3. New York Kouros
•Grave marker
•Frontal
•Cleared from block of stone, but
hands attached to hips
•One foot in front of the other
•Bent arms
•Sharp shin lines
•Smile
•Knotted treatment of hair
•Nudity

4. Many art historians feel that
knowledge of Egyptian
sculpture was critical to the
beginnings of Greek
monumental sculpture.
Support this claim by an
analysis of the styles of these
two works. It is also true that
the Egyptian work presents a
more striking likeness of an
individual. Explain this
difference in relationship to
the different functions of the
two statues

6. Peplos Kore
 Peplos: belted garment
 Figure looks like a column
 Some of painted surface
survives
 Hair falls in heavy knotted
strands
 Archaic smile
 One hand raised, breaks
the symmetry

7. Calf-Bearer
 Bearded
 Left foot forward
 Thin coat
 Rhobos the Calf-Bearer
who brings offerings to
Athena as thanks for
his prosperity
 Archaic smile

8. Dying Warrior, Temple of
Aphaia, Aegina
•Pediment sculpture
•Tight curly hair
•In action
•Stiffness
•Archaic smile

9. Dying Warrior, from the west pediment of the Temple of Aphaia, Aegina
•Pediment sculpture
•Tight curly hair
•In action
•Stiffness
•Archaic smile
•Bronze arrow in chest, no signs of pain on body
•Complex cross-legged pose

10. Kritios Boy
 Slight contrapposto
 Hips turned, knees
bent
 Head slightly turned
 Breaking down of the
strict symmetry that
dominates Archaic art

11. Polykleitos, Spear Bearer
•Ideal male nude
•Canon of proportions
•Head 1/7 of body
•Expressionless face
•Left arm relaxed, right arm flexed
•Left leg flexed, right leg relaxed
•Roman copy of a Greek bronze
Polykleitos
Spear Bearer
c. 450 – 440 BCE

13. Zeus or Poseidon
•More fully developed contrapposto
•One foot lifted up
•Hurling an object (thunderbolt?
trident? javelin?)
•Classically developed body
•Older head in keeping with the older
gods
•Height and breadth nearly equal:
hands are 6 feet apart
•Flowing beard

14. Myron, The Discus Thrower
 No Greek originals exist by him
 Impossible to throw the discus this
way, but optically satisfying view
 Meant to be seen only from the
front
 Face is expressionless
 Complex contrapposto
 Roman copy of a Greek bronze

15. Exekias, Ajax and Achilles
Playing Dice
• Greek Archaic art
• Black figure style
• Legs, spears and poses mirror
each other
• Spears show depth
• Decorative curly-cues
dominate legs
• Cloaks elaborately engraved
• Amphora

18. Temple of Aphaia, Aegina, c.490 BCE

19. Medusa and Chryasor between leapords, Temple of Artemis at Corfu c.
600-580 BCE)

20. Treasury of Siphnians
c 530 BC
From Delphi

23. The plan of a typical Greek temple is the same for all
orders (Doric, Ionic, etc.) The innermost room (cella, or
naos) contains the cult statue of the god. A single or
double peristyle colonnade surrounds the cella. The
temple is roofed in terracotta, with wooden beams and
rafters – fire is a constant hazard. Public worship is
carried on outside the temple, which is designed and
situated for maximum impact in the context of the
surrounding landscape.
In the plan to the left, A = Antae (pilasters). The
opisthodomos is a false porch behind the cella, often
added for reasons of symmetry. Its place might
alternatively be occupied by an enclosed adytum
(treasure room, sometimes interpreted as a "holy of
holies.") The pteroma is the side passage between
colonnade (pteron) and cella. An X marks the location of
the cult statue.
A typical formula for the column dimensions in a temple
is n = 2d +1, where d is the number of columns wide and
n is the number of columns on a side. For example, a
temple six columns wide might be ideally thirteen
columns long, but in practice this could vary, depending
on other factors.

