Geometric Krater- Dipylon cemetery, Athens, Geometric period, c.740 BC, Wheel-made Pottery, 3'4"

Large-mouthed bowl, used for mixing wine and water. Likely a somewhat ceremonial example, like Palatte of Narmer. This Krater was a grave-marker. Decorated in registers that include bands of geometric patterns of designs, two of figural. Top panel is funeral, bottom is funerary procession, military in nature.

P.S. Women got amphoras, not Kraters.

Mantiklos Apollo- Thebes, Greece, Orientalizing period, 700-680 BC, Solid bronze, 8"

Increased trade from the East leads to a somewhat Egyptian look. But now they're moving toward realism, with still geometric traits. General desire for nude male form. Has long inscription on his thighs- fascination with writing. They'll lable anything they can. Offered to Apollo and meant to secure something in return. May represent Apollo of Mantiklos- can't tell. May have held a bow. Generally more regal looking, but does have wide eyes. Huh.

Lady of Auxerre- kore, Orientalizing period, c. 650 BC, Limestone, 2'

Daedalic- of Daedalus who went to Egypt and brought back their ideals. Prominent style in Orientalizing and early Archaic. Would have been painted using encaustic (wax). Wears wig and brows, her position is reverent so she's probably the donor of the votive, not the goddess. 3D but stiff and shallow, no motion, FULLY CLOTHED. Women don't get to be naked.

Kouros- Archaic period, c. 600 BC, Marble, 6'1/2"

One of the earliest examples of life-size free-standing statuary. Daedalic, yes, but rapidly moving toward realism. Left-leg-advanced, hair, face= asiatic. Functions as gravemarker.

(Some were used as votive offerings. This one wasn't, but you could go to the Kourous store and buy a generic-form one, out of clay, get it engraved, and offer it)

Calf Bearer- Kouros, Moschophoros, Athens, Acropolis, Archaic, 560 BC, Marble, 5'5" now, would have been 6'

Rhombos dedicated this one on the acropolis in Athens. Barely Daedalic. Right on the cusp of moving away from that. Dedicated at some random temple long before buildings that are there now were built. Represents donor- brings calf to offer. Not completely naked wears an open shawl and beard- may not have been native to region.

Kroisos- Kouros, Anavysos, Greece, Archaic, 530 BC, Marble, 4' tall

Last part of Daedalic. Traces of paint and pigment. Was a grave marker for kroisos. "Stay and mourn at the tomb of dead Kroisos whom raging Ares destroyed one day as he was fighting at the front of the battlefield." Shows Greek concept of unavoidable fate. Greatly increased naturalism. Greeks also sure love the Iliac crest.

Peplos Kore, Archaic, Acropolis in Athens, 530 BCE, Marble 4' tall

Votive offering, given as dedication on acropolis. Left arm is missing, but it's assumed she held something in the missing left hand as an offering. She's wearing something called a peplos, hence her name. Clothed, but you can see her boobs. The Greeks got really good at concealing while revealing. Had earrings and jewelery.

Temple of Hera

Paestum, Italy, Archaic, c. 550 BC

Survives in better condition than any other doric temple. Peripteral-style. 9X18, which is odd. Columns spaced fairly close together. Swell of columns at the center is called entasis. Not monoliths, built in drums.

Achilles and Ajax (Exekias)

Black Figure amphora, Archaic, 540-530 BC

One of two types of figural painting. Black figure. First and simplest. Exekias was the first to eliminate the ideal of many small bands, favoring instead one band of action. Depicts Achilles and Ajax playing a game of dice, poized, not relaxed, holding weapons. Profile head, frontal eye.

Three revelers (Euthymides)

Red-Figure amphora, Archaic, c.510 BC

Depicts people dancing, drinking, having a good time. Experimentation with figures. Frontal, back, and 3/4. Unique to red-figure= can't overlap figures. Euthymides was considered a pioneer in that sense.

Kritios Boy

Athens, Acropolis, Early Classical, 480 BC, Marble, 3'10"

Considered to be one of the most important Greek works of art. Found on the Acropolis, part of the revolution of sculpture, CONTRAPPOSTO. Desire to depict what he observes, reflects how people actually stand. Means "set against" describes the way the parts of the body shift in relation to others. Definitive end of Daedalic period. 

