Mark Bryan Malabad

BSIT1A

Historical Development of Art: Greeek

Geometric Period

The Geometric Period in Greek art is distinguished by a reliance on geometric shapes to create human
and animal figures as well as abstract décor.

In the Geometric Period that followed, figures once more became present on the vessel. The period
lasted from 900 to 700 BCE and marked the end of the Greek Dark Ages. A new Greek culture
emerged during this time. The population grew, trade began once more, and the Greeks adopted the
Phoenician alphabet for writing. Unlike the Mycenaeans, this culture was more focused on the people
of the polis, which is reflected in the art of this period. The period gets its name from the reliance on
geometric shapes and patterns in its art, and even their use in depicting both human and animal
figures.

Pottery
The city of Athens became the center for pottery production. A potter’s quarter in the section of the
city known as the Kerameikos was located on either side of the Dipylon Gate, one of the city’s west
gates. monumental-sized kraters and amphorae up to six feet tall were used as grave markers for the
burials just outside the gate. Kraters marked male graves, while amphorae marked female graves.
The Dipylon Master, an unknown painter whose hand is recognized on many different vessels,
displays the great expertise required for decorating these funerary markers. The vessels were first
thrown a wheel, an important technological development at the time before painting began. Both the
Diplyon Krater and Dipylon Amphora demonstrate the main characteristics of painting during this
time. For one, the entire vessel is decorated in a style known as horror vacui, a style in which the
entire surface of the medium is filled with imagery. A decorative meander is on the lip of
the krater and on many registers of the amphora. This geometric motif is constructed from a single,
continuous line in a repeated shape or motif.
Sculptures
Although derived from geometric shapes, the Ancient Greek sculptures of the Geometric Period show
some artistic observation of nature. Small-scale sculptures, usually made of bronze, terra cotta, or
ivory, were commonly produced during this time. Bronzes were made using the lost-wax technique,
probably introduced from Syria, and were often left as votive offerings at sanctuaries such as Delphi
and Olympia.

Archaic Period

Greece’s Archaic period lasted from 600 to 480 BCE, in which the Greek culture expanded. The
population in Greece began to rise and the Greeks began to colonize along the coasts of the
Mediterranean and the Black Sea. The poleis at this time were typically ruled by a single ruler who
commanded the city by force.
Stone temples were first built during the Archaic period in ancient Greece. Before this, they were
constructed out of mud-brick and wood—simple structures that were rectangular or semi-circular in
shape—that may have been enhanced with a few columns and a porch. The Archaic stone temples
took their essential shape and structure from these wooden temples and the shape of a Mycenaean
megaron.
Black-figure painting which derives its name from the black figures painted on red backgrounds.
While red-figure painting has the background painted black and the figures left the red colour of the
terra cotta. A black slip was painted with a brush to add detail.

GREEKS introduced "Classical Orders" - a set of design rules based on proportions between
individual parts, such as the ratio between the width and height of a column.
Doric is a style of classical architecture characterized by simple, sturdy, massive columns

Ionic is a style of classical architecture characterized by more slender and more ornate columns

Corinthian style columns were the last and most decorative of the Greek columns, adding decorative
base, fluted column and caps that included acanthus leaves and carved detailing
Pottery
Archaic black- and red-figure painting began to depict more naturalistic bodies by conveying form
and movement. The Archaic period saw a shift in styles of pottery decoration, from the repeating
patterns of the Geometric period, through the Eastern-influenced Orientalizing style, to the more
naturalistic black- and red-figure techniques. During this time, figures became more dynamic and
defined by more organic—as opposed to geometric—elements.
Sculpture
Sculpture during the Archaic period became increasingly naturalistic, although this varies depending
on the gender of the subject. Sculpture in the Archaic Period developed rapidly from its early
influences, becoming more natural and showing a developing understanding of the body, specifically
the musculature and the skin.
Archaic Smile
To add an additional naturalistic element to the body, the typical Archaic smile was added to both
male and female statues. While today the smile seems false, to the ancient Greeks it added a level of
realism.

Kouroi

Kouroi statues (singular, kouros ), depicting idealized, nude male youths, were first seen during this
period. Carved in the round, often from marble, kouroi are thought to be associated with Apollo;
many were found at his shrines and some even depict him. Emulating the statues of Egyptian
pharaohs, the figure strides forward on flat feet, arms held stiffly at its side with fists clenched.
However, there are some important differences: kouroi are nude, mostly without identifying attributes
and are free-standing.

