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| Questão | Responda |
| Lady of Auzerre, ca. 650 BCE. Probably from Crete, Archaic Period | |
| Kouros, Ca. 600 BCE. from Attica & Sounion, Archaic | |
| This Kouros stood over graves of Kroises (young men who died in battle), displayed increased naturalism in porortions and more rounded parts. | Kroisos, from Anavysos, Greece, ca. 530 BCE. Archaic Period |
| 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. | Peplos Kore, From the Acropolis, Athens, Greece, ca. 530 BCE, Archaic |
| Antis | |
| Prostyle Temple | |
| Amphiprostyle Temple (2 sides of columns) | |
| Peripteral Temple | |
| Limestone temple originally faced with marble, Doric Peripteral style, 9c on length 18c on width, pancake like capitals. | Temple of Hera I "Basilica", Paestum, Italy, ca. 550 BCE, Archaic Greek Period |
| Doric Order | |
| Ionic Order | |
| Corinthian order | |
| 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 | H. Temple or Artemis, west pediment c. 600, Corfu, Archaic Greece? |
| Sanctuary of Apollo | |
| 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 | Siphnian Treasury, Delphi, Greece, ca. 530 BCE, Ancient Greece |
| 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. | Zeus (or Poseidon?), from the sea off cape Artemision, Greece, ca. 460-450. Bronze, Early High Classical |
| 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. | Myron, Discus Thrower (Diskobolos) c. 450 BCE, Greek Early Classical |
| 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. | Polykleitos, Spear Bearer (Doryphoros), Pompeii Italy c. 450-440 BCE, Greek Classical |
| 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 | Iktinos & Kalikrates Parthenon, Acropolis Athens Greece, 447-438 BCE, Greek High Classical |
| 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 | Phidias, Athena Parthenos, in Cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE, Classical |
| Parthenon West pediment, contest between Athena and Poseidon, Acropolis, Athens Greece, 438-432 BCE, Early & High classical | |
| 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. | Helios and Dionysos, from east pediment of the parthenon, Acropolis, Athens, Greeece, ca. 438, Early & High Classical |
| Persephone, Demeter at the Parthenon, Acropolis, Athens, Greece c. 438, Early High Classical | |
| Iris West Pediment at the Parthenon, Acropolis, Athens, Greece c. 438 BCE, Early & High Classical | |
| 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. | Three Goddesses (Hestia, Dione, and Aphrodite?), from east pediment of the parthenon, Acroplis, Athens Greece, ca. 438 BCE, Early & High Classical |
| Elders and maidens of the east frieze? | Details of the panathenaic festival procession frieze?, from the pathenon, Acropolis, Athens Greece ca. 447 BCE, Early & High classical |
| Pg. 130 - horsemen? | Details of the panathenaic festival procession frieze?, from the pathenon, Acropolis, Athens Greece ca. 447 BCE, Early & High classical |
| 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. | Mnesikles, Propylaia (looking southwest), Acroplis, Athens, Greece, c. 437 BCE, Early & High Classical |
| Achilles painter, Muse on Mt. Helikon white – ground Lekythos, (location) c. 440 BCE, Greek High Classical | |
| 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. | Fresco, Tomb of the diver, and detail, c. 480 BCE, Paestum, Italy, Greek High Classical |
| 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 | Polykleitos the Younger, Theatre, Epidauros, Greece, ca. 350 BCE, High Classical |
| 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 | Praxiteles(?), Hermes and the infant Dionysos copy, from the temple of Hera, Olympia, Greece ca. 340 BCE, Late Classical |
| 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" | Praxiteles, Aphrodite of Knidos. Roman marble copy of an original of ca. 350 BCE, Greek Late Classical Period |
| 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. | Head of Alexander the great, from Pella, Greece, third century BCE. Greek Hellenistic (or Late classical?) |
| Captured the psychological intensity of the confrontation between the two kings. Greeks employed foreshortening to model figures in color and to depic reflections and shadows. | Philoxenos of Eretria, Battle of Issus, ca. 310 BCE. Roman copy from the house of Faun, Pompeii, Italy, late 2nd or 1st BCE, Greek Hellenistic |
| Athanadoros, Hagesandros and Polydoros of Rhodes, Laocoon and his sons, from Rome, Italy, early 1st century CE., Greek Hellenistic | |
| Nike of Samothrace, Alighting on a warship, Samothrace Greece ca. 190 BCE, Greek Hellenistic Period | |
| Displaying the erotism of many Hellenistic statues, this aphrodite is more overtly sexual than the knidian aphrodite, slipping garmet to tease spectator. | Alexandros of Antioch, Aphrodite (Venus de Milo), from Melos Greece, ca. 150 BCE, Greek Hellenistic |
| Pg. 151- Trickles of blood on his face, bronze, battered face, we've left stylization for realism | Seated Boxer, from Rome, Italy, ca. 100 BCE. Hellenistic |
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