Coursework architecture and sculpture of the archaic period of the art of ancient Greece. Presentation for the lesson of the MHC "sculpture of ancient Greece from archaic to late classics" Presentation on the topic of sculpture and vase painting of archaism

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Art of Ancient Greece

• Subject:
• Ancient Greek vase painting
• In ancient Greece, all types of pottery were painted. Ceramics, decorated with particular care, were donated to temples or invested in burials. The ceramic vessels and their fragments that have been heavily fired and are resistant to environmental influences have survived for tens of thousands of years, which is why ancient Greek vase painting is indispensable in determining the age of archaeological finds.
• Thanks to the inscriptions on the vases, the names of many potters and vase painters from the archaic period have been preserved. If the vase is not signed, in order to distinguish between the authors and their works, styles of painting, it is customary for art historians to give vase painters "service" names. They reflect either the theme of the painting and its characteristic features, or indicate the place of discovery or storage of the corresponding archaeological objects.
• Introduction
• Ancient Greek vase painting is a painting made with the help of fired paints on ancient Greek ceramics. The vase painting of Ancient Greece was created in various historical periods, starting from the Minoan culture and up to Hellenism, that is, starting from 2500 BC. e. and including the last century before the advent of Christianity.
• Depending on the time of creation, historical culture and style, ancient Greek vase painting is divided into several periods. The classification corresponds to historical periodization and differs by style. Styles and periods do not match:
• Cretan-Minoan vase painting
• Vase painting of the Mycenaean or Helladic period (existed partly at the same time)
• geometric style
• Orientalizing period
• black-figure style
• Red-figure style
• Vase painting on a white background
• Gnaphia vases
• Periods
• Vases from Canosa
• Vases from Centuripe
• Cretan-Minoan vase painting
• Painted pottery appears in the Cretan-Minoan cultural area from 2500 BC. e. Simple geometric patterns on the first vases by 2000. BC e. are replaced by floral and spiral motifs, which are applied with white paint on a black matte background, and the so-called Kamares style. The palace period in the Minoan culture also introduced serious changes in the style of ceramics painting, which in the new marine style is decorated with images of various sea inhabitants: nautiluses and octopuses, corals and dolphins, performed on a light background with dark paint. Starting from 1450 B.C. e. images are increasingly stylized and become somewhat rougher.
• Jug in nautical style, Archaeological Museum, Heraklion
• Around 1600 BC e. with the beginning of the late Helladic period, the first highly developed continental culture grows out of the Mycenaean culture, which left its mark on vase painting. Early examples are distinguished by a dark tone, predominantly brown or matte black patterns on a light background. Starting from the Middle Mycenaean period (about 1400 BC), animal and plant motifs become popular. Later, immediately after 1200 BC. e. in addition to them, images of people and ships appear.
• Vase painting of the Mycenaean or Helladic period
• "Warrior Crater", XII century. BC e.,
• With the decline of the Mycenaean culture around 1050 BC. e. geometric pottery is given new life in Greek culture. In the early stages before 900 BC. e. ceramic dishes were usually painted with large, strictly geometric patterns. Circles and semicircles drawn with a compass were also typical decorations for vases. The alternation of geometric ornaments of the drawings was established by various registers of patterns, separated from each other by horizontal lines enveloping the vessel. During the heyday of geometry, geometric patterns become more complex. Complex alternating single and double meanders appear. Stylized images of people, animals and objects are added to them. Chariots and warriors in frieze-like processions occupy the central parts of vases and jugs. The images are increasingly dominated by black, less often by red colors on light shades of the background. By the end of the 8th century BC e. this style of painting in Greek ceramics disappears.
• geometric style
• 1 - Attic proto-geometric amphora from the Dipylon necropolis in Athens, late 11th century. BC, Athens, Museum of Ceramics
• 2 - Attic proto-geometric amphora from the Dipylon necropolis in Athens, first half of the 9th century. BC, Athens, Museum of Ceramics
• Amphora from the Dipylon necropolis in Athens, middle of the 8th century. BC.
• Orientalizing period
• Starting from 725 BC. e. in the manufacture of ceramics, Corinth occupies a leading position. The initial period, which corresponds to the Orientalizing, or otherwise Proto-Corinthian style, is characterized in vase painting by an increase in figured friezes and mythological images. The position, sequence, themes and the images themselves were influenced by oriental patterns, which were primarily characterized by images of griffins, sphinxes and lions. The technique of execution is similar to black-figure vase painting. Consequently, at this time, the necessary three-time firing was already applied.
• Proto-Corinthian olpa depicting animals and sphinxes,
