PROMPT 7. Natural Versus Stylized / The Human Body in Art –
- We have seen humans depicted as stick figures and fully natural replicas of real-life. How has the depiction of the human form been used to emphasize meaning?
- Discuss the different ways in that naturalism and/or stylization have meant different things to different peoples and in different time periods. By using the two files attached.
Rubric,
A fully developed essay (intro, 2 body paragraphs, conclusion). The introduction includes a clear, well-focused thesis or topic sentence. In the body paragraphs, main ideas are clear and are well supported by detailed and accurate information presented in a logical progression. Specific visual and contextual evidence is accurately used to analyze the similarities between the two works. Specific visual and contextual evidence is accurately used to analyze the differences between the two works. The meaning transmitted in the selected works of art is accurately explained. The conclusion is strong. Vocabulary and terminology are used appropriately and correctly. No grammatical or spelling errors
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Ancient Egyptian Art
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Ancient Egypt
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People, boats, and animals, detail of a watercolor copy of a wall painting from tomb 100 at Hierakonpolis, Egypt, Predynastic, ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X 3’ 7 3/8”. Egyptian Museum, Cairo.
Predynastic, Early Dynasties, and the Old Kingdom
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Stylistic Conventions of Egyptian Art
Palette of Narmer: a blueprint for a formula for figure representation and other conventions seen in Egyptian art for nearly 3000 years.
Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate, 2’ 1” high. Egyptian Museum, Cairo.
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Early Funerary Architectural Forms
Section (top), plan (center),and restored view (bottom) of typical Egyptian mastaba tombs.
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IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Restored view (top) and plan (bottom) of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Detail of the facade of the north palace of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Aerial view of the Fourth Dynasty pyramids (looking north), Gizeh, Egypt. From bottom: Pyramids of Menkaure, ca. 2490–2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca. 2551–2528 BCE.
The Pyramids
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Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca. 2551–2528 BCE.
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Model of the pyramid complex, Gizeh, Egypt. Harvard University Semitic Museum, Cambridge. 1) Pyramid of Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre, 4) causeway, 5) Great Sphinx, 6) valley temple of Khafre, 7) Pyramid of Khufu, 8) pyramids of the royal family and mastabas of nobles.
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Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Diorite, 5’ 6” high. Egyptian Museum, Cairo.
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Sculptors at work, detail of the south wall of the main hall of the funerary chapel of Rekhmire, Thebes, Egypt, 18th Dynasty, ca. 1425 BCE.
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Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Sandstone, 65’ X 240’.
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Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston.
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Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca. 2500 BCE. Painted limestone, 1’ 9” high. Musée du Louvre, Paris.
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Ti watching a hippopotamus hunt, relief in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450–2350 BCE. Painted limestone, 4’ high.
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Goats treading seed and cattle fording a canal, reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450 – 2350 BCE. Painted limestone.
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Middle Kingdom
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Painted sandstone seated statue of Mentuhotep II, 11th Dynasty, c. 2061–2010 BC, Egyptian Museum, Cairo.
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Mortuary temple of Hatshepsut (looking southwest), Deir el-Bahri, Egypt, 18th Dynasty, ca. 1473–1458 BCE.
New Kingdom
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Hatshepsut with offering jars, from the upper court of her mortuary temple, Deir el-Bahri, Egypt, 18th Dynasty, ca. 1473–1458 BCE. Red granite, 8’ 6” high. Metropolitan Museum of Art, New York.
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King and queen of Punt and attendants, relief from the mortuary temple of Hatshepsut, Deir el-Bahri, Egypt, 18th Dynasty, ca. 1473–1458 BCE. Painted limestone, 1’ 3” high. Egyptian Museum, Cairo.
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Aerial view of the temple of Amen-Re (looking north), Karnak, Egypt, major construction 15th – 13th centuries BCE (Jean Claude Golvin).
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3-24A Aerial view of the temple of Amen-Re, Mut, and Khonsu (looking east), Luxor, Egypt, 18th and 19th Dynasties, begun early 14th century BCE.
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Relief showing the sacred bark procession, in the sanctuary of Philip Arrhidaeus at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
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Columns and clerestory of the hypostyle hall of the temple of Amen-Re, Karnak, Egypt, 19th Dynasty, ca. 1290–1224 BCE.
