Chapter 14. Classical Art: Greece and Rome

Transcription

1 Chapter 14 Classical Art: Greece and Rome

2 ... the glory that was Greece And the grandeur that was Rome. Edgar Allan Poe

3 Introduction to Classical Art Greece The Etruscans Rome

4 1. Geometric 2. Archaic 3. Early Classical 4. Classical 5. Late Classical 6. Hellenistic Greece: Artistic Periods No other culture has had as far-reaching or lasting an influence on art and civilization as that of ancient Rome.

5 Styles and Terms: GREECE Hellenism - a style of work prevalent in the Roman Empire Classical Art - the artistic legacy of Greece and Rome which has influences within almost all of Western Art. Humanism - The concept that human beings are the center of the universe and the measure of all things. Rationalism - A philosophy in which knowledge is assumed to come from reason alone, without input from the senses. Naturalism - truth to reality in art based on an observation of nature. Idealism - the representation of forms according to an accepted standard of beauty.

6 Geometric Period From c BCE Also called the Dark Ages of Greece because of a virtual collapse of civilization. The Geometric Period - named because of the prevalence of geometric designs and patterns in the works of art. Conceptual (stylized) representation of human figures. Krater - a type of vase used as a grave marker.

7 Figure 14.1, p.296: Dipylon Vase with funerary scene (Greek, 8th century BCE). Terra-cotta. H:

8 Archaic Period From c BCE Gradual change from Geometric style of the archaic style. The art was influenced by the flowing forms and animals in Mesopotamian art. There was a growing emphasis on the human figure.

9 Figure 14.3, p.298: ATTRIBUTED TO THE AMASIS PAINTER, ATTIC LEKYTHOS. Women Working Wool on a Loom (Greek, c. 540 BCE). Terra-cotta. H: Said to have been found in Attica.

10 Vase Painting Eastern patterns and forms gradually disappeared. The human form became the preferred subject for art. Figures became more natural as the artists attempted to depict more life-like gestures. Black-figure painting - combination of black figures on a red background, common to pottery of this period. Slip- liquid comprised of sifted clay Oxidizing Phase - first phase of firing in black-figure painting where oxygen is allowed into the kiln. Reducing phase - the second firing phase of black-figure painting in which oxygen is not allowed into the kiln and the figures and vase turn black. Reoxidizing phase - the third phase of black-figure painting, oxygen is once again allowed into the kiln and the coarser material of the pot turns red.

11 Figure 14.2, p.297: KLEITIAS. François Vase. Attic volute krater (Greek, c. 570 BCE). Ceramic. H: 26.

12 Architecture Some of the greatest accomplishments of the Greeks are their architecture. During the Archaic period an architectural format was developed. The architectural forms from the Archaic period are derived from the Mycenaean megaron. Cella - the center room which housed the statue of the god or goddess of the temple and was often surrounded by a single or double row of columns.

13 Architecture continued 3 Styles or orders: 1. Doric 1. Originated on the mainland of Greece. Earliest order Simplest order Most commonly used 2. Ionic Introduced by architects from Asia Minor Used for smaller temples 3. Corinthian Not widely used in Greece A favorite of Roman architects

14 Figure 14.4, p. 299 Left to right: Doric, Ionic, and Corinthian orders.

15 Sculpture In the Archaic Period sculpture emerged as a principal art form. Sculptural artworks appeared on buildings. Life size figural sculpture emerged, perhaps inspired by the Egyptians. The nonstructural parts of a building were often adorned with sculpture. Most sculpture was painted with subtle color. Architectural sculpture was embellished with red, blue, yellow, green, black, and sometimes gold pigments.

16 Figure 14.6, p.300: Fallen Warrior, from the east pediment of thetemple of Aphaia at Aegina, Greece ( BCE). Marble. L: 6 1 long.

