Greek art

This Kouros stood over graves of Kroises (young men who died in battle), displayed increased naturalism in porortions and more rounded parts.

3 locks on each side, Archaic smile, Residual paint buried to hide from persians, women were always clothes archaic statuary, votive statue of a goddess once held identifying attribute in missing left hand.

Limestone temple originally faced with marble, Doric Peripteral style, 9c on length 18c on width, pancake like capitals.

Medusa In the middle, Heraldic placement of two beast, People out of proportion because of the shape, Gigantomachy; heroes/god fighting the race of giants; moralizing symbolizing the victory of order and reason over chaos, Its to protect and ward of the enemie onto the goddess’s temple, Seen this before the victor vanquishing the enemies, Columns are 8 by 17
,Figures are not all on the same scale

a. Caryad women holding up instead of columns
b. Would be painted
c. The pediment are know proportional
d. The freeze contains a gigantomachy; 2 ft high, war scence, labels that identifys the different gods and goddesses
e. Extreme overlapping going on
f. Things that are closer are in higher relief that even cast shadow and behind are done in shadow relief

Pg. 123 - In this Early Classical statue of Zeus hurling a thunderbolt, both arms are boldly extended and the right heel is raised off the ground, underscoring the lightness and stability of hollow-cast bronze statues.

Lost bronze statue captures how the sculptor froze the action of discus throwing & arranged the nude athletes's body and limbs so that they formed two intersecting arcs.

Polykleitos sought to portray the perfect man and to impose order on human movement. He achieved his goals by employing harmonic proportions and a system of cross balance for all parts of the body.

pg. 127- 8x17 columns Birth of Athena on east pediment, Metopes Gigantomachy,
South Metopes-Centauromachy,
Amazonomachy & Panathenaic Procession--every 4 years people bring Athena a new peplos

Pg. 128- Inside the cela of the parthenon was Phidias's 38ft tall, gold and ivory, fully armed holding nike (victory) in extended right hand. soles of her sandals -centauromachy
exterior of her shield-amazonomachy
shield interiro-Gigantomachy

Pg. 129- The east pediment of the Parthenon depicts the birth of Athena. At left horses of helios(sun) emerge from the pediments floor, suggesting the sun rising above the horizon at dawn.

PG. 129- The goddesses perfectly slope to the right side of the east pediment. The thin & heavy folds of the garments alternately reveal and conceal the body forms.

Elders and maidens of the east frieze?

Mnesikles disguised the change of ground level by splitting the Propylaia into eastern and western sections. Each facade resembles a doric temple but with a wider space between the central columns.

Pg. 136 - Tomb in italy is a rare example of classical mural painting. The diving scene most likely symbolizes the deceased's plunge into the underworld.

The Greeks always situated their theaters on hillsides, which supported the cavea of stone seats overlooking the circular orchestra. THe epidauros theater is the finest in greece. seated 12,000 spectators

Praxiteles humanized the olympian deities. This hermes is as sensuous as the sculptors aphrodite. The god gazes dreamily into space while he dangles grapes as tempation for the infant god of wine

The first nude statue of a goddess caused a sensation in the fourth century BCE. But praxiteles was also famous for his ability to transform marble into soft and radiant flesh. "Dewy eyes"

Lysippos was the official portrait scuptor of Alexander the Great. This third - century BCE sculpture has the sharp turn of the head and thick mane of hair of Lysippos's stature of Alexander with a lance.

Displaying the erotism of many Hellenistic statues, this aphrodite is more overtly sexual than the knidian aphrodite, slipping garmet to tease spectator.

Pg. 151- Trickles of blood on his face, bronze, battered face, we've left stylization for realism