Iktinos, Kallikrates, and Karpion. The Parthenon (view from the west), Akropolis, Athens. 448 - 432 BC.
Model Reconstruction of the
Acropolis, Athens.
Getlein, Mark. Gilbert's Living With Art. 6th ed.
Boston: Mc Graw Hill, 2002.
Phidias, Athena Parthenos, c.
438 BC. Model of the lost statue, of which was approx. 38' tall. Royal
Ontario Museum, Toronto.
Richard G. Tansey and Fred S. Kleiner, Gardner's Art
Through the Ages. 10th ed. Fort Worth: Harcourt Brace College
Publishers, 1996.
Iktinos, Kallikrates, and
Karpion. The Parthenon (view from the west), Akropolis, Athens. 448 - 432
BC.
Duane Preble, Sarah Preble and Patrick Frank, Artforms.
7th ed. Upper Saddle River, NJ: Prentice Hall, 2002.
Constant ratio of 4 to 9
In the Parthenon, the
controlling ratio for the symmetria of the parts may be expressed
algebraically as:
x = 2y = 1, where x is the larger number and y is the smaller number
Thus, there are seventeen columns on the long sides of the temple and eight
columns on the short ends:
17 = (2 x 8) + 1
Plan of the Parthenon, with
diagram of sculptural program. (After A. Stewart)
Richard G. Tansey and Fred S. Kleiner, Gardner's Art
Through the Ages. 10th ed. Fort Worth: Harcourt Brace College
Publishers, 1996.
Iktinos, Kallikrates and
Karpion. Parthenon, Athens. 447 - 432 BC.
Getlein, Mark. Gilbert's Living With Art. 6th ed.
Boston: Mc Graw Hill, 2002.
Diagram in exaggerated
proportion of the horizontal curvature of the Parthenon.
Richard G. Tansey and Fred S. Kleiner, Gardner's Art
Through the Ages. 10th ed. Fort Worth: Harcourt Brace College
Publishers, 1996.
Entasis = a swelling of the shaft of a column, a basic feature of the Doric column
"By imparting life and
resilience to the rigidly mathematical shapes of trabeated architecture,
they transmute a material inorganic form into something organic and vital,
rising voluntarily from the ground, conscious of its own laws,
self-developing, self-determining, a living house for a living god."
Haynes, Denys. Greek Art and the Idea of Freedom.
London: Thames and Hudson, 1981.
Carrey's drawings of the east
pediment of the Parthenon. After copies in the British Museum of the
originals in the Bibliotheque Nationale, Paris
Haynes, Denys. Greek Art and the Idea of Freedom.
London: Thames and Hudson, 1981.
Three Goddesses, from the east pediment of the Parthenon. C. 438 - 432 BC. Marble, over-lifesize.
Greek Temple Desgin
Image: Carol Strickland, The Annotated Mona Lisa. Kansas City: John Boswell Associates, 1992.
An order = an architectural system based on the column and its entablature in which the form of the elements themselves (capital, base, shaft, etc.) and their relationships to each other are specifically defined
Doric, Ionic and Corinthian orders
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Greek Architectural Orders
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Order
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Keywords:
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Exemplary monument:
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Provenance
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Description
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Doric
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Simplicity
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Parthenon
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Greek mainland
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Referred to as "basic
order"
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Most plain of orders
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Emphasis on stability
and grace
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Massive and weighty
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Heavy use of entasis
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Ionic
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Simple embellsihment
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Temple of Athena
Nike
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Aegean islands & coast
of Asia Minor
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Fairly fluid style
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Erechtheum
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Strong Near Eastern
influence
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Emphasis
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Light and graceful
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Continuous friezes
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often included
caryatids
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Corinthian
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Complex, organic
decoration
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Monument of
Lysikrates
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Hellenistic Greece
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Capitals usually
composed of Curly shoots and leaves of the acanthus plant
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Invented in the late
5th century by a metalworker named Kallimachos
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Became the standard
capital for Roman architects
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Doric Temple
Iktinos, Kallikrates, and
Karpion. The Parthenon (view from the west), Akropolis, Athens. 448 - 432
BC.
Ionic Temples
Kallikrates, Temple of Athena Nike, Acropolis, Athens, c. 421 - 405 BC.
The Erechtheum,
Akropolis, Athens. 421 - 405 BC.
Richard G. Tansey and Fred S. Kleiner, Gardner's Art
Through the Ages. 10th ed. Fort Worth: Harcourt Brace College
Publishers, 1996.
Porch of the Maidens, the Erechtheum, Akropolis, Athens. 421 - 405 BC.