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Model of the hypostyle hall, temple of Amen-Re, Karnak, Egypt, 19th Dynasty, ca. 1290 – 1224 BCE. Metropolitan Museum of Art, New York.
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Figure 3-28 Fowling scene, from the tomb of Nebamun, Thebes, Egypt, 18th Dynasty, ca. 1400–1350 BCE. Fresco secco, 2’ 8” high. British Museum, London.
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Musicians and dancers, detail of a mural from the tomb of Nebamun, Thebes, Egypt, 18th Dynasty, ca. 1400-1350 BCE. Fresco secco, 1’ x 2’ 3”. British Museum, London.
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Akhenaton, colossal statue from the temple of Aton, Karnak, Egypt, 18th Dynasty, ca. 1353–1335 BCE. Sandstone, 13’ high. Egyptian Museum, Cairo.
Akhenaton and
the Amarna Period
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Akhenaton, Nefertiti, and three daughters, from Amarna, Egypt, 18th Dynasty, ca. 1353–1335 BCE. Limestone, 1’ 1/4” high. Ägyptisches Museum, Staatliche Museen zu Berlin, Berlin.
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Tomb of Ramose, Private Tomb (“Tombs of the Nobles”) at Sheikh Abd el-Qurna
18th Dynasty, ca 1375 BCE
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THUTMOSE, bust of Nefertiti, from Amarna, Egypt, 18th Dynasty, ca. 1353–1335 BCE. Painted limestone, 1’ 8” high. Ägyptisches Museum, Staatliche Museen zu Berlin, Berlin.
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Portrait of Tiye, from Ghurab, Egypt, 18th Dynasty, ca. 1353–1335 BCE. Yew wood, gold, silver, alabaster, faience, and lapis lazuli, 8 7/8” high. Ägyptisches Museum, Staatliche Museen zu Berlin, Berlin.
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Figure 3-35 Death mask of Tutankhamen, from the innermost coffin in his tomb at Thebes, Egypt, 18th Dynasty, ca. 1323 BCE. Gold with inlay of semiprecious stones, 1’ 9 1/4” high. Egyptian Museum, Cairo.
King Tut
reverts back to the earlier conventions
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Innermost coffin of Tutankhamen, from his tomb at Thebes, Egypt, 18th Dynasty, ca. 1323 BCE. Gold with inlay of enamel and semiprecious stones, 6’ 1” long. Egyptian Museum, Cairo.
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Throne with footstool, from the Tomb of Tutankhamen, Thebes, Egypt, 18th Dynasty, ca. 1333–1323 BCE. Gold with enamel
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Painted chest, from the Tomb of Tutankhamen, Thebes, Egypt, 18th Dynasty, ca. 1333–1323 BCE. Wood, 1’ 8” long. Egyptian Museum, Cairo.
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Continuity of Ancient Egyptian Art
Despite some alterations and short deviations (Amarna) from their artistic tradition, why did Egyptians maintain such continuity in their art (statue of Mentuemhet, ca. 650 BCE) and architecture (Temple of Horus, ca. 237 – 47 BCE)?
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Portrait statue of Mentuemhet, from Karnak, Egypt, 26th Dynasty, ca. 660–650 BCE. Granite, 4’ 5” high. Egyptian Museum, Cairo.
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2490–2472 BCE
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Relief showing the sacred bark procession, in the sanctuary of Philip Arrhidaeus at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
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Fragment from bark shrine of Philip Arrhidaeus at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
Purification and Crowning of the king by Thoth & Horus, at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
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Temple of Horus (looking east), Edfu, Egypt, ca. 237 – 47 BCE.
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Ancient Greek Art
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The Greek World
Map 5-1 The Greek world.
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Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high. Metropolitan Museum of Art, New York.
Geometric Period
(9th – 8th centuries BCE)
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DIPYLON PAINTER, Geometric amphora with mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 750 BCE. 5’ 1” high. National Archaeological Museum, Athens.
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Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE. Bronze, 4 1/2” high. Metropolitan Museum of Art, New York (gift of J. Pierpont).