• OK. 650-630 AD BC e., the Louvre
• Black-figure vase painting
• From the second half of the 7th c. before the beginning of the 5th century. n. e. black-figure vase painting develops into an independent style of ceramic decoration. Increasingly, human figures began to appear in the images. Compositional schemes have also undergone changes. The most popular motives for images on vases are feasts, battles, mythological scenes telling about the life of Hercules and the Trojan War. The silhouettes of the figures are drawn using a slip or glossy clay on dried, unbaked clay. Small details were drawn with a engraver. The neck and bottom of the vessels were decorated with a pattern, including ornaments based on climbing plants and palm leaves ( palmettes). After firing, the base turned red, and the glossy clay turned black. White color was first used in Corinth and, above all, in order to display the whiteness of the skin of female figures.
• For the first time, potters and vase painters began to proudly sign their works, thanks to which their names were preserved in the history of art. The most famous artist of this period is Exekius. In addition to him, the names of the masters of vase painting Pasiad and Hares are widely known. In the 5th century BC e. the winners of sports competitions at the so-called Panathenaic were awarded with Panathenaic amphoras, which were made in black-figure technique.
• Bowl with eyes "Dionysus" Exekias
• Black-figure Attic amphora
• Red-figure vase painting
• Red-figure vases first appeared around 530 BC. e. It is believed that this technique was first used by the painter Andokides. In contrast to the already existing distribution of the colors of the base and the image in black-figure vase painting, they began to paint with black not the silhouettes of the figures, but rather the background, leaving the figures unpainted. The finest details of the images were drawn with separate bristles on unpainted figures. Different compositions of the slip made it possible to obtain any shades of brown. With the advent of red-figure vase painting, the opposition of two colors began to play up on bilingual vases on one side of which the figures were black, and on the other - red.
• The red-figure style enriched the vase painting with a large number of mythological scenes; in addition to them, red-figure vases contain sketches from everyday life, female images and interiors of pottery workshops. Realism, never seen before in vase painting, was achieved by complex images of horse teams, architectural structures, human images in three-quarters and from the back.
• Vase painters began to use signatures more often, although autographs of potters still dominate on vases.
• black-figured side
• red-figure side
• “Hercules and Athena” bilingual amphora by the vase painter Andocides, c. 520 BC e.
• Vase painting on a white background
• This style of vase painting appeared in Athens at the end of the 6th century BC. e. It is believed that this technique of vase painting was first used by the vase painter Achilles. It consists in covering terracotta vases with white slip from local lime clay, and then painting them. With the development of the style, the clothes and the body of the figures depicted on the vase began to be left in white. This technique of vase painting was used mainly in the painting of lekythos, aribals and alabasters.
• Lekythos, made in the technique on a white background, 440 BC. e.
• Lekythos depicting Achilles and Ajax, c. 500 BC e., the Louvre
• Gnaphia vases
• Gnaphia vases, named after the place where they were first discovered in Gnafii ( Apulia), appeared 370-360 BC. e .. These vases come from lower Italy and were widely used in the Greek metropolises and beyond. White, yellow, orange, red, brown, green and other colors were used in the painting of gnathias on a black lacquer background. On the vases there are symbols of happiness, religious images and plant motifs. From the end of the 4th century BC e. painting in the style of gnathia began to be performed exclusively with white paint. Gnafia production continued until the middle of the 3rd century. BC e.
• Oinochoia-gnaphia, 300-290 AD BC e.
• Epichisis, ca 325-300 BC. e., the Louvre
• Vases from Canosa
• Around 300 B.C. e. . In Apulian Canosa, a regionally limited center of pottery arose, where pottery was painted with water-soluble paints that did not require firing on a white background. These works of vase painting were called "Canossian vases" and were used in funeral rites, and were also invested in burials. In addition to the peculiar style of vase painting, Canossian ceramics are characterized by large stucco images of figures mounted on vases. Canossian vases were made during the 3rd and 2nd centuries BC. e.
• Askos (jug) from Canosa,
• IV-III century. BC e., terracotta, height 76.5 cm
• Vases from Centuripe
• As in the case of the Canosan vases, the Centurip vases received only local distribution in Sicily. Ceramic vessels were put together from several parts and were not used for their intended purpose, but were only invested in burials. Pastel colors on a pale pink background were used to paint the Centurip vases, the vases were decorated with large sculptural images of people in clothes of different colors and magnificent applique reliefs. Centurip vases depicted scenes of sacrifice, farewell, and funeral rites.
• Centuripe vase , 280-220 AD BC e.