Bronze Warrior

Riace, Italy, Early Classical, 460-450BC, 6'6"

Were discoverd in the sea, unknown if they were import of export. Cast bronze-hollow. Copper and silver inlay for details. Inset eyes of ivory or bone, teeth silver, lips copper, nipples copper. Most commonly known as Riace bronzes. Held shield and spier. Advancement in understanding of motion and anatomy, Circe-perdue= lost wax method of bronze casting.

Diskobolos (Myron)

Early/High Classical, (Roman Copy), c. 450BC, originally bronze, now marble

Interest in natural motion and human form. Romans sadly had no problem with supports/struts, unlike the Greeks who had some sense of aesthetics. Myron's representation of nude male athletes made him famous. All about action. Bold, active poses, never seen before. Simultaenously both high classical, and early classical. Revolution in pose= high classical, but no expression on face=early classical

Doryphoros (Polykleitos)

High Classical, (Roman Copy), c.440BC, 6'11", Marble

His height makes him practically monumental. Found in a gymnasium in Pompeii. Most recognized/famous? Polykleitos was basically just SO amazing, wrote the canon, established the mathematical, proportional perfection.  Symmetria not necessarily symmetry, but equal and opposite relationship of parts. This is the visual example of his canon.

Aerial view of the Acropolis

High Classical, Athens, Greece

Peracles Xantanoi the Athenian was the project manager, Phidias the architect/ artist/sculptor in charge. Consists of Parthenon (447-438 BCE), Propylaia (Monumental gateway- only way in), Erechtheion (421-405 BCE), and Temple of Athena Nike (410 BCE)

Parthenon

Acropolis, Athens, Iktinos and Kallikrates, High Classical, 447-438 BC, 255x87 ft

West= back, East= front. Entrance through Propyleia, shows the back. Housed Athena Parthenos (virgin). Architects Iktinos and Kallikrates. Doric, Peripteral, 8x17. Interior construction is odd. No pronaos, internal columns in cella are ionic. ONe of the earliest examples of mixing of styles. Columns= 35 ft tall. Principle= symmetria! Conpensation for optical illusion- no true right angles. Four corner columns bigger in diameter than the others. 

Plan of the Parthenon

Athens, High Classical, 447-438 BC

Athena Parthenos (Phidias)

Parthenon, (Model of lost original), c.438 BC

Faced East, located inside the Parthenon. Real one was destroyed in antiquity. Chryselephantine- made of gold and ivory. Shield, spear, and helmet are gilt gold. Flesh was sheets of ivory. Bronze or wood interior.

Helios and his horses/Dionysos

East pediment, Parthenon, c. 438-432 BC

"Rises" on the east side of the pediment, wet-clothing technique. Carved even on the back, the Greeks were that meticulous.

Three goddesses

East pediment, Parthenon, High Classical, c. 438-432 BC

Wet drapery technique. Revealing but concealing. Shows great awareness of bodies, but also how to fill space.

Erechtheion

Acropolis, Athens, High Classical, 421-405 BC

Multiple-shrine temple. Has ionic column, wooden image of Athena. Athena's olive tree, Poseidon's trident mark, ruins of Archaic temple. Best recognized for south porch.

Caryatid

Erechtheion, S. porch, Acropolis, High Classical, 421-405BC, 7'7"

Part of the Erechtheion on the Acropolis, actually weight-bearing. She stands in contrapposto, the leg not extended is meant to appear collumnar. Mostly bilaterally symmetrical.  Has a capital on her head.

Nike adjusting her sandal

Temple of Athena Nike, Acropolis, HC, 410 BC

Part of the parapet on the temple to Athena Nike on the acropolis. Essentially just part of a procession of Nikes, had to be animated by making each of them do something intersting.

Apoxyomenos (Lysippos)

Late Classical, (Roman Copy), 330 BC, "The Scraper"

Lysippos' figures are longer and slenderer. This is his most recognized work, depicts an athlete using a strigil to get the gunk off of him before a bath. Active pose, would have been well-recognized. This arm outstretched/ blocking the torso is completely new. This guy makes you shift around the body forces you to interact.

Head of Alexander the Great

Pella, Greece, Hellenistic, 200-150 BC

Twisting or upturned head. "Dewey" eyes, meaning they're set back some. Parted lips, unusual for the time, meant to impart some action. Cowlick at front of hair has technical term of anastole- characeristic of Alexander the Great specifically. First ruler to understand using portraiture as propaganda.