25. Parthenon
 Greek Classical architecture
 Mathematical proportions
 Curvature of the base and
entablature
 Pediment contains sculpture
 Doric temple, but some Ionic
elements
 Housed Athena
 Only priests allowed inside
 No windows
 Post and lintel

28. Lapith and Centaur
• Greeks: youthful and
brave, although not
always victorious
• Centaurs: barbaric, often
vicious in victory
• Symbolic connection of
the war between the
Greeks and the Persians
• Emotional facial
rendering

30. Reconstruction of the West Pediment

32. Three Goddesses
 Greek Classical Art
 Rich folds of drapery
 Curved forms of female bodies
 Wet drapery clings to bodies and creates a flow from one figure to the other
 Pediment figures on the Parthenon

33. East Pediment

34. Nashville Parthenon, east pediment

35. The Parthenon’s frieze is a striking demonstration of the
Athenian artists' mastery of the representation of the
human figure. No two figures in the work are identical
with the artists capturing the rich variety of human
movement. Figures are shown turning in space and
from a variety of points of view. An interesting
comparison can be made by juxtaposing a detail from
the Panathenaic Procession from the nearly
contemporary procession decorating the Persian citadel
in Persepolis (c. 521-465 BCE).

36. Panathenaic Frieze  At further areas the figures
 Frieze on the inside are more animated, on
entablature of the horseback, or walking
Parthenon  Animals carried for
 Festival took place every sacrifices
four years in Athens  Relief sculptures
 Figures are more stoic at  Contrapposto
the center of the frieze,  Complicated overlapping
where the gods watch the of figures
procession

37. Detail from the Panathenaic Frieze of the Parhtenon

38. Praxiteles, Aphrodite of Knidos
 First nude woman in Greek art
 Very popular in its own time, people
came from far and wide to see it
 Placed in a round temple surrounded
by columns: effect of sneaking a
peek at her
 Not openly erotic
 Female sexual power suggested
 Genitals lacking
 Steps into a bath
 One side of her has an open form,
the other closed
 S curve
 Gentle dreamy quality

39. Praxiteles, Hermes and
Dionysos
• S curve
• Dionysos reaches for now
missing grapes; he is the god
of wine
• Hermes has a dreamy
expression
• Slender nude
• Smooth modeling
• Soft shadows
• Smaller head than 5th Century
BC sculptures: 1/8 of body

40. Lysippos, The Scraper
 Athlete scraping off oil
 Arms straight out
 Very subtle body
 Small head to 1/8 the
body, eyes closely set
 Looks away as if in a far-
away gaze
 Roman copy
 Lanky and languorous

41. Pergamon Altar
 Altar on elevated platform
 Sculptural frieze 400 feet long
 Alludes to the turning back of an
invasion by the Gauls in the 3rd
Century BC
 High relief
 Source of inspiration: Parthenon
sculptures
 Deep shadows
 Dramatic presentation
 Sensuous forms
 Wind effect on drapery

42. Athena Battling Alkyoneos
• Athena is copied from the
Parthenon
• Defeated are dragged up the
stairs to worship at Zeus’ altar
• Negative space
• Heroic action
• Overlapping figures
• Emotion
• Heroic bodies
• Twisting of bodies in space

43. Epigonos, The Dying Gaul
 Trumpet at his feet
 Gaul in defeat, with wound in his
side and dripping blood
 Sword on ground before him
 Gallic style of hair
 Expressive face
 Muscular body
 Battles heroically fought in the
nude
 Sculpture can be appreciated in
the round: front and back have
satisfying views
 Roman copy

44. Nike of Samothrace
 Nike alighting on a boat
 Water cascading on boulders
 Commemorated a naval victory in
191 BC
 Twist of torso
 Drama
 Monumental
 Fountain creates the illusion of
rushing waves
 Missing right arm might have once
raised crown to naval victor
 Wet drapery flowing around legs and
sticking to the body
 To be seen from several angles

46. Venus de Milo
• Leaning forward
• Basically frontal
• Contrapposto
• Elongated figure
• Slender proportions
• Graceful curve of body
• Missing right hand held
drapery to tease viewer
• Left hand preserved
separately holds an apple
• More representative of
classical than hellenistic
work

47. Laocoön and His Sons
 Negative space
 Many viewpoints, eyes wander
everywhere
 Laocoön trying to tell the
Trojans that the Greek horse
was booby-trapped
 Strangling of figures by snakes
sent by the gods to silence
them
 Deep cutting into stone to
create shadows
 Extreme musculature
 Agonizing expressions
 Figure to the right added later

48. Old Market Woman
 Not idealized: old and
beaten by age
 Poverty
 Exaggerated line in drapery
 Dramatic representation
 Meant to be placed in the
middle of the room
 Exaggerated contrapposto
 Enhanced age lines