• For success in pottery, the quality of the extracted clay is crucial. The rock must be weathered. The source material was often macerated at the quarry and mixed with other additives to give the clay the desired color after firing. Clay in Corinth had a yellowish tint, in Attica it was reddish, and in lower Italy it was brown. Before processing, the clay was cleaned. To do this, clay was soaked or washed in a large container in a pottery workshop. In this case, large particles of alumina sank to the bottom, and the remaining organic impurities rose to the surface of the water. The clay mass was then placed in the second tank, where excess water was removed from it. Next, the clay was taken out and kept wet for a long time. During this maturation, the clay "aged" and became more elastic. Excessively fatty (soft) grades of clay were mixed with sand or ground ceramic cullet before processing in order to “degrease” them and make the clay stronger. Since there are no traces of “degreasing” of clay on the painted Athenian vases, it can be concluded that they were made from very well “aged” clay.
• Clay
• After the clay had acquired the required consistency, it was carefully kneaded with feet and divided into pieces. Clay was placed on a potter's wheel and centered so that no oscillations occurred during rotation. The rotating potter's wheel was known in Greece as early as the second millennium BC. e.,. There are also ancient images where the potter's wheel was set in motion by the potter's apprentice, sitting on a chair or squatting.
• After centering on the potter's wheel, the body of the future vessel was created. If the height of the future vessel exceeded the length of the master's hand, then it was assembled from several parts. The finished parts were cut off the potter's wheel with a rope, traces of which can be found on the finished vases. The legs and handles of vessels, as well as overlay decorations (for example, relief masks) were molded separately and attached to the body using liquid clay. The finished vessels were placed in a dry and dark place for slow drying in natural conditions to avoid cracking. After the clay hardened a little, the vessel was "unscrewed" from the potter's wheel. Next, the potter cut off the excess clay and formed sharp edges typical of ancient ceramics on the rim and legs of the vessel.
• Form
• Forms of ancient Greek vases
• Crater(other Greek κεράννυμι - "I mix") - an ancient Greek vessel made of metal or clay, less often - marble for mixing wine with water. Characteristic features of the crater are a wide mouth, two handles on the sides of a capacious vessel and a foot.
• There are two types of craters in ancient ceramics:
• oxybuffs, oxybuffs (όξύβαφον, oxybaphon) - bell-shaped, with a body expanding upwards, resting on a pallet, with two horizontal handles at the bottom;
• vessels with a wide neck, above the mouth of which there are vertical volute-shaped handles, connected to the body at the bottom.
• Oxybafon depicting Scylla, Louvre
• Types of craters
• Stamnos(lat. Stamnos) - an ancient vessel of a rounded shape, resembling an amphora. The stamnos has a low neck and two horizontal handles on the sides. Stamnos first appeared in the archaic era in Laconia and Etruria and were used to store wine, oils and other liquids. Stamnoses are often found with lids. In Athens, stamnos appeared around 530 BC. e .. and were made exclusively for sale in Etruria.
• Stamnos are often found on red-figure ceramics in images of festivities in honor of Dionysus organized by women. Therefore, stamnoses are also called Lena vases. The stamnos are not supposed to have been used in cult rites due to their non-Attic origin.
• Stamnos with a painting by the vase painter Polygnotus,
• OK. 430-420 AD BC e.,
• National Archaeological Museum, Athens
• Amphora(ancient Greek ἀμφορεύς "a vessel with two handles") - an antique egg-shaped vessel with two vertical handles. It was common among the Greeks and Romans. Most often, amphoras were made of clay, but there are also amphoras made of bronze. They served mainly for storing olive oil and wine. They were also used as urns for burial and for voting.
• The volume of amphora can be from 5 to 50 liters. Large tall amphoras were used to transport liquids. In Rome, amphoras with a volume of 26.03 liters (ancient Roman cubic ped) were used to measure liquids.
• Bilateral amphoramamaster Andokida "Hercules and Athena",
• OK. 520 BC e.,
• State Antique Collection, Munich
• Types of Amphora
• hydria(lat. Hydria), otherwise Kalpida (lat. Kalpis) - an ancient Greek ceramic vessel, a jug for water, which was sometimes also used as an urn for storing the ashes of the dead. Hydria were also used for casting lots in voting.
• Hydrias in geometric style were distinguished by a slender, elongated shape and a long neck. Starting from the VI century. BC e. hydria became more rounded in shape. The hydria has three handles: two small horizontal ones on the sides of the vessel in order to lift it, and one vertical one in the middle for the convenience of pouring water. Hydrias were worn on the head or on the shoulder.
• Miniature hydria are called "hydrisk".
• Attic hydria “Comos procession and woman urinating”,
• the work of a master from the environment of the vase painter Dikaios, ca. 500 BC e.
• Types of Hydria
