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Greek Sculpture

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  1. Greek Sculpture The Archaic Period-----------------------Eve The Classical Period---------------Phoenix The Hellenistic Period------------Katherine

  2. The Archaic Period Eve Chang

  3. The Archaic Period (ca. 700-480 B.C.E) Style:freestanding Characteristic: 1.male nude (natural) 2.ideal form 3.frontal pose, rigid look & left foot extended forward…etc 4.proportionally geometric entities: →influence by Egypt

  4. Function: 1.decorations of religious buildings 2.immortal reminders of a deceased

  5. Representative Statues Kouros (Early Archaic) : 1.male 2.rigid pose-vertical 3.arms closed to its body 4.wide shoulder 5.left foot stretched forward

  6. Kouros (Late Archaic): 1.Kroisos (warrior) 2.anatomical attention (calf, knee, arm ) 3.blissful smile 4.more like human

  7. Kore: 1.female 2.less important than kouros 3.smiling 4.ornamental & columnar

  8. Calf-Bearer: 1.movement & plot 2.more realistic 3.abdominal muscles & bull calf 4.eyes:once inlaid with pearls lapis lazuli gray agates mother-of-pearl

  9. at dig site on Acropolis in 1865

  10. Greek StatueEgyptian Statue 1. technical, proportional and obvious formal similarities 2. Greek: unclothed Egyptian: wear a kilt 3. Greek: freestanding Egyptian: a support lean against a back support

  11. The Classical Period Phoenix Zhang

  12. The Classical Period (480-323 B.C.E.) • Early Classical Period (480 B.C.E) • High Classical Period (480-400 B.C.E) • Late Classical Period (430-323 B.C.E) • During the Classical period, Greek sculptors focused their energies on the human figure

  13. Early Classical Period (480 B.C.E) Marble figure known as theKritios Boy • The concept of“weight shift“first applied to sculpture • Counterpose: the body turns slightly to one side and its weight rests mainly on one leg • Implied the concept of movement

  14. Compare and contrast: Kroisos vs. Kritios Boy Pose: Rigid→ relaxed but balanced Weight shift: both legs → on the left leg Facial expression: smiling → solemn, contemplative (P.112 Figure 5.8) (P.113 Figure 5.9)

  15. Early Classical Period (480 B.C.E) • Knows as “Severe Style”: the change in facial expression reflects the reevaluation of human potential and self-knowledge

  16. High Classical Period (480-400 B.C.E) • The application of a Platonic canon of proportions to sculpture • “Canon”of Proportions: an idealized mathematical system for depictions of the human body. • Geometric & symmetrical concept evolved

  17. High Classical Masterpiece Doryphorus(Spear-Bearer) Sculptor: Polycletius Qualities of idea warrior-athlete: energy, confidence and grace Idealism: presenting the idea conception of male figure (Broad shoulders, thickly muscled limbs and muscular.) “Canon”of Proportions: Harmonious balance (P.108 Figure 5.1)

  18. High Classical Period Prominent feature: capture the “idea moment” before action Depiction of more vigorousaction Dynamically posed of the figures (P.114 Zeus/ Poseidon) (P.113 Discus Thrower)

  19. Late Classical Period Remains the concept of “Weight Shift” “curve” in the body is more pronounced Ex : Hermes and Dionysos

  20. Late Classical Period female figure was depicted completely naked Ex: The Aphrodite of Knidos point: 1. Smooth curve of the body 2. Idea female form: Tall Small breasts Broad hips

  21. Hellenistic Art Katherine Liu

  22. Hellenistic Era • Larger, monumental form • Utilitarian Structure • E.g. Lighthouse Theatre Library

  23. Hellenic Lighthouse

  24. Hellenic Theatre

  25. Hellenic Library

  26. Altar of Zeus • Place: Pergamon • Erected time: 180 B.C.E • Purpose: To celebrate victory minor kingdom of Pergamon V.S. Gauls

  27. Pergamon

  28. 20-foot high platform

  29. Ionic Colonnade

  30. Athena Battling with Acyoneus

  31. Momentary Expression Spear-Bearer V.S. High classical Apollo Belvedere Animated, feminized, self-conscious style Free-standing Hellenistic sculpture

  32. Spear-Bearer V.S. Apollo Belvedere

  33. Carving Techniques • Contrast of light and dark • Semi-transparent robes • Vigorous movement • Deeply cut drapery

  34. Nike of Samothrace

  35. Laocoon and His son

  36. Work Cited ‧http://www.greeklandscapes.com/greece/athens_museum_archaic.html ‧http://www.historylink101.com/lessons/art_history_lessons/greek_ sculpture.htm ‧http://academic.reed.edu/humanities/110Tech/kouroi.html ‧http://employees.oneonta.edu/farberas/arth/ARTH200/politics/images_ authority_2_greek.html ‧http://daphne.palomar.edu/mhudelson/WorksofArt/05Greek/4169.html ‧http://library.thinkquest.org/23492/ ‧http://www.artchive.com/artchive/G/greek.html ‧http://encarta.msn.com/encyclopedia_761561691_4/Greek_Art_and_ Architecture.html