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Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8” high. Museum of Fine Arts, Boston.
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Eleusis Amphora – front, 675-650 BCE
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Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625–600 BCE. 1’ 2” high. British Museum, London.
Observe the creatures on this black-figure amphora. Are there any precedents for such composite creatures?
Orientalizing Period (7th century BCE)
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Lady of Auxerre, from Crete, probably Eleutherna, Greece, ca. 650–625 BCE. Limestone, 2’ 1 1/2” high. Musée du Louvre, Paris.
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kouros (male youth)/kouroi (pl.)
kore (maiden)/korai (pl.).
Archaic Period (6th century BCE)
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Kouros, from Attica, possibly Anavysos, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York.
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Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4” high. National Archaeological Museum, Athens.
Why did Greek artists render the male form in the nude?
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Calf Bearer, dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE. Marble, restored height 5’ 5”; fragment 3’ 11 1/2” high. Acropolis Museum, Athens.
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Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, 4’ high. Acropolis Museum, Athens.
Notice traces of encaustic paint on the Peplos Kore. Most Greek stone statues were painted.
Notice also that the Peplos Kore is clothed.
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Kore in Ionian dress, from the Acropolis, Athens, Greece, ca. 520–510 BCE. Marble, 1’ 9” high. Acropolis Museum, Athens.
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Plan of a typical peripteral Greek temple.
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Peripteral Greek Temple
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Elevations of the Doric and Ionic orders (John Burge).
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Compare Doric and Ionic Orders
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Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE.
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Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE.
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West pediment from the Temple of Artemis, Corfu, Greece, ca. 600–580 BCE. Limestone, greatest height 9’ 4”. Archaeological Museum, Corfu.
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Aerial view of the sanctuary of Apollo, Delphi, Greece, with the temple of Apollo, begun 548 BCE, and Archaic treasuries.
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Reconstruction drawing of the Siphnian Treasury, Delphi, Greece, ca. 530 BCE (John Burge).
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Gigantomachy, detail of the north frieze of the Siphnian Treasury, Delphi, Greece, ca. 530 BCE. Marble, 2’ 1” high. Archaeological Museum, Delphi.
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KLEITIAS and ERGOTIMOS, François Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. 2’ 2” high. Museo Archeologico, Florence.
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KLEITIAS and ERGOTIMOS, centauromachy, François Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE. Museo Archeologico, Florence.
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EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei Vaticani, Rome.
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EXEKIAS, Achilles killing Penthesilea (Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. 1’ 4 3/8” high. British Museum, London.
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LEFT: LYSIPPIDES PAINTER, Achilles and Ajax playing a dice game (black-figure side of an Athenian bilingual amphora), from Orvieto, Italy, ca. 525–520 BCE. 1’ 9” high. Museum of Fine Arts, Boston.
RIGHT: ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (red-figure side of the same Athenian bilingual amphora).
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EUPHRONIOS, Herakles wrestling Antaios (detail of an Athenian red-figure calyx krater), from Cerveteri, Italy, ca. 510 BCE. Whole vessel 1’ 7” high; detail 7 3/4” high.Musée du Louvre, Paris.
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Euphronios, Death of Sarpedon, ca. 515 BCE
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EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche Antikensammlungen, Munich.
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ONESIMOS, Girl preparing to bathe (interior of an Athenian red-figure kylix), from Chiusi, Italy, ca. 490 BCE. Tondo 6” in diameter. Musées Royaux des Beaux-Arts de Belgique, Brussels.
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Temple of Aphaia (looking southwest), Aegina, Greece, ca. 500–490 BCE.
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Model of the Temple of Aphaia, Aegina, Greece, ca. 500-490 BCE, showing internal elevation (top) and plan (bottom). Glyptothek, Munich.
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GUILLAUME-ABEL BLOUET’S 1828 restored view of the façad of the Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE.
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Dying warrior, from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE. Marble, 5’ 2 1/2” long. Glyptothek, Munich.
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Figure 5-29 Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1” long. Glyptothek, Munich.
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Temple of Hera II or Apollo (looking northeast), Paestum, Italy, ca. 460 BCE.
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Athena, Herakles, and Atlas with the apples of the Hesperides, metope from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, 5’ 3” high. Archaeological Museum, Olympia.