• Pelik ( lat. Pelike) is a form of amphora that has spread in Attica. Peliks, unlike ordinary amphoras, have a base that allows them to maintain a vertical position. Peliks usually had two handles, but no lid. As a rule, they are distinguished by a smooth transition from the neck to the main rounded part of the vessel. The neck is rather widened towards the rim.
• Peliks first appeared at the end of the 6th century. BC e. in the workshops of the so-called "groups of pioneers"- vase painters of the red-figure style. Peliks were used primarily in symposiums. Peliks in Attica were also called stamnos.
• “A young man pays off with hetero”, a red-figure pelika of the vase painter Polygnotus,
• OK. 430 BC e.
• Oinohoya from Kamiros,
• O. Rhodes, 625-600 BC e., the Louvre
• Oinochoya(ancient Greek ἡ οἰνοχόη - “wine jug”) - an ancient Greek jug with one handle and a round or trefoil corolla resembling a clover leaf. Oinochoys were intended for serving wine, and are also characteristic of the Cretan-Minoan culture of Ancient Greece.
• Because of the shamrock corolla, Oinochoea is also called the "three-spouted vase". Professional butlers invited to the symposia skillfully poured wine into three vessels at once with the help of oinochoia.
• Types of Oinochoya
• Kilik(ancient Greek κύλιξ, lat. calix) - an ancient Greek vessel for drinks of a flat shape on a short leg. On both sides of the kylix there are handles, which, unlike the kanthara, do not exceed the height of the edge of the bowl itself.
• Kilik, British Museum, London
• Views of Kilik
• Lekythus(ancient Greek λήκυθος) - an ancient Greek vase designed to store olive oil, which was also used as a funeral gift in the 5th century. BC e. Characteristic features of the lekythos are a narrow neck and a small stem.
• Lekythos were often decorated with paintings of different colors on a white background. If lutrophores in wedding and funeral rites symbolized an unmarried woman, then the lekythos corresponded with an unmarried man. Lekythos were also depicted in relief or sculpture in places of burial as artistic elements of tombstones, in particular in the cemetery Kerameikos in Athens.
• Lekythus,
• OK. 500 BC e.,
• National Archaeological Museum
• Types of Lekythos
• Kanfar(ancient Greek κάνθαρος) - an ancient Greek drinking vessel in the shape of a goblet with two exorbitantly voluminous vertical handles. The Greek gods drank from kanthar, for example, Dionysus was often depicted with kanthar. Often kanfar was used for sacrifices or as an object of worship. Thus, as a vessel for drinking, the kantharos carried a religious load. It is possible that initially kantharos were used exclusively for cult rites.
• Canfar, Louvre
• Types of Kanfar
• Kiaf(lat. Kyathos) - an ancient Greek vessel with one handle, resembling a modern cup in shape. However, the handle of the kiath is larger and rises above the rim of the vessel, since kiaths were also used at symposia to scoop up wine.
• The volume of a kiaf is 0.045 liters, i.e. a quarter of a sextarium.
• Cyathus, 550-540 BC e., the Louvre
• skyphos(ancient Greek σκύφος) - an ancient Greek ceramic drinking bowl with a low leg and two horizontal handles. Skyphos was the mythical goblet of Hercules, so the skyphos is also called Cup of Hercules. Images of a skyphos are often found on ancient Greek vases, made in the style of black and red-figure vase painting.
• Black-figured skyphos, ca. 490-480 AD BC e.
• Views of Skyphos
• Pottery was painted before firing. The vessel was first wiped with a damp cloth, and then covered with a diluted slip solution or mineral paints, which gave the vase a reddish tint after firing. The vase painters painted the vessels directly on the potter's wheel or carefully holding them on their knees. This is evidenced by numerous images on finished vases, as well as those rejected after firing and unfinished products.
• Images on vases in geometric, orientalizing and black-figure styles were most likely applied with a brush. During the period of late geometrical vase painting, white background paint was used, which, breaking off in some places, slightly reveals the details that the vase painters tried to hide from prying eyes. The incisions on the vessels were characteristic of black-figure vase painting, and most likely this technique was borrowed from artisan engravers. For these works, vase painters used a sharp metal style. Even in the era of protogeometrics, vase painters were familiar with compasses, with which they applied concentric circles and semicircles to vases. Starting from the middle Proto-Corinthian period, sketches are found that vase painters applied to painted ceramics with a sharp wooden stick or metal tool. These notches disappeared during firing.
• Painting.
• Vase paintings in the red-figure style often preceded sketches. They can be found on some vessels where they show through the final image. Unfinished red-figure images show that vase painters often outlined their sketches with a stripe up to 4 mm wide, which is sometimes visible on finished products. For the contours of the body, a protruding relief line was used, which is clearly visible on black-figure vessels. Other details were drawn with saturated black paint or background paint diluted to brown. In conclusion, the background of the vessel or the front side of the bowl was painted black with a large brush. Various inscriptions were applied to the vessels: signatures of potters and vase painters, signatures for images and laudatory dedication inscriptions. Sometimes at the bottom of the vessels, the designations of the price of the product or the brand of the manufacturer were carved.