Kore
A kore (plural korai) sculpture depicts a female youth. Whereas kouroi depict athletic, nude young
men, the female korai are fully-clothed, in the idealized image of decorous women. Unlike men—
whose bodies were perceived as public, belonging to the state—women’s bodies were deemed private
and belonged to their fathers (if unmarried) or husbands.
Classical Period
During the “High Classical Period” (450-400 BCE), there was great artistic success: from the
innovative structures on the Acropolis to Polykleitos’ visual and cerebral manifestation of idealization
in his sculpture of a young man holding a spear, the Doryphoros or “Canon”.

The Athenian Acropolis

The Acropolis is an ancient citadel located on a high, rocky outcrop above and at the center of the city
of Athens. It contains the remains of several ancient buildings of great architectural and historic
significance.

The word acropolis comes from the Greek words ἄ (akron, meaning edge or extremity) and π (polis,
meaning city). Although there are many other acropoleis in Greece, the significance of the Acropolis
of Athens is such that it is commonly known as The Acropolis without qualification.

Architecture

The Parthenon

The Parthenon represents a culmination of style in Greek temple architecture. The optical refinements
found in the Parthenon—the slight curve given to the whole building and the ideal placement of
the metopes and triglyphs over the column capitals —represent the Greek desire to achieve a perfect
and harmonious design known as symmetria.

The Propylaea

Mnesicles designed the Propylaea (437–432 BCE), the monumental gateway to the Acropolis. It
funnelled all traffic to the Acropolis onto one gently sloped ramp. The Propylaea created a massive
screen wall that was impressive and protective as well as welcoming. It was designed to appear
symmetrical but, in reality, was not.

The Erechtheion

The Erechtheion (421–406 BCE), designed by Mnesicles, is an ancient Greek temple on the north side
of the Acropolis. Scholars believe the temple was built in honour of the legendary king Erechtheus. It
was built on the site of the Hekatompedon and over the megaron of the Mycenaean citadel.
Alexander the Great

Alexander III of Macedonia (356–323 BCE), better known as Alexander the Great, very carefully
controlled and crafted his portraiture. In order to maintain control and stability in his empire, he had to
ensure that his people recognized him and his authority.

Because of this, Alexander’s portrait was set when he was very young, most likely in his teens, and it
never varied throughout his life. To further control his portrait types, Alexander hired artists in
different media such as painting, sculpture, and gem cutting to design and promote the portrait style of
the medium. In this way, Alexander used art and artisans for their propagandistic value to support and
provide a face and legitimacy to his rule.

Famous Sculptors

Polykleitos

Polykleitos was a famous Greek sculptor who worked in bronze. He was also an art theorist who
developed a canon of proportion (called the Canon) that is demonstrated in his statue of Doryphoros
(Spear Bearer) Many of Polykleitos’s bronze statues from the Classical period, including the
Doryphoros, survive only as Roman copies executed in marble.
Canon of proportions is a set of ratios based on mathematical measurements of the human body to
depict each body part in perfect order and symmetry – in other words, perfect proportion.

Phidias

Phidias was the sculptor and artistic director of the Athenian Acropolis and oversaw the sculptural
program of all the Acropolis buildings. He is well known for the Athena Parthenos, the colossal cult
statue in the naos of the Parthenon. While the statue has been lost, written accounts and reproductions
provide us with an idea of how the sculpture appeared. It was made out of ivory, silver, and gold and
had wooden core support.

He is also known for his chryselephantine statue of Zeus at Olympia, which was considered one of the
wonders of the world. The statue of Zeus at Olympia is said to have been 39 feet tall chryselephantine
statue.

Myron

The Athenian artist Myron also produced bronze sculptures during the mid-fifth century BCE. His
most famous work is of the Diskobolos. The Diskobolos shows a young, athletic male nude with
a Severe-style face. His body holds a contrapposto pose; one leg bears his weight, while the other is
relaxed. A relaxed arm balances his body and the other arm tenses, preparing to let go of the disc. The
Diskobols demonstrates a dynamic, chiastic composition that relies on diagonal lines to move the eye
about the sculpture.

The Peloponnesian War marked the end of the Golden Age of Greece, a change in styles of warfare
and the fall of Athens, once the strongest city-state in Greece. The balance in power in Greece was
shifted when Athens was absorbed into the Spartan Empire.
Hellenistic Period

The Hellenistic period began with the death of Alexander the Great in 323 BCE, and ended with the
Roman victory at the Battle of Actium in 30 BCE. Greece poleis spent this time under the hegemony
of foreign rulers, first the Macedons and then the Romans, starting in 146 BCE.

