

Greek, Athenian Statue of a Kouros , 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art. Greece Anon. Kore , painted marble c.530 B.C. Acropolis Museum. Greece, Anon. Calf Bearer , marble, 65’’ h. c.570 B.C. Acropolis Museum.

pules
Télécharger la présentation

Greek, Athenian Statue of a Kouros , 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Greek, AthenianStatue of a Kouros, 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art

  2. Greece Anon. Kore, painted marble c.530 B.C. Acropolis Museum

  3. Greece, Anon.Calf Bearer, marble, 65’’ h. c.570 B.C. Acropolis Museum

  4. The Kritios Boy. It is attributed to the sculptor Kritios and dates to 480 B.C. c. Marble. The Acropolis Museum, Athens Greece

  5. Greek, 5th cent. B.C.Acropolis, Athens, Greece

  6. Greek, 5th cent. B.C.Acropolis, Athens, Greece

  7. Iktinos & Kallikrates (A) Gr.Parthenon (from S.W.), 447-438 B.C., Athens, Greece

  8. Parthenon , Athens, Greece 5th b.c.e.

  9. Parthenon marbles A source of friction between Great Britain and Greece are the marbles of the Parthenon. They were removed in the 19th century by Lord Elgin. The dispute has gone on since Greece won its independence. The Greeks deny British claims that Elgin had the right to remove the statues. Lord Elgin

  10. The Erectheion was a temple dedicated to Athena contest Victory over Poseidon. Athena and Poseidon had contest to decide which deity would be the patron god of the city of Athens. Poseidon struck hi strident upon the ground and made a sprout of water appear. Athena took Poseidon water and caused an olive tree to grow. The olive tree was considered the greatest gift and so Athena was chosen to be the goddess of the city. The temple uses the ionic column order, known for the scroll like design on the capital. Ionic was a slender graceful column. The Erectherion columns are 18 feet in height. The building housed a wooden image of Athena and offerings. The structure is a split level design with portions ten feet higher for the back rooms.

  11. Athens, Erechtheion (421-405 B.C.) E.facade & S. flank This room is at a higher elevation than front. The columns here are 12 feet in height and smaller in diameter than front columns. Notice that the stone is not carved on the inside. The interior of Greek building were less important than exterior. Porch of maidens is visible as well. The building was damaged during the Greek war for independence from 1821 – 1833.

  12. Athens, Erechtheion (421-405 B.C.). Porch of MaidensThe six maidens are attendants to Athena. They are clothed in traditional dress called a peplos. The headdresses become supports for the roof. statues.

  13. Polykleitos Doryphoros (marble)ca.450 B.C. Roman copy. Bologna, Museo Civico

  14. Versions of the Doryphoros Polykeltios statue was very popular during the fifth century and with the later Romans.

  15. Praxiteles Aphrodite of Knidos, (marble) Roman copy. Rome, Vatican Mus. Though the bronze original is lost, it was famed in its day. Poets wrote poems about its beauty. The Aphrodite of Knidos was the first female semi – nude of the classical period. It would start the “Venus Tradition” in European art . The staute stand sin contrapposto with the body weight upon the right leg. The “s” axis of the figure is pronounced with the right shoulder dipping to the right. The Aphrodite ‘s left hand reaches for the top portion of her clothing as the right holds the lower portion to he hips. Later roman copies would omit the lower clothing. The face uses the same formula as other Greek classical statues, though the chin is more rounded and hair looser since it is a woman.

  16. Myron (S) GreekDiscus Thrower, marble (Roman copy) c.450 B.C. Natl. Archeological. Musuem Rome

  17. Hellenistic, 2nd Century B.C.Nike of Samonthrace, c.190 B.C., Marble, h.96’’, Louvre Museum

  18. Dying TrumpeterAnon., Greek(from. Pergamon), c.230-220 B.C.E. marble copy of bronze orig.,lifesize, Museo Capitolino, Rome

  19. Venus of Milo (marb.) ca. 150 B.C., Paris, Louvre The Venus De Milo is named for the island of Melos where it was recovered. This reflects Roman tastes as it has a classical style to it rather than Hellenistic. The Romans distained the emotional Hellenistic style and preferred to own copies of classical works or have Greek artists work in a classical fashion. What makes it Hellenistic is the innovation in posing. The wider contrapposto stance allows the clothing to widen and act as a support. It is believed that the right arm came across the torso and rested on the left hip clutching the skirt to her. The left shoulder socket is rotated up and forward indicating that the left arm was extended.

  20. Greek, Laocoon and His sons, early 1st centry B.C. (?), marble, 8’ high, Vatican Museums, Rome

More Related