Lesson #8

MHK-10

Fine art of ancient Greece

D.Z.: Ch.8, creative workshop back. 4 p.91

Ed.: A.I. Kolmakov




LESSON OBJECTIVES

• give an idea of ​​the fine arts of Ancient Greece; to teach to highlight the features of different types and periods of fine art (archaic, classical style, Hellenism);
• develop artistic analysis skills;
• to cultivate respect and interest in the art of antiquity.



CONCEPTS, IDEAS

• archaic;
• classic style;
• Hellenism;
• kouros;
• bark;
• vase painting;
• Phidias, Policlet, Myron, Scopas;
• black-figure and red-figure vase painting

Universal learning activities

• describe masterpieces of sculpture and vase painting;
• correlate the work of sculpture with a certain cultural and historical era;
• characterize the features and creative manner of the individual author's style;
• prepare reports on the work of Greek sculptors;
• make sketches of paintings for vases and other household items in the artistic traditions of ancient Greek masters;
• to conduct a comparative analysis of ancient plastics with the sculptural works of ancient Egypt;
• express their own opinion about the artistic merits of individual works of fine art of ancient Greece



Check of knowledge

• Explain the concepts: order system, peripter, naos, portico, pediment.
• Name the features of the Doric, Ionic and Corinthian orders.
• What type of Greek temple was widespread during the archaic period?
• What are the distinctive features of Hellenistic architecture?



STUDY NEW MATERIAL

Lesson assignment. What is the significance of the fine arts of Ancient Greece for the World civilization and culture?




sub-questions

• Sculpture and vase painting of the archaic. Kuros and barks. Masterpieces and masters of vase painting. The main stylistic differences between works of small plastic and painting. Black-figure vase painting.
• Visual art of the classical period. Red-figure vase painting. The rise of the art of sculpture. Mastery in the transfer of portrait features and the emotional state of a person. The ideal of physical strength and spiritual beauty in the work of the great masters of sculpture.
• Sculptural masterpieces of Hellenism. Novelty of themes, tragic and expressive interpretation of classical plots and images



Archaic

ARCHAIC(from the Greek. archaikos - old, ancient), in art history - the early period of ancient Greek culture.

Archaic period in the history of Greece (650-480 BC) - a term adopted among historians since the 18th century. It arose during the study of Greek art and originally belonged to the stage of development of Greek art, mainly decorative and plastic.

• A large place in the art of the archaic was occupied by sculpture, which adorned not only temples, but was also an integral part of a religious cult.
• The new ideal of beauty - a healthy human body - is embodied in the statues that have come down to us.



Archaic. Sculpture

These are male figures. kouros (i.e. young men) were installed near the temples. They were called Archaic Apollos. Huge sizes (sometimes 3m), kouros similar to each other, even their poses are always the same: upright figures with a leg extended forward, arms along the body with palms clenched into fists, facial features are devoid of individuality.




Female figures - bark (i.e. girls). Their postures are monotonous and static. Fancy combed hair with tight curls, intercepted diadems, separated by a parting and descending to the shoulders with long symmetrical strands. Characteristic detail: on everyone's faces enigmatic smile .




classical period

• During the classical period, sculpture reached new heights in the transfer of portrait features and the emotional state of a person.
• Numerous sculptors worked in Greece in the 5th century. BC e. Three of the most significant stand out among them: Miron, Polikleitos and Phidias.

The classical period in the history of ancient Greece is usually calculated from the end of the VI century to 338. BC e. This, in general, a short two-hundred-year period, however, is marked by the highest flowering of ancient Greek society in all spheres of life.



