Chapter 5- Ancient Greece

VIDEO TO WATCH: https://youtu.be/k2fdtepbkz8 a. the heel of Ajax's forward foot is a bit raised indicating tension in the body b. Achilles is smiling, while Ajax is frowning c. Achilles is holding his spears loosely, while Ajax has a tighter grip on his spears d. Achilles has one line to render his eyebrow while Ajax has two lines for his eyebrow e. Achilles clothing has more detail in it than Ajax's does Question 2. In the section of your textbook, "The Emergence of Greek Civilization", the authors talk about how Greek merchant ships traveled on the Mediterranean Sea to be able to trade metal and ceramic wares. Why did they do this? a. to make a show of their wealth and status b. in order to make extra money to have a national savings c. their ancestors traded by ship, so this was part of their culture d. there wasn't much farmland, so they needed to trade for grain and other raw materials In the section of your textbook, "Greek Art c.900-600BCE", and within the subheading of "The Geometric Period", the authors discuss how ceramic vessels were decorated using "linear motifs". A motif is a repeated or recurring form or design element in the work, or a recurring subject, theme or idea in an artwork. So in this case design elements made using lines, such as circles, diamonds (or lozenge shapes), triangles, "meander" patterns, stripes, and crosshatching are repeated and create patterns that are prevalent throughout the surface of this Funerary Krater. And geometric shapes are used to create abstracted representations of the human figure. Burial practices is something that has come up often in our course material in previous sections and chapters from the textbook. et AT erShop e Unlike _the amphora vessels thaTt wert? used for wine and oil, this KRATER vessel is called a krater, and this particular krater was used as a ZZZ,‘(?%é’f.i')‘?’&n‘if;f‘::fiz;'i;';z&;-o’f:,;fgf;;c;gfgor;;z fF'i'ngdh* grave marker. It was found at an ancient cemetary in Athens and it also depicts imagery of a funeral. 1914, (14.130.14). Credit: © 2016. Image copyright The Met Scala, Florence ropolitan Museum of Art/Art Resource/ (p.106 in textbook)

Question 3. In the following video, the art historians say that the way this krater was decorated shows no pictorial depth. What do they mean by that? VIDEO TO WATCH: https://youtu.be/TITAY70EEQk a. the imagery is lacking in meaning b. the imagery is flat and therefore does not create the illusion of 3-dimensional space c. the imagery creates an entoptic response in the viewer d. the imagery is unclear and therefore makes it difficult to understand the meaning stills below from video by Art Institute of Chicago, "Ancient Greek Vase Production and the Black-Figure Technique" Question 4. How did the painter map out the imagery that would be painted on the vessel? VIDEO TO WATCH: https://youtu.be/FpLPx AKkI7Y a. by sketching it out first on paper b. by carving it into the ground c. by carving lines into the clay d. by making a preliminary sketch in charcoal directly on the clay

Stonehenge c. 1250 Bck. Limestone relief, height of sculpture approx. 9’ 6” (2.9 m). In this historic photograph Heinrich Schliemann, director of the excavation beginning in 1876, stands to the left of the gate, and his wife and partner in archaeology, Sophia, sits to the right. chapter 4 AT Oorne Ancient Aegean ¥/ a temple. But some scholars suggest that by extension it becomes the symbol of a king or a deity. If so, the imagery of the Lion Gate, with its combination of guardian beasts and divine or royal palace, signifies the legitimate power of the ruler of Mycenae. From the Lion Gate, the Great Ramp led up the hill- side past a grave circle to the courtyard for the build- ing occupying the highest point in the center of the city, which may have been the residence of a ruler. From the courtyard one entered a porch, a vestibule, and finally the megaron, which seems to be the intended destination, in contrast to Minoan complexes where the courtyard itself seems to be the destination. The great room of a typical megaron had a central hearth surrounded by four large columns that supported the ceiling. The roof above the hearth was probably raised to admit light and air and permit smoke to escape (see Fia. 4-18). Some architectural historians think that the megaron eventually came to be associated with royalty. The later Greeks adapted its form when building temples, which they saw as earthly palaces for their gods. PYLOS The rulers of Mycenae fortified their city, but the people of Pylos, in the extreme southwest of the Pelopon- nese, perhaps felt that their more remote and defensible location made them less vulnerable to attack. This seems not to have been the case, for within a century of its con- ‘stnfction in c. 1340 BCE, the palace at Pylos was destroved

c. the Egyptian pyramids

THE STEP PYRAMID AND SHAM BUILDINGS, FUNERARY COMPLEX OF DJOSER Limestone, height of pyramid 204' (62 m). ~ o©dJimHenderson/Alamy Stock Photo. [Fig. 03-04]

