 | Archaic Greek Art (ca. 650-480 B.C.E.): Foundation of classical
Greek art
|
| Early Classical Art (ca. 480-445 B.C.E.)
 | Organicism: So-called Kritios Boy. Parian marble. ca. 480
B.C.E. Ht. 86 cm. Athens, Acropolis Museum 698. [p.
132] |
| Severe style: Charioteer, from
Delphi. Votive offering of
Polyzalos of Gela from the Sanctuary of Apollo. (Reconstruction
of group) Bronze
with inlaid eyes. ca. 478-474 B.C. Ht. 1.8 m. Delphi
Museum. [pp. 142, fig. 4,23 and 144-145, fig. 4,29] |
|
| High Classical Art (445-420
B.C.E. )
| The timeless ideal. |
| Beauty as harmony through mathematics: Polyclitus
(fl.ca. 450-420 B.C. ), Doryphorus (Spear-Bearer), Roman
marble copy after a bronze original of ca. 450-440 B.C.
Ht. 1.98 m. Naples, Museo Archeologico Nazionale. [p.
148, fig. 4,35]. Canon
of Polyclitus. |
| Manipulation of reality to convey the ideal: The Temple of
Athena Parthenos, the so-called Parthenon, on the
Acropolis in Athens (447-438 B.C.) [p. 137, fig. 4,15 and
4,16]
 | Structural clarity. |
| Mathematics. |
| Rationality. |
|
|
| Late Classical Art (420-323 B.C. )
| Beauty in the Physical World. |
| Temple of Athena
Nike. 427-424 B.C. Acropolis,
Athens. [p. 140, figs. 4,18 and 4,19]
| The Ionic order is more variable than the
Doric and emphasizes surface rather than
structure. |
| Nike Adjusting Her Sandal, from the parapet of
the Temple of Athena Nike. Pentelic marble.
ca. 410 B.C. Ht. 1.06 m. Athens, Acropolis
Museum. A winged victory figure with almost
impressionistic drapery adjusts her sandal. |
|
| The Erechtheum. 421-403 B.C. Acropolis, Athens.
[p. 141, fig. 4,20]
| The Erechtheum is even more unpredictable
than the Temple of Athena Nike. |
| Porch of the Caryatids from the Erechtheum,
height of individual figures approx. 2.3 m.
Original of second figure on front preserved in
London, British Museum. In an irrational image
women support the porch roof on their heads. |
|
| Boy from the Bay of Marathon. Bronze. ca. 340-300 B.C. Ht. 1.3 m. Athens, National Archaeological
Museum 15118. [p. 151, fig. 4,37] This youthful
male is an example of the changed ideal of the
closing decades of classical sculpture. |
| Praxiteles, Hermes and Dionysus. Parian marble.
ca. 340 B.C. Ht. 2.15 m. Olympia, Archaeological
Museum. [p. 151, fig. 4,38] The sensuous feel of the
marble is strong element in favor of identifying this
work as an original by this master. |
| Lysippus, Athlete Scraping Himself with a Strigil.
Roman marble copy of a bronze original of ca. 330-320 B.C. Ht. 2.05 m. Rome, Vatican Museums.
The frank naturalism of this work depicting a no
longer "perfect" male places the original of this piece
at the end of the Classical development. |
|
| Honour and Fleming, The Visual Arts, pp.
126-159. |