• Statue of Olympian Zeus - the work of Phidias, an outstanding work of ancient sculpture, one of the seven wonders of the world. It was located in the temple of Olympian Zeus, in Olympia - a city in the region of Elis, in the north-west of the Peloponnese peninsula, where from 776 BC. e. to 394 AD e. Every four years, the Olympic Games were held - competitions of Greek, and then Roman athletes. The Greeks considered unfortunate those who did not see the statue of Zeus in the temple ...

Phidias

Athena Parthenos

• Famous ancient Greek sculpture by Phidias. Time of creation - 447-438. BC e. Not preserved. Known from copies and descriptions.




Myron in his work he finally overcame the last remnants of archaic art with its stiffness and immobility of forms.

Myron

In the middle of the 5th century BC e. he made a statue Discus thrower A - young man throwing a disc. He conveyed the complex pose of an athlete tensed for a throw vividly and convincingly. And in other works Myron sought to reveal all the richness and diversity of human movements.

Athena

Discus thrower

Marsyas




Amazon

Polykleitos

Doryphorus

diadumen

Unlike Miron, his younger contemporary Polykleitos usually depicted a calmly standing person. He enjoyed special fame statue Doryphora (spearman), an athlete-warrior, embodying the ideal of a beautiful and valiant citizen of a free policy (c. 440 BC). The pose of the young man, slightly bent with one leg and leaning on the other, is simple and natural, the muscles of his strong body are conveyed vividly and convincingly. Polykleitos built his sculptures according to the system developed by him of mathematically exact ratio of parts of the human body. The ancient Greeks called the statue of Doryphoros canon, i.e. rule ; many generations of sculptors followed its proportions in their works.



• At the end of the 5th century BC e. the period of crisis of the slave-owning policies of Greece begins.
• The war between Athens and Sparta weakened Greece. The worldview of the Greeks, their attitude to art is changing.
• The majestically sublime art of the 5th century, glorifying the hero-citizen, gives way to works that reflect individual feelings and personal experiences.

Scopas - sculptor of the 1st half of the 4th century BC e.

Pothos

Maenad

• Scopas depicts wounded warriors with faces distorted by suffering. His statue was famous maenads, companion of the god of wine Dionysus, rushing in a frantic, drunken dance (a reduced marble copy is in Dresden, in the Albertinum).



The gods were also depicted in a new way. In the statues of the famous sculptor of the 4th century. BC uh . Praxiteles the gods, having lost their greatness and power, acquired the features of earthly, human beauty. God Hermes he depicted resting after a long journey (Museum, Olympia). In the hands of the god is the infant Dionysus, whom he amuses with a bunch of grapes.

Hermes with baby Dionysus

Venus

Apollo Saurocton




Sculptor of the second half of the 4th century. BC e. Lysippos created a new image of a young athlete. in his statue Apoxyomene (of a young man cleansing the body of sand) it is not the pride of the winner that is emphasized, but his fatigue and excitement after the competition (Vatican Museum, Rome).

Hermes,

putting on sandals

Apoxyomenos

Hercules




Sculptural masterpieces of Elinism

Hares from Lindos.

The Colossus of Rhodes.

• There is a further division of art into genres. stands out decorative ceremonial genre - multi-figured lush reliefs and compositions of colossal proportions ( The Colossus of Rhodes ). Sometimes, when an event was of exceptional social significance, the artistic imagination created masterpieces. expressive-heroic plan . Takova "Nike of Samothrace" - a statue of the victorious goddess, erected in honor of the defeat of the fleet of Ptolemy

Height 32 m.

Beginning 3rd century BC.

At the entrance to the harbor

city ​​of Rhodes.

Nika

Samothrace




Agesander, Polydorus and Athenodorus "Death of Laokon and his

sons." (40 BC).

The plot of the work

borrowed from the legendary

tales of the fall of Troy.

Laocoön a, who warned the Trojans about the deceit of the Greeks, and his two sons are strangled by two giant snakes. The suffering on the face of the hero, the high tragedy of the whole composition express a silent protest against the injustice of the gods, fate.




Bust of Serapis

Cameo Gonzaga.

• Sculpture is gradually moving away from monumentalism, becoming more intimate in its own way, images of charming plump babies are being created, small plastic art is developing, cameos appear - a synthesis of plastic art and jewelry art, garden and park architecture (especially in Alexandria).



Painting

Greek painting is represented mainly vase painting Yu. The Greeks treated pottery not only as a means of creating necessary household utensils, but above all as an art.