Battle of Issus, Alexander Mosaic

Philoxenos of Eretria, Hellenistic, 310BC, 8'10"x 16'9"

Philoxenos' name means "lover of foreigners". The version of this we've been looking at is a Roman Copy (made of tesserae) of a Greek original panel painting. Depicts the great battle between Alexander the Great and Darius, Darius is looking back and color is used to create dimension. Foreshortening, perspective, shadows create roundness (skiagraphia). Gesture important too.

Aphrodite of Knidos, Praxiteles, Roman marble copy of Greek Original, 350 BCE, 6'8"

First free-standing, nude, female statue. Yay! In the 4th century, idealism is replaced by disillusionment and, consequently, realism. Praxiteles was comissioned by the island of Cos to make this, but Cos was offended because she was naked. Knidos took it. Pose reflects modesty, "venus pudica"= modest venus. Not erotic. Head smaller, rest of body longer, contrapposto, "dewey" eyes, s-curve.

Gaelic chieftan killing himself and wife

Roman marble copy of bronze original, 230-220BCE, Epiganos (probably sculptor), 6'11"

Created to commemorate a pergamon victory over the Gauls. Shown at the moment of suicide, continues in the trend of ennobling enemy, in the case of, if this big stong guy was so afraid of the Greeks that he'd rather kill himself than be captured, they must be pretty damn tough! He was originally part of a sculptural group, that was a new concept. Animates space around sculpture by making you move around it. Contrasts- One naked, one clothed, one alive, one dead, one standing, one slumped, one strong, one weak. His physical features distinguish him as barbaros, foreigner.

The Dying Gaul

Roman marble copy of Greek Bronze, originally part of same Pergamon monument, Probably Epiganos, 230-220BCE

Badly wounded and dying. He is now sometimes called "the trumpeter", which is annoying because he's not. He sits on his shield and has a trumpet next to him. He wears a torque- braided metal-around his neck. Very emotional, pained. He is looking at his sword, contemplating suicide. Dramatic, realistic.

P.S. He has now been overcleaned.

Nike of Samothrace

Original marble, 8'1" without head, Pythokritos, 190 BCE

Reflects same desire for motion and drama. Created by Rhodian scholar, set up in shrine dedicated to the gods on Samothrace. Shows her at the moment she's landing on the prow of a greek warship. Non necessarily contrapposto, but does show consciousness of weight-bearing. Would have been displayed in context, positioned in water, probably moving to include other senses.

Venus de Milo

(Aphrodite of Milos) Milos, Greece, original marble 6'7", 150-125 BCE

Obviously influenced by the Aphrodite of Knidos. Becomes more erotic, teasing. Praxitilean S-curve. Alexandros of Antioch is artist. Found on Milos in 1820, Specific depiction of Aphrodite holding apple, after Paris' judgment. State of undress--> vulnerability

Seated Boxer

Rome, 100-50 BCE, 4'2" seated, Greek Hellenistic

Follows the standard of male nude athlete, but this is something more. Unlike the ideals of the past, this guy is old, battered, and defeated. His face is bruised and bleeding, he has cauliflower ear. Brutal Realism. Implied looking at victor. Lost wax casting.

Laocoon and Sons

Found in Rome, 1st Century BCE, 7'10", Center figure in vatican

Three sculptors, main one is Polydorus, from Rhodes. Shows Trojan priest who prophesied the trojan horse and he and his sons were strangled to death. May have been at Nero's palace and if not was certainly imperial.

Temple of Portunus

(Temple of Fortuna Virilis), Rome, Republic, 75 BCE, Travartine and Tufa

Style is aesthetically Greek, but accessible only from the front and on a high stylobate, which is Etruscan. Is psuedo-peripteral (no columns on the back, just engaged columns) which is a Roman thing. This temple is very Roman in its mixing of styles and in the fact that it's made of local stone.

Funerary Relief of the Gessii family

Rome, marble, 30 BCE

Importance of Roman portraiture and family lineage. The center figure is the father and after his death he left money for his wife (on the left) to commission this work. Realism, and desire to create this memorial.

Head of an Old Man

Italy, 50 BCE, Marble, Republic

Portrait of Power. Age=Experience=Wisdom. All really highly valued things at this period in time. Realistic portraits called Veristic Portraits, came about because only older, male patrician class could be members of senate. Gravitas- serious demeanor

Denarius of Julius Caesar

44 BCE, Republic, Silver

Ironically, Julius Caesar was killed Ides of March, 44 BCE. By 42 BCE he was elected as a god by the senate. The portrait on the coin is veristic, and is the first use of a living portrait on a coin (not a god or killed hero). Propaganda. Says Caesar Dict. Perpetuo. Caesar is Dictator forever. Kinda goes against the whole republic idea, a sentiment Brutus explained on his coin.