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Chariot race of Pelops and Oinornaos, east pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, 87’ wide. Archaeological Museum, Olympia.
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Centauromachy, west pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, Apollo (central figure), 10’ 8” high. Archaeological Museum, Olympia.
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Seer, from the east pediment of the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, full figure 4’ 6” high; detail 3’ 2 1/2” high. Archaeological Museum, Olympia.
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Apollo, from the west pediment of the Temple of Zeus, Olympia, Greece, ca. 470-456 BCE. Marble, restored height 10’ 8”. Archaeological Museum, Olympia.
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Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, 2’ 10” high. Acropolis Museum, Athens.
Kritios Boy is the earliest known example of contrapposto, a relaxed and natural stance.
Notice how his weight shifts to his left leg and how his head turns slightly to his right.
Notice absence of Archaic smile
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Warrior, from the sea off Riace, Italy, ca. 460–450 BCE. Bronze, 6’ 6” high. Museo Archeologico Nazionale, Reggio Calabria.
This Riace Warrior, like most Classical Greek statues, was sculpted in bronze. Most Classical bronzes have not survived.
Much of the Classical Greek sculptures today are Roman marble copies.
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Charioteer, from a group dedicated by Polyzalos pf Gela in the sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, 5’ 11” high. Archeological Museum, Delphi.
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Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460–450 BCE. Bronze, 6’ 10” high. National Archaeological Museum, Athens.
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MYRON, Diskobolos (Discus Thrower). Roman marble copy of a bronze original of ca. 450 BCE, 5’ 1” high. Museo Nazionale Romano—Palazzo Massimo alle Terme.
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POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Archeologico Nazionale, Naples.
Doryphoros (Spear Thrower), POLYKEITOS
Originally titled Canon
Established Polykleitos’ canon of proportions, setting ideal correlations among body parts
Contrapposto
Notice the harmony of opposites
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KRESILAS, Pericles. Roman marble herm copy of a bronze original of ca. 429 BCE. Full herm 6’ high; detail 4’ 6 1/2” high. Musei Vaticani, Rome.
Pericles:
Elected stratego, general of Athens 15X
Instrumental in rebuilding and beautifying Athens after second Persian invasion
Notice his idealized appearance
The Acropolis of Pericles
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Aerial view of the Acropolis looking southeast, Athens, Greece.
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Restored view of the Acropolis, Athens, Greece (John Burge). (1) Parthenon, (2) Propylaia, (3) pinakotheke, (4) Erechtheion, (5) Temple of Athena Nike.
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IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast), Acropolis, Athens, Greece, 447–438 BCE.
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Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart), 447–432 BCE.
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PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost chryselephantine statue. Royal Ontario Museum, Toronto.
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Lapith versus centaur, metope from the south side of the Parthenon, Acropolis, Athens, Greece, ca. 447-438 BCE. Marble, 4’ 8” high. British Museum, London.
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Helios and his horses, and Dionysos (Herakles?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height 4’ 3”. British Museum, London.
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Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height 4’ 5”. British Museum, London.
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Details of the Panathenaic Festival procession frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447–438 BCE. Marble, 3’ 6” high. Horsemen of north frieze (top), British Museum, London; seated gods and goddesses (Poseidon, Apollo, and Artemis) of east frieze (center), Acropolis Museum, Athens; and elders and maidens of east frieze (bottom), Musée du Louvre, Paris.
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MNESIKLES, Propylaia (looking southwest), Acropolis, Athens, Greece, 437–432 BCE.
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Erechtheion (looking northwest), Acropolis, Athens, Greece, ca. 421–405 BCE.
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Plan of the Erechtheion, Acropolis, Athens, Greece, ca. 421–405 BCE.
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Caryatids of the south porch of the Erechtheion, Acropolis, Athens, Greece, ca. 421–405 BCE. Marble, 7’ 7” high.
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KALLIKRATES, Temple of Athena Nike (looking southwest), Acropolis, Athens, Greece, ca. 427–424 BCE.
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Nike adjusting her sandal, from the south side of the parapet of the Temple of Athena Nike, Acropolis, Athens, Greece, ca. 410 BCE. Marble, 3’ 6” high. Acropolis Museum, Athens.