Huge vases, sometimes reaching 1.5 m, were installed as tombstones near Greek settlements. The surface of the vases is covered with ornaments in the form of circles, triangles, squares, rhombuses ( geometric style ).

Drawings depicting the figures of warriors, chariots, men, women, birds, animals were applied with belts of unequal size and conveyed the rhythm of a circular movement subordinate to the shape of a vase.




Painting

was

wide

common

in Ancient Greece

in the form of frescoes and paintings on vases

Greek painting almost never survived in the originals. To some extent, the idea of monumental painting Ancient Greece can give images on Greek vases.

The years when the Greek state prospered were also the heyday of painting. ...However, the heyday of Ancient Greece is better known not for works of art, but for painting ceramics.

Artists were famous, respected and revered by the people. The most professional artists even began to sign their works, which no one had done before.







• Today I found out...
• It was interesting…
• It was difficult…
• I learned…
• I was able...
• I was surprised...
• I wanted…


• You can use presentation template: Shumarina Vera Alekseevna, teacher GKS (K) OU S (K) School No. 11 VIII kind. Balashov. Website: http :// pedsovet.su /
• Lebed S.G., teacher of fine arts, MHK. Ilyinsky secondary school, author of the content of the presentation

SCULPTURE OF ANCIENT GREECE FROM ARCHAIC TO CLASSIC

Kuros and barks.

Polykleitos. Doryphorus. Phidias.

Goddess torso.

Scopas. Maenad.



• In addition to the relief, which has become an integral part of architecture, the anthropomorphism of the Greeks was most fully manifested in monumental sculpture. It is distinguished by natural, vital plasticity, conveying to the viewer the joyful attitude of the Greek sculptors.
• during the archaic period, the leading place was occupied by kouros and kora.


• statue to at dew - a naked walking youth - was interpreted as an example of strength, valor, physical health. This athletic ideal of beauty took shape in stadiums in sports and reflected a highly chaste perception of human nudity.



• Match the kouros serene to O ry - young girls, draped in long clothes, with a forward look and an "archaic" smile.
• They guarded the entrance to the ancient temple of Athena on the Acropolis and, as it was believed, caused the goddess special joy. The main intrigue in the creation of the cores was that uniform in features and facial expressions, they acquire a unique individuality due to the drapery of fabrics, folds of clothes, the placement and pattern of patterns on them.



KORA IN PEPLOS. 530 BC Acropolis Museum. Athens.

Comparing the bark in peplos and the high marble bark, one can easily verify this.

• The first bark is dressed in a woolen peplos, put on a thin linen tunic. A simple cloak of dense material hides her shoulders, and the whole outfit gives a feeling of naive purity and girlish innocence. The freshness and spiritual clarity of this already captivating image was once enhanced by the major color scheme in the coloring of the sculpture. In accordance with the taste of the archaic, the eyebrows and eyelashes were blue, the eyes and lips were brown, the hair flowing over the shoulders was pinkish-red, the edges of the linen chiton and cape were green.


• A completely different type - a tall marble bark in a luxurious, whimsically draped short cloak, which retained its green color in places, thickening to gray in the depths of the falling folds. With her left hand (now lost), the bark supported a flowing pinkish-brown tunic with a blue-green border around the edge. This whole cascade of draperies, consonant with curled strands of hair, folds of clothing, sometimes smooth, sometimes abruptly breaking, wavy snake patterns speak of a coquettish, quirky and crafty nature. Gold shimmering in her hair, black eyebrows, red lips and eyelids touched by transparent blue add playfulness and frivolity to her appearance.




• First, this hee A gp- a posture in which the transfer of body weight to the right leg entails certain relationships: the right raised hip corresponds to the left raised shoulder, and the left lowered thigh corresponds to the right lowered shoulder. There is a cruciform symmetry: tension is concentrated on the right from below and on the left from above, peace is vice versa. Secondly, turn the body and head to the same side. Thirdly, the plasticity of the muscles and clear lines between the chest and abdomen, torso and hips. Reinforced by the brilliance of bronze, they make it possible to almost physically touch the skeleton of the figure, the flesh, the skin.


• At the same time, developed by Polykleitos geometric canon became the cause of the external impassivity of his heroes, corresponding to the call that sounded in the verses of the poet Theognis from Megara:
• "Do not give out only with your face that misfortune depresses you."
• The geometric canon takes the square as a basis for proportions, takes height as a unit of measurement, and follows strict proportions of the torso, head, face, and feet.