Portrait of Augustus as General (Augustus of Prima Porta) Roman marble copy of roman bronze original. 1st century CE (original 20 BCE), 6'8"

Looks an awful lot like the Doryphorus, Classical inspiration. Raises right hand to address troops. Center of curiass= the return of Roman standard. Would have been painted encaustic.

Female Personification from Ara Pacia Augustae

Imperial, 13-9 BCE

Dedicated to celebrate Pax Romana. Sacrificial altar in center. High relief carvings inside and out. Propagandistic message- goes back to classical greece, wet drapery technique. Maternal woman holds babies Romulus and Remus. Abundant empire of Rome herself, across land and sea. She is pious. Also, first time shows women, important in terms of continuation of family.

Pont du Gard

Nimes, France, Imperial, 16 BCE-ish, made from 2 ton bricks, 82 ft wide arches, No mortar.

Augustus' building campaign extended to the whole empire (here, France) as a means of presence. Aqueduct and footbridge. Brings water from 30 miles away, 100 gallons per person per day. Propaganda. Functional and practical, but beautiful= very Roman. Built using huge people hamster wheels.

Domus Aurea

Concrete

Golden house of Nero. City burned to make room for it. Severus and Celer- architects. Over 300 rooms, mostly just aesthetic. Was a party mansion. Octagonal Concrete domed hall. Arched vault-ish. Oculus at top. Romans invented concrete. Would have been sheathed with Marble inside and people say it spun?

Portrait of Vespasian

75-79AD, Ostia, Italy

Colusseum Aerial Top View

Flavian Ampitheatre, Rome, CE 70-80

Colosseum facade,

Flavian Ampitheatre, Rome CE70-80

Arch of Titus

Rome, Italy, after 81CE

Arch of Titus

Spoils of Jerusalem, Internal Passageway, after 81CE

7'10" tall, bring menorah, table of sacred bread, silver trumpets

Arch of Titus

Emperor riding in Chariot(Quadriga)

Winged Victory stands behind and crowns him. other characters= human personifications of virtues

Forum of Trajan

Apollodorus of Demascus, Rome, CE 112

Built in the center of the city as a political, social city-center. Trajan paid for the whole thing himself, didn't tax or borrow, which is why he was so well regarded.

Trajan's Column

Forum of Trajan, dedicated CE 112, 128' tall, 15' diameter

Monumental, covered in narrative relief sculpture. First column of its kind, invented by Apollodorus. Victory over Dacians. 150 separate episodes. Base of column served as his tomb.

Markets of Trajan

Apollodorus of Demascus, Rome, Aerial view, CE 100-112

Markets of Trajan

Interior of Great Hall, Rome CE 100-112

Aerial View of Pantheon

Rome, Italy, CE 118-125, Concrete, 20' thick walls

When Hadrian rebuilds this, he keeps the original inscription of Agrippa. One of the best preserved from antiquity, one of the most influential to modern architecture. Front clearly Greek, 8 40' monoliths in front, oculus is only light source.

Interior of Pantheon,

Rome, Italy, CE 118-125

5 rows of coffers, not just aesthetic, also lessen weight. Drians in floor, massive uninterupted internal space.

Equestrian statue of Marcus Aurelius

Rome, Italy, CE 175

Marcus Aurelius inherits after Antonius Pious, after Hadrian. Considered kinder, gentler emperor, and wears a beard. Huh. Outstretched arm meant to symbolize clemency or offering. He is terribly out of proportion. Wears no armor, but robes of a philosopher. Gilt with gold, hollow-cast bronze. Believed to be of constantine, that's why it wasn't melted.

Portrait of Septimius Severus and family

200CE, Tempera on wood, Rome, 13" diameter

Only surviving Painted imperial portrait. Wooden tondo. Tempera= pigment mixed with egg yolk as binder. Demnato memoriae of the younger son. The older one had him killed and then blotted from memory.

Portrait of the Tetrarchy

Made in constantinople, now in Venice, 305 CE, Porphyry

Tetrarchy composed of Diocletian and 3 others who agreed to rule together to avoid competition. This speaks to the pragmatism of the Roman people. They are not depicted separately, they are basically fused together both physically and in gesture. Meant to mean something, not to look pretty