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18 Kouros and Kore Figures kouros and kore (masculine and feminine) - Earliest figures of the Greek Archaic Period Function is unknown, but because they may have been found among the ruins of temples they are thought to be devotional or funerary statues. The men were depicted in the nude. They were stylized, and followed artistic conventions. For example they have a slight smile which is now referred to as the Archaic Smile.

19 Figure 14.7, p.301: Kouros figure (Greek, Archaic, c. 600 BCE). Marble. H: 6 4.

20 Figure 14.8, p.302: Peplos Kore (Greek, Archaic, c. 530 BCE). Marble. H: 48.

21 Early Classical Art The change from Archaic art coincides with the Greek victory over the Persians. This period becomes the Greek Golden Age. There was a revival in the arts! The style of the Early Classical art is marked by power and austerity. Yet remains very stylized. The Early Classical style is therefore sometimes referred to as the Severe Style.

22 Early Classical Sculpture Implied movement was the greatest advancement in the arts of the Early Classical period. Artists were more keenly aware of nature. The most copied subject was The Discus Thrower, by Myron. The original does not exist, the Roman s copied it. Myron was one of the favored sculptors of the period.

23 Figure 14.9, p.303: MYRON. Diskobolos (Discus Thrower) (c. 450 BCE). Roman marble copy after bronze original. Life-size.

24 Classical Art Classical Art is the peek of the Greek arts. During this brief period of peace, Greek attention was on perfecting all of its artistic traditions. Pericles was the main force in rebuilding Athen s monuments and advancing art, drama, and music.

25 Classical Architecture After the Persians destroyed the Acropolis, the Greeks mounted a massive building campaign under Pericles to rebuild it. Interestingly, they didn t want to use the same stone as the original, because it had been defiled. The first major work that was rebuilt was a temple, The Parthenon, to the goddess Athena protector of Athens. The Parthenon was designed by architects Ictinos and Callicrates, and is the best example of the Doric order. Entasis - the swell of each column in the middle. The reasons for this are unknown. Some think it was for function. Others believe it was to correct for perceptual distortions.

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27 Classical Sculpture Pericles commissioned the sculptor Phidias to oversee all of the sculptures in the Parthenon. His style, the Phidian style, is characterized by a lightness of touch, attention to realistic detail, contrast of textures, and fluidity and spontaneity of line and movement. The artistic subjects were battles and the gods. The detailing of the folds of cloth on sculptures such as the The Three Goddesses had not been seen in art up until this point.

28 Figure 14.11, p.305: The Three Goddesses, from east pediment of the Parthenon (c BCE). Marble. Height of center figure: 4 7.

29 Classical Sculpture Continued The greatest freestanding sculpture of the Classical period was created by a rival of Phidias, Polykleitos. Polykleitos: Worked in bronze. Liked to sculpt athletes. Sculptures were based on reason and intellect. Developed a canon of proportions. Developed the weight-shift principle!

30 Figure 14.12, p.306: POLYKLEITOS. Doryphoros (Spear Bearer) (c BCE). Marble. Roman copy after Greek original. H: 6 6.

31 Classical Vase Painting Vase painting in this period sees a shift in weight and movement The introduction of red-figure vase painting Vase bands are now eliminated The creation of three-dimensional space in the arts. Classical Greek mural painting that has not survived.

32 Figure 14.13, p.309: NIOBID PAINTER. Argonaut Krater, Attic red-figure krater (Greek, c. 460 BCE). Ceramic. H:

33 Late Classical Art: Sculpture More humanistic and naturalistic An emphasis on emotion Bodies became more sensual and graceful with a shift in weight Praxiteles was a major proponent His works were more lively and fluid than in previous periods with variations in texture. S Curve - a posing of a figure in a sculpture that creates a sway similar to the shapes of a s curve.

34 Figure 14.14, p.307: PRAXITELES. Hermes and Dionysos (c BCE). Marble. H: 7 1.

35 Sculpture continued The most important and innovative sculpture after Praxiteles was Lysoppos. Introduced a new canon of proportions. Figures are more slender and graceful. Most important was his new concept of the motion of the figure in spaces. His work can be viewed from all sides.