• The decline of the city-states in the second quarter of the 5th c. BC. caused the erosion of the soil on which the image of the hero grew with his simple, clear, harmonious perception of being.
• The philosopher Socrates with his "I know that I know nothing" expressed the total confusion of the Greeks. The tragic worldview and the desire to withdraw into the world of personal experiences led to the appearance in the sculpture of the late classics of a new face of beauty, full of dynamism and internal intensity.


• Scopas(380-330 BC) portrayed the insane companion of the god of wine Dionysus Maenadu (IV century B.C.) at the time of the sacrifice. Scopas chooses a type of face that is far from classical perfection: a low forehead with a deep longitudinal fold, close-set eyes, sharply arched eyebrows, and a nervous line of the mouth.
• To portray a flurry of emotions, Skopas used techniques unprecedented for Greek plastic arts. Firstly, the sculpture is designed for a circular view. The sharp break in the body of the maenad, the flung open tunic, the thrown back head, pulled back by a heavy mop of hair, make it possible to feel the rhythm of the dance, the escalation of passion. Secondly, the new ratio of fabric and flesh - there is no trace of the classical harmony of clothes perceived as an "echo of the body" here - provides a sharp contrast of chiaroscuro in draperies, creating the effect of complete self-forgetfulness in the dance.


• 1. What, in your opinion, is the beauty of archaic sculpture? What role does clothing play in the interpretation of the image?
• 2. How does sculpture make it possible to represent the attitude of the Greeks in the era of early, high, late classics?

slide 1

Sculpture of ancient Greece from the archaic to the late classics The presentation was prepared by Bekasova I.A., teacher of fine arts and arts and culture, MBOU secondary school No. 1, Chekhov, Moscow region.

slide 2

Anthropomorphism - (from the Greek. Anthropos - man and morphe - appearance, image) - the desire to endow plants, animals, forces of nature, gods with human properties. In addition to the relief, which has become an integral part of architecture, the anthropomorphism of the Greeks was most fully manifested in monumental sculpture. It is distinguished by natural, vital plasticity, conveying to the viewer the joyful attitude of Greek sculptors.

slide 3

Kouros from Attica. Marble. Around 520 BC Kuros - a naked walking young man was interpreted as a model of strength, prowess of physical health. Archaic

slide 4

Peplos bark. Marble 530g. BC. Cora is a young girl, draped in long clothes, with a forward gaze and an “archaic” smile.

slide 5

A bark from the Acropolis of Athens 520 BC e. KORA, KOREA SIA, KO RIYA (from the Greek Kore, Kora - "girl"). Koria, and then Kore - one of the epithets of the ancient Greek goddess Athena. In ancient Greek mythology, it is also one of the names of the goddess of the underworld, Persephone.

slide 6

Polykleitos. Doryphorus. Beginning of the 5th century BC e. Polykleitos (second half of the 5th century BC) achieved the ultimate realism and a sense of hidden movement at rest by overcoming the archaic manner of distributing the weight of the statue's body evenly on both legs. He reproduced the natural spontaneous posture of a person and the tangible, quivering shape of his body.

Slide 7

Canon Polikleito Polikle t the Elder - an ancient Greek sculptor and art theorist who worked in Argos in the 2nd half of the 5th century BC. The most famous work of Polikleitos is "Dorifor" (Spear-bearer) (450-440 BC). It was believed that the figure was created on the basis of the provisions of Pythagoreanism, therefore, in ancient times, the statue of Doryphoros was often called the "canon of Poliklet." Here, the rhythmic composition is based on the principle of cross uneven movement of the body (the right side, that is, the supporting leg and the arm lowered along the body, are static and tense, the left, that is, the leg left behind and the arm with the spear, are relaxed, but in motion). The forms of this statue are repeated in most of the works of the sculptor and his school.

Slide 8

Zeus statue in Olympia. Around 448 BC Phidias made a 13-meter statue of Zeus at Olympia. The god's eyes were made of precious stones, the face, hands and body were lined with ivory plates on a wooden base, sandals, a cloak, beard, hair and olive branches on the hair were made of gold. Zeus sat on a throne and held in his hands a scepter and a figurine of the goddess of victory. The sculpture died in the 5th century. AD Phidias (490 BC - 430 BC) - an ancient Greek sculptor and architect, one of the greatest artists of the high classic period. Personal friend of Pericles. Classic

Slide 9

Statue of a dancing Maenad. Roman copy after a Greek original by Skopas. OK. 350 BC e. Skopas (380-330 BC) portrayed the insane companion of the god of wine Dionysus Menada. Classic