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					                             Greek, Athenian
Statue of a Kouros, 615-600 B.C.E. marble, H. 6’4’’, Metropolitan Mus. Of Art
Greece Anon. Kore,   painted marble c.530 B.C. Acropolis Museum
                     Greece, Anon.
Calf Bearer, marble, 65’’ h. c.570 B.C. Acropolis Museum
The Kritios Boy. It is attributed to the sculptor Kritios and dates to 480 B.C. c.
Marble. The Acropolis Museum, Athens Greece
   Greek, 5th cent. B.C.
Acropolis, Athens, Greece
Greek, 5th cent. B.C.
Acropolis, Athens,
Greece
        Iktinos & Kallikrates (A) Gr.
Parthenon (from S.W.), 447-438 B.C., Athens,
                  Greece
Parthenon , Athens, Greece 5th b.c.e.
                     Parthenon marbles
             A source of friction between Great
             Britain and Greece are the marbles of
             the Parthenon. They were removed in
             the 19th century by Lord Elgin. The
             dispute has gone on since Greece won
             its independence. The Greeks deny
             British claims that Elgin had the right to
             remove the statues.




Lord Elgin
The Erectheion was a temple dedicated to Athena contest Victory over Poseidon. Athena and Poseidon had contest to decide
which deity would be the patron god of the city of Athens. Poseidon struck hi strident upon the ground and made a sprout of
water appear. Athena took Poseidon water and caused an olive tree to grow. The olive tree was considered the greatest gift
and so Athena was chosen to be the goddess of the city.

The temple uses the ionic column order, known for the scroll like design on the capital. Ionic was a slender graceful column.
The Erectherion columns are 18 feet in height. The building housed a wooden image of Athena and offerings. The structure is
a split level design with portions ten feet higher for the back rooms.
Athens, Erechtheion (421-405 B.C.) E.facade & S. flank
This room is at a higher elevation than front. The columns here are 12 feet in height and smaller in diameter
than front columns. Notice that the stone is not carved on the inside. The interior of Greek building were less
important than exterior. Porch of maidens is visible as well. The building was damaged during the Greek war for
independence from 1821 – 1833.
Athens, Erechtheion (421-405 B.C.). Porch of Maidens
The six maidens are attendants to Athena. They are clothed in traditional dress called a peplos. The
headdresses become supports for the roof. statues.
      Polykleitos Doryphoros (marble)
ca.450 B.C. Roman copy. Bologna, Museo Civico
Versions of the Doryphoros
Polykeltios statue was very popular during the fifth century and with the later Romans.
Praxiteles Aphrodite of Knidos, (marble) Roman copy. Rome, Vatican Mus.




  Though the bronze original is
  lost, it was famed in its day.
  Poets wrote poems about its
  beauty. The Aphrodite of Knidos
  was the first female semi – nude
  of the classical period. It would
  start the “Venus Tradition” in
  European art . The staute stand
  sin contrapposto with the body
  weight upon the right leg. The “s”
  axis of the figure is pronounced
  with the right shoulder dipping to
  the right. The Aphrodite ‘s left
  hand reaches for the top portion
  of her clothing as the right holds
  the lower portion to he hips.
  Later roman copies would omit
  the lower clothing. The face uses
  the same formula as other Greek
  classical statues, though the chin
  is more rounded and hair looser
  since it is a woman.
                            Myron (S) Greek
Discus Thrower, marble (Roman copy) c.450 B.C. Natl. Archeological. Musuem
                                 Rome
                 Hellenistic, 2nd Century B.C.
Nike of Samonthrace, c.190 B.C., Marble, h.96’’, Louvre Museum
                        Dying Trumpeter
                         Anon., Greek
(from. Pergamon), c.230-220 B.C.E. marble copy of bronze orig.,
              lifesize, Museo Capitolino, Rome
Venus of Milo (marb.) ca. 150 B.C., Paris, Louvre


        The Venus De Milo is named for
        the island of Melos where it was
        recovered. This reflects Roman
        tastes as it has a classical style
        to it rather than Hellenistic. The
        Romans distained the emotional
        Hellenistic style and preferred to
        own copies of classical works or
        have Greek artists work in a
        classical fashion.
        What makes it Hellenistic is the
        innovation in posing. The wider
        contrapposto stance allows the
        clothing to widen and act as a
        support. It is believed that the
        right arm came across the torso
        and rested on the left hip
        clutching the skirt to her. The left
        shoulder socket is rotated up
        and forward indicating that the
        left arm was extended.
Greek, Laocoon and His sons, early 1st centry B.C. (?), marble, 8’ high,
                    Vatican Museums, Rome

				
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posted:3/3/2013
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