LASCAUX The abundant cave paintings found in 1940 at Lascaux, in the Dordogne region of southwest France, have been dated to about 15,000 BcE. Opened to the public after World War I, the prehis- toric “museum” at Lascaux soon became one of the most popular tourist sites in France—too popular, because the visitors brought heat, humidity, exhaled carbon dioxide, and other contaminants. The cave was closed to the pub- lic in 1963 so that conservators could battle an aggressive fungus. Eventually they won, but instead of reopening the site, authorities created a facsimile of it. Visitors to what is called Lascaux IT may now view copies of the paintings without harming the precious originals. The scenes they view are remarkable. Lascaux has about 600 paintings and 1,500 engravings. In the HALL OF BULLS (FiG. 1-11), the Lascaux painters depicted cows, bulls, horses, and deer along the natural ledges of the rock, where the smooth white limestone of the ceiling and upper wall meets a rougher surface below. They also used the curving wall to suggest space. The animals appear singly, in rows, face to face, tail to tail, and even painted on top of 1-11 HALL OF BULLS Lascaux Cave. Dordogne, France. c. 15,000 8ce. Paint on limestone, length of largest auroch (bull) 18" (5.50 m). Credit: © akg-mages one another. Their most characteristic features have been emphasized. Horns, eyes, and hooves are shown as seen from the front, yet heads and bodies are rendered in pro- file, in a system known as a composite pose. The animals are full of life and energy, and the accuracy in the drawing of their silhouettes, or outlines, is impressive. Painters worked not only in large caverns, but also far back in the smallest cham- One scene at Lascaux was discovered in a remote set- ting on a wall at the bottom of a 16-foot shaft that contained a stone lamp and spears. The scene is unusual because it is the only painting in the cave complex that seems to tell astory (riG. 1-12), and it is stylistically different from the other paintings at Lascaux. A figure who could be a hunter, greatly simplified in form but recognizably male and with

Question 6. From the same video, what does "Triglyph" mean? a. three images b. like a tricycle c. three marks d. three plants Question 7. From the same video, we learn that the columns are actually made from separate pieces that have been put together, rather than carved from one piece of stone. These separate pieces of stone are called what? a. drums b. blocks c. cylindrical sculptures Stock Photo - Doric column drums - Greek Dorik Temple ruins of Temple F at Selinunte, Sicily Temple Hera 1 p. 112 (6th edition) > peristyle stereobate adyton 78 { . & s S T “‘: }1’{ M\’h“& J ‘ : ‘I ‘;’{f{'(»",; :“-u:r:lrc EJ.; @ = cella or ® naos ® ® stylobate — ® & L1 pronaos anta columns in antis ' ‘ 5-9A PLAN OF THE TEMPLE OF HERA |, 5-9B EXTERIOR VIEW OF THE TEMPLE OF HERA |, POSEIDONIA POSEIDONIA (ROMAN PAESTUM) (ROMAN PAESTUM) Southern ltaly. c. 550-540 BCE. Southern ltaly. c. 550-540 BCE. Credit: © Fotografica Foglia, Naples This is a Doric temple with Doric columns, Temples were considered "houses of the gods"; the worship would have happened outside of the temple. Question 8. According to the video, why did Ancient Greek temples exist in Italy? VIDEO TO WATCH: (only need to watch first 3 minutes)