Caryatid = a sculptured female figure used as an architectural support
Corinthian
Temple
Monument of Lysikrates, Athens, c. 334 BC.
Corinthian capital, from the Tholos at Epidauros. c. 350 BC.
Conventional Greek Temple Design
Reconstruction drawing of the Treasury of the Siphnians. Sanctuary of Apollo at Delphi. c. 525 BC.
Ground plan of a typical Greek peripteral temple (after Grinnell).
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Typical Greek temple
included:
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| Nucleus (cella, naos) | room in which image of the deity was placed |
| Pronaos | porch |
| Peristyle | colonnade |
Classic
Painting
The Abduction of Proserpine. Detail of a wall painting in tomb I, Vergina, Macedonia. c. 340 - 330 BC.
The Achilles Painter. Muse and Maiden, on an Attic white-ground Lekythos. c. 440 - 430 BC. Height 16".
Late Classic Period
Classical Greece c. 500 - 532
BC
Caroline Alexander. Echoes of the Heroic Age: Ancient
Greece Part II. National Geographic. February 2000.
Classic Art Late Classic & Hellenistic Art Reflects confidence and idealism broken idealism Beliefs Humans can impose order on their environment. Humans can impose order on their environment? perfection is attainable perfection is not so important Goal timeless ideal truth to reality "humanizing approach" Characteristics orderly dramatic refined violent rational erotic restrained emotion spontaneous idealistic passionate
Portrait Head, from Delos. c. 80 BC. Bronze, height 12 ¾".
Sleeping Satyr (Barberini Faun), c. 230 - 200 BC. Marble, approx. 7' 1".
Richard G. Tansey and Fred S. Kleiner, Gardner's Art Through the Ages. 10th ed. Fort Worth: Harcourt Brace College Publishers, 1996.
Apoxyomenos (Scraper). Roman marble copy, probably after a bronze original of c. 330 BC by Lysippos. Height 6'9".
by Lysippos. Height 6'9".
by Polykleitos. Marble,height 6' 6".
.....
"Sculpture in the Hellenistic period displays a psychological and physical naturalism unparalleled in previous art." -Janson
Dying Niobid. C. 450 - 440 BC. Marble, height 59".
Knidian Aphrodite. Roman copy after an original of c. 340 - 330 BC, by Praxiteles. Marble, height 6'8".
Hermes. Roman copy after an original of c. 320 - 310 BC, by Praxiteles. Marble, height 7' 1".
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Praxiteles' work is
characterized by:
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Sensuality
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Lithe proportions
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Torso curve
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Gentles curves
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Sense of complete
relaxation
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Caressing treatment of
the marble
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Faint smile
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Soft, "veiled"
modeling of features
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| Left: Hermes. Roman copy after an original of c. 320 - 310 BC, by Praxiteles. Marble, height 7' 1". | |
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Right: Doryphoros
(Spear Bearer). Roman copy after an original of c. 450 - 440
BC by Polykleitos. Marble,height 6' 6".
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Alexander the Great
Caroline Alexander. Echoes of the Heroic Age: Ancient Greece
Part III. National Geographic. March 2000: p. 55.
The Battle of Issos or Battle
of Alexander and the Persians.
Mosaic copy from Pompeii of a Hellenistic painting of c. 315 BC. 8'11" X 16'
9 ½".
Alexander the Great's Empire
Caroline Alexander. Echoes of the Heroic Age: Ancient Greece
Part III. National Geographic. March 2000: p. 56 - 57.
Audience Hall of Darius and Xerxes, Persepolis, Iran. c, 500 BC.
Alexander the Great with Amun Horns. Four-drachma silver coin issued by Lysimachos. c. 297 - 281 BC. Diameter 1 1/8".
Hellenistic Period
The Laocoon Group. Perhaps by Agesander, Athenodoros, and Polydoros of Rhodes (present state, former restorations removed). 1st century BC. Marble, height 7'.
Detail of Laocoon's face
Epigonos of Pergamon (?). Dying Trumpeter. Roman copy after a bronze original of c. 230 - 220 BC. Marble, lifesize.
Epigonos (?). Dying Gallic
Trumpeter, Roman copy after the original bronze of c. 220 BCE. Marble,
lifesize.
Stokstad, Marilyn.
Art: A Brief History. Second ed. Upper Saddle River, New Jersey: Prentice
Hall, 2004.
Pythokritos of Rhodes (?). Nike of Samothrace. C. 200 - 190 BC. Marble, height 8'.
Reconstruction drawing of the Mausoleum at Halikarnassos. 359 - 351 BC.