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Late Classical Period (4th century BCE)
Late 5th century was marked by the devastating Peloponnesian War between Athens and Sparta
Macedonians invade Greece and defeat the united city states at the Battle of Chaeronea in 338 BCE.
4th century Greece – political turmoil
Affected appearance of art
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PRAXITELES, Aphrodite of Knidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome.
Aphodite of Knidos, PRAXITELES
Bold step to render a goddess in the nude
Sensuous and humanizing qualities – different from the cold, aloof gods and athletes of the High Classical
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PRAXITELES(?), Hermes and the infant Dionysos, from the Temple of Hera, Olympia, Greece. Copy of a statue by Praxiteles of ca. 340 BCE or an original work of ca. 330–270 BCE by a son or grandson. Marble, 7’ 1” high. Archaeological Museum, Olympia
Hermes and the infant Dionysus
By follower of Praxiteles (son or grandson possibly)
Notice S-curve of the body (pronounced contrapposto)
New standard of adult and child interaction
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LYSIPPOS, Apoxyomenos (Scraper). Roman marble copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei Vaticani, Rome.
Apoxyomenos, LYSIPPOS
Established a different canon of proportions from that of Polykleitos
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LYSIPPOS, Weary Herakles (Farnese Herakles). Roman marble copy from Rome, Italy, signed by GLYKON OF ATHENS, of a bronze original of ca. 320 BCE. 10 ‘ 5” high. Museo Archeologico Nazionale, Naples.
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Head of Alexander the Great, from Pella, Greece, third century BCE. Marble, 1’ high. Archaeological Museum, Pella.
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PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8’ 10” X 16’ 9”. Museo Archeologico Nazionale, Naples.
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Hellenistic Period (323 – 30 BCE)
Begins after the death of Alexander the Great (323 BCE); lasts through the defeat of Cleopatra and Mark Anthony by the Romans at the Battle of Actium (30 BCE)
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POLYKLEITOS THE YOUNGER, Corinthian capital, from the tholos, Epidauros, Greece, ca. 350 BCE. Archaeological Museum, Epidauros.
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Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE.Pergamonmuseum, Staatliche Museen zu Berlin, Berlin.
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Athena battling Alkyoneos, detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey ca. 175 BCE. Marble, 7’ 6” high. Pergamonmuseum, Staatliche Museen zu Berlin, Berlin.
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EPIGONOS(?), Gallic chieftain killing himself and his wife. Roman marble copy of a bronze original of ca. 230–220 BCE, 6’ 11” high. Museo Nazionale Romano–Palazzo Altemps, Rome.
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EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome.
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Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high. Musée du Louvre, Paris.
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ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble, 6’ 7” high. Louvre, Paris.
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Aphrodite, Eros, and Pan, from Delos, Greece, ca. 100 BCE. Marble, 4’ 4” high. National Archaeological Museum, Athens.
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Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230–200 BCE. Marble, 7’ 1” high. Glyptothek, Munich.
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Sleeping Eros, from Rhodes, ca. 150–100 BCE. Bronze, 2’ 9 1/2″ long. Metropolitan Museum of Art, New York (Rogers Fund, 1943).
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Seated boxer, from Rome, Italy, ca. 100–50 BCE. Bronze, 4’ 2” high. Museo Nazionale Romano–Palazzo Massimo alle Terme, Rome.
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Old market woman, ca. 150–100 BCE. Marble, 4’ 1/2” high. Metropolitan Museum of Art, New York.
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POLYEUKTOS, Demosthenes. Roman marble copy of a bronze original of ca. 280 BCE. 6’ 7 1/2” high. Ny Carlsberg Glyptotek, Copenhagen.
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ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome, Italy, early first century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.
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ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, head of Odysseus, from Sperlonga, Italy, early first century CE. Marble, 2’ 1 1/4” high. Museo Archeologico, Sperlonga.
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‘8 Sentence Body Paragraph’ Essay Template (22-sentence)
Introduction ¶(Includes thesis)
Body ¶ #1
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact )(In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Body ¶ #2
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact) (In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Conclusion ¶(Includes summary)