Question 10. From the same video and our textbook: The central sculptural figure inside the west pediment stands tall, looking outward, holding a spear in one hand and carrying a shield with her other hand and arm. Who does this sculpture represent? 114 Chapter 5 Art of Ancient Greece 130t i, o Sh.L S S (R e 3 - e 5-13 WEST PEDIMENT OF THE TEMPLE OF APHAIA, AEGINA c. 500-490 or 470s Bce. Width about 49’ (15 m). Surviving fragments as assembled in the Staatliche Antikensammiungen und Glyptothek, Munich (early restorations removed). Credit: Staatliche Antikensammiungen, Munich pediment, rendered in fully three-dimensional figures, is art—notably the Aegina pediment sculpture and the Kri- the participation of local warriors in the military expedition tios Boy (see Fia. 5-27)—placing them after the Persian i against Troy. Fallen warriors fill the angles at both ends of sion of 580~579 scE and raising the ti f i 8 the pediment base, while others crouch and lunge, rising ; mc)lfurflsigl}(:? hO W:ether ave been a nentt Greek victory over this outsid the pediment Wil A e ene in height toward an image of Athena as warrior goddess— factor in th isti e stylistic change. In the ca i ; se of the Aegina tem- €s especially interesting. Instead "j\;f\b can fill the elevated, pointed space at the center peak ple, this re-dating becom since she is allowed to be represented larger (hierarchic of assuming that the diff, scale) than the humans who flank her. ' a. Hera b. Artemis c. Athena d. Aphrodite

a. the early classical has more of a naturalistic depiction of the physical form of the human body, in other words it looks more lifelike and realistic to us b. the archaic style is more simplified in its rendering of form and more symbolic in its poses c. the early classical style depicts more lifelike movement of the body making the figures more relateable to us as humans d. the archaic style shows figures with stiff postures and rigid poses e. all of the above We now have scientific evidence that marble figures were actually colorfully painted due to research into the traces and residues of pigment that have been found on them. In some cases the paint is so faint that it is not visible to our eye. Through the aid of scientific tools such as ultraviolet and x-ray fluorescence, microscopy, and pigment analysis — this information has been used to create reconstructions of how it is believed these sculptures would have looked like during their time. In this case of the sculptures in the

pediment of the temple, these colors would have allowed people to more easily read the content of these sculptural depictions on the temple from a distance. Section in textbook: "Free-Standing Sculpture" Greece o e King Menkaura and queen, 2490 - 2472 B.C.E. youth (kouros), c. 590 — 580 B.C.E. The "Metropolitan Kouros" on the right is compared to Egyptian sculpture which came before

a. "to suggest that their subject was alive and infused with a sense of well-being" b. "It is represented in Archaic sculptures as the lips being upturned." c. "speaks of a figure that transcends this world, that has a sense of artistocratic nobility" d. "It is the beginning of the real appreciation of human expression and natural looks, the period when the Greeks have broken from Egyptian stiffness." Question 14. The Peplos Kore figure — it is thought that it may represent a goddess. In the depiction in the video of the reconstruction image showing color painted on the figure, what color was her hair? VIDEO TO WATCH: Peplos Kore from the Acropolis https://youtu.be/RjpT4Apgda8 a. brown b. black c. gold d. red continued on next page

OR off Riace, Italy. ional Arc! height 69" (2. ). Nationa taieh Credit: © .zkg-.magm;Nma.n 2 ¢. 460-450 BCE. Bronze with bone and UG Jeti A B b g i heological Museum, Reggio Calabria, Itaf gla . SS eyes, silver teeth, and ¢ opper lips and nipples: In the 5th Century BCE, the Ancient Greeks invented a way of presenting the human body in sculpture that is described using the term "contrapposto". Contrapposto refers to sculptures that depict the human body with weight on one leg, not symmetrical, more human like, lifelike in its pose; with a counterbalance between tension and relaxation. Question 15. In the video, the art historians describe "contrapposto"” in which of the following ways? VIDEO TO WATCH: Contrapposto explained https://youtu.be/5vK7Z20dnc0 a. as a revolution in western art b. something that artists of the Italian renaissance looked back at, and they then sculpted figures that exhibited the same naturalism of form and contrapposto in the poses of the human body c. having weight shifted onto one leg, causes shifts in other areas of the body d. all of the above