36 Figure 14.15, p.308: LYSIPPOS. Apoxyomenos (c. 330 BCE). Roman marble copy after a bronze original. H:

37 Hellenistic Art Hellenistic period - during the reign of Alexander the Great, Alexander conquered Persia, Egypt and the Near East and brought Greek culture to these areas. Characteristics: Excessive, almost theatrical emotion The use of illusionistic effects to heighten realism The space around the sculpture is treated as an extension of the viewer s space. Artists are drawn to dramatic subjects. Often portrayed human excess.

38 Figure 14.16, p.309: The Dying Gaul (Hellenistic, c BCE). Roman marble copy after a bronze original. Life-size.

39 Hellenistic Sculpture Continued In contrast there was another trend in Hellenistic art: It reflected the simplicity and idealism of the Classical Period.

40 Figure 14.17, p.310: Aphrodite of Melos (Venus de Milo) (Hellenistic, 2nd century BCE). Marble. Larger than life-size.

41 The Etruscans The Etruscan civilization on the Italian peninsula was the most significant, before that of ancient Rome. Their history dates from around 700 BCE to the 4th century BCE They are believed to have originated from Asia Minor. This link may explain some of the similarities between Etruscan art and culture, to that of Eastern countries. By 88 BCE, the Romans had vanquished the last of the Etruscans.

42 Etruscan Architecture The only architecture that survived from the Etruscans, are its tombs. Tomb construction was similar to that of a domestic dwelling. Walls were covered with hundreds of everyday items carved in low relief.

43 Etruscan Sculpture Bronze and clay (terra-cotta) sculptures have survived from the Etruscan tombs. Cinerary urns often portrayed Etruscan dwellings. Figural sculpture often topped the sarcophagi in the tombs. The figures are highly stylized.

44 Figure 14.18, p.311: Sarcophagus, from Cerveteri (Etruscan, c. 520 BCE). Terra-cotta. L: 6 7.

45 ROME: Artistic Periods Republican Early Empire Late Empire

46 Rome Artistic Periods: Republican Early Empire Late Empire Established in 500 BCE. Eventually Rome would control Greece, western Europe, northern Africa, and part of the Near East (see Map). Roman art combined native talents, needs, and styles with other sources, especially from Greece. It was fashionable to own copies of Greek art. The Romans invented concrete!

47 The Republican Period The Republican Period: c. 500 BCE 44 BCE The patricians - ruled the country and were like an aristocratic class. The plebeian class - common folk with little say in running the government. On March 15th (the ides of March) in 44BCE Julius Caesar was assassinated by members of the senate. With his death came the absolute end of the Roman republic and the beginnings of the Roman Empire under Augustus.

48 Sculpture Much of Roman art is derived from that of Greece. However, Roman portrait sculpture was wholly Italian. Wax death masks were made and often converted to bronze or terra-cotta sculptures. This led Roman sculpture to become more realistic and detailed.

49 Figure 14.19, p.312: Head of a Roman (Republican period, 1st century BCE). Marble. H:

50 Architecture Rome s greatest contributions were in architecture and engineering. Architecture in the Republican period is linked to that of Greece and the Etruscans. They adopted the temple podium, the wide cella plan with columns and a portico. Roman Innovations: Column shafts are one piece (instead for stacked drums) Freestanding columns on temples. No relief sculpture on the friezes. Architecture not as sculpture, but instead emphasized the relationship between form and function.

51 Figure 14.20, p.313: Temple of Fortuna Virilis, Rome (Republican period, late 2nd century BCE).

52 Painting Walls of Roman domestic dwellings were decorated with frescoes and mosaics few have survived This gives us a link to Greek painting which has not survived. Roman wall painting went in 4 phases: 1. Architectural style - the illusion of space created through Herringbone perspective, a system where orthogonals vanish to a specific point along a vertical line that divides that canvas.

