Greek Mask, gold, Medusa

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Ancient Greece

Greek Mask, gold, Medusa
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Ancient Greece
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Why do historians place so much importance on
events that happened more than 30 centuries ago
in an area not much larger than the state of
Arizona? Why are the names of such artists as
Myron, Phidias, and Polyclitus still held in
esteem, even though none of their works is known
for certain to exist today? Why are plays by
Sophocles still performed all over the world? Why
do people still find the comedy of Aristophanes
funny after thousands of years? The answer is
simple That area Greece - was the birthplace
of Western civilization. Furthermore, its
contributions to art, literature, and theatre,
have had a profound effect on artists up to the
present day.
Vocabulary Raking cornice Cornice Frieze Lintel Ca
pital Shaft
Stylobate Pediment Entablature Column Colonnade Do
ric order
Ionic order Corinthian order
Silver decadrachm (coin) 375 B.C.
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Early Greek Temples The earliest Greek temples
were made of wood or brick, and these have since
disappeared. As the economy prospered with the
growth of trade, stone was used. Limestone and
finally marble became the favorite building
materials. The basic design of Greek temples did
not change over the centuries. Greek builders
chose not to alter a design that served their
needs and was also pleasing to the eye. Instead,
they made small improvements on the basic design
in order to achieve perfection. Proof that they
realized this perfection is represented in
temples such as the Parthenon. It was built as a
house for Athena, the goddess of wisdom and
guardian of the city named in her honor.
The Parthenon, Acropolis, Athens, Greece c. 447
B.C.
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Raking Cornice
Pediment
Cornice
Frieze
Entablature
Lintel
Capital
column
Shaft
Three step platform
Stylobate
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is the smaller of two porches added to its sides.
On the Porch of the Maidens, the roof is
supported by six caryatids, or columns carved to
look like female figures.
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Grecian gold Diadem
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Early in the eighth century B.C., artists began
to add figures to the geometric designs on their
vases.

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In time, vase figures became more lifelike and
were placed in storytelling scenes. An excellent
example of this kind of painting is provided by a
vase showing two figures engrossed in a game (It
was created by an artist named Exekias
(ex-eekee-us) more than 2,500 years ago

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Greek Painting. Although no great paintings from
ancient Greece have survived, it is likely that
Greek painters placed great importance on
realism. The Roman historian Pliny the Elder
supports this notion. He tells of a great
competition that took place in the fifth century
B.C. The purpose of this competition was to
determine which of two famous painters was more
skilled in producing lifelike works. The
painters, Zeuxis and Parrhasius, faced each other
with their works covered by curtains. Zeuxis
confidently removed his curtain to reveal a
painting of grapes so natural that birds were
tricked into pecking at it. Certain that no one
could outdo this feat, he asked Parrhasius to
reveal his work. Parrhasius answered by inviting
Zeuxis to remove the curtain from the painting.
When Zeuxis tried, he found he could not - the
curtain was the painting.
Alexander the Great
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To understand and appreciate Greek
accomplishments in sculpture, it is necessary to
look back to an even earlier time known as the
Archaic period.

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Procession of Horsemen
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Sculpture in the Hellenistic Period
Burial Vessel
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The Dying Gaul Many of the features of the
Hellenistic style can be observed in a life-size
sculpture known as the Dying Gaul A Roman copy
shows a figure that was once part of a large
monument built to celebrate a victory over the
Gauls, fierce warriors from the north. In this
sculpture, you witness the final moments of a
Gaul who was fatally wounded in battle. Blood
flows freely from the wound in his side. The
figure uses what little strength he has remaining
to support himself with his right arm. He has
difficulty supporting the weight of his head and
it tilts downward. Pain and the knowledge that he
is dying distort the features in his face.
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The unknown artist presents not a victorious
young athlete but a mature, professional boxer,
resting after a brutal match. Few details are
spared in telling about the boxer's violent
occupation. The swollen ears, scratches, and
perspiration are signs of the punishment he has
received. He turns his head to one side as he
prepares to remove the leather boxing glove from
his left hand. The near-profile view of his face
reveals his broken nose and battered cheeks.
There is no mistaking the joyless expression on
his face, suggesting that he may have lost the
match
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Philip the Great, Ivory