New centers of Hellenic culture flourished through Greece and on foreign soil, including the cities of
Pergamon, Antioch, and Alexandria—the capitals of the Attalids, Seleucids, and Ptolemies.

Architecture

Architecture during the Hellenistic period focused on theatricality and drama; the period also saw
increased popularity of the Corinthian order. Architecture in the Greek world during the Hellenistic
period developed theatrical tendencies, as had Hellenistic sculpture. The conquests of Alexander the
Great caused power to shift from the city-states of Greece to the ruling dynasties.

Stoa

A stoa, or a covered walkway or portico, was used to bind agorae and other public spaces.
Highlighting the edge of open areas with such decorative architecture created a theatrical effect for the
public space and also provided citizens with a basic daily form of protection from the elements. Both
the stoa and the agora were used by merchants, artists, religious festivals, judicial courts, and civic
administrations.

Pergamon

Pergamon rose as a power under the Attalids and provides examples of the drama and theatrics found
in Hellenistic art and architecture. The ancient city of Pergamon, now modern-day Bergama in
Turkey, was the capital of the Kingdom of Pergamon following the death of Alexander the Great and
was ruled under the Attalid dynasty. The Acropolis of Pergamon is a prime example of Hellenistic
architecture and the convergence of nature and architectural design to create dramatic and theatrical
sites. The theatre at Pergamon could seat 10,000 people and was one of the steepest theatres in the
ancient world.

Altar of Zeus

The altar is a U-shaped Ionic building built on a high platform with central steps leading to the top. It
faced east, was located near the theatre of Pergamon, and commanded an outstanding view of the
region. The altar is known for its grand design and for its frieze depicting the Gigantomachy—it
wraps 370 feet around the base of the altar.

The Gigantomachy

The Gigantomachy depicts the Olympian gods fighting against their predecessors the Giants (Titans),
the children of the goddess Gaia. The frieze is known for its incredibly high relief, in which the
figures are barely restrained by the wall, and for its deep drilling of lines with details to create
dramatic shadows.

Sculptures

A key component of Hellenistic sculpture is the expression of a sculpture’s face and body to elicit an
emotional response from the viewer. Hellenistic sculpture continues the trend of increasing naturalism
seen in the stylistic development of Greek art.

Nike of Samothrace

One of the most iconic statues of the period, the Nike of Samothrace, also known as the Winged
Victory (c. 190 BCE), commemorates a naval victory. This Parian marble statue depicts Nike, now
armless and headless, alighting onto the prow of the ship. The prow is visible beneath her feet, and the
scene is filled with theatricality and naturalism as the statue reacts to her surroundings.

Venus de Milo

Also known as the Aphrodite of Melos (c. 130–100 BCE), this sculpture by Alexandros of Antioch, is
another well-known icon of the Hellenistic period. Today the goddess’s arms are missing. It has been
suggested that one arm clutched at her slipping drapery while the other arm held out an apple, an
allusion to the Judgment of Paris and the abduction of Helen.

The Barberini Faun

The Barberini Faun, also known as the Sleeping Satyr (c. 220 BCE), depicts an effeminate figure,
most likely a satyr, drunk and passed out on a rock. His body splays across the rock face without
regard to modesty. He appears to have fallen to sleep in the midst of drunken revelry and he sleeps
restlessly, his brow is knotted, face worried, and his limbs are tense and stiff.

Roman Patronage

The Greek peninsula fell to Roman power in 146 BCE. Greece was a key province of the Roman
Empire, and Roman interest in Greek culture helped to circulate Greek art around the empire,
especially in Italy, during the Hellenistic period and into the Imperial period of Roman hegemony.

Greek sculptors were in high demand throughout the remaining territories of Alexander’s empire and
then throughout the Roman Empire. Famous Greek statues were copied and replicated for wealthy
Roman patricians and Greek artists were commissioned for large-scale sculptures in the Hellenistic
style. Originally cast in bronze, many Greek sculptures that we have today survive only as marble
Roman copies. Some of the most famous colossal marble groups were sculpted in the Hellenistic style
for wealthy Roman patrons and for the imperial court. Despite their Roman audience, these were
purposely created in the Greek style and continued to display the drama, tension, and pathos of
Hellenistic art.