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54 Figure 14.21, p.314: Ulysses in the Land of the Lestrygonians, from a Roman patrician house (50 40 BCE). Fresco. H: 60.

55 The Early Empire Believed that art should be created in the service of the state. They desired to glorify Rome s power through magnificent buildings and civic monuments. In the areas that they conquered, Rome built apartment buildings, roads, bridges, water systems, sanitation, recreation facilities, gymnasiums, public baths, and theaters.

56 Architecture Roman Innovations: The roman arch Concrete, which allowed for domed and vaulted structures 3 of the Most Famous Structures: The Aqueducts - series of arches for irrigation and water. The Colosseum - Made of two, back to back amphitheaters. The Colosseum was a major feat of architectural engineering and practical design. Contained columns of all 3 styles, Doric, Ionic, and Corinthian. The Pantheon - Made of a rectangle and a dome The interior of the dome is coffered - carved with recessed squares. Oculus - a large 30 ft hole in the center of the dome that let light in.

57 Figure 14.22, p.315: Pont du Gard, Nîmes, France (Early Empire, c. 14 CE). L: 900 ; H: 160.

58 Figure 14.28, p.318: The Pantheon, Rome (Early Empire, CE). Exterior view.

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62 Figure 14.24, p.316: Colosseum, Rome (Early Empire, 80 CE). Concrete (originally faced with marble). H: 160 ; D: 620 and 513. Figure 14.25, p.316: WERNER MARCH. Olympic Stadium, Berlin (1936).

63 Figure 14.26, p.317: PIER LUIGI NERVI. Palazzo dello Sport, Rome (1960). Figure 14.27, p.317: HERZOG & DE MEURON. Beijing Stadium for the 2008 Olympic Games (2005).

64 Sculpture Augustus was determined to create monuments that reflected Rome s power, glory, and influence over the Western World. During the Empire Period, the pure realism of the Republican period portrait busts joined with Greek idealism. The result was classical idealized bodies and poses with individualized heads. They also invented the equestrian portrait! Stoicism - said it was best to be indifferent to emotion and the things of this world, maintaining that virtue was the most important goal in life.

65 Sculpture continued Sculptures differed from Greek sculptures in: 1. Individuals were rendered in portrait-like likeness. 2. The reliefs commemorate a specific event with specific persons present. 3. The figures are set in a shallow, low relief, but convincing, three-dimensional space.

66 Figure 14.30, p.319: Augustus of Primaporta (Roman, c. 20 BCE). Marble. H: 6 8.

67 Figure 14.31, p.319: The Imperial Procession, from the Ara Pacis Augustae, Rome. Marble relief.

68 Figure 14.32, p.320: Marcus Aurelius on Horseback, Capitoline Hill, Rome (Early Empire, c. 165 CE). Bronze. Larger than life-size.

69 The Late Empire The declining years of the Empire The Empire was ultimately divided into two sections, with separate rulers Constantine moves the capital to Constantinople Rome and the western empire left vulnerable to barbarians Architecture Basilicas were large meeting halls that were constructed in or near the Forums. Set a precedent for Christian church architecture.

70 Figure 14.36, p.322: Basilica of Maxentius and Constantine, Rome (Late Empire, c CE). 300 x 215.

71 Sculpture As a result of growing religious beliefs, sculpture began to reflect the new spiritualism. Emperor Constantine became a Christian.

72 Figure 14.38, p.323: Head of Constantine the Great (Roman, Late Empire, early 4th century CE).

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77 Art Tour Rome Rome the ancient and modern areas The Temple of Antoninus and Faustina in the Forum The Colosseum The cats around the Forum, Colosseum, and ancient sites Michelangelo s Moses Castle Santangelo

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83 Discussion Questions: What are the differences and similarities between Greek and Roman sculpture? What were some of the major Roman achievements in architecture and engineering? Why is Classical art important in the discussion of the history of the western tradition of art?