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Classical Greek Art and

 Architecture

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 The Severe Style New Greek expertise in bronze castingallowed for poses

and definition impossible in the Archaic period

workers in marble, too, tried to imitate the new freedom

Severely dignified style, perhaps because of association withfunerary customs

Altered frontality, shifted weight with contrapposto

Successful depiction of figures at rest

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 The Charioteer of 

Delphi, 480-470 B.C.

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 The sculptor, Kritios, broke withthe conventions of the ArchaicPeriod:

•archaic smile has given way to a“severely fixed mouth”•unrelieved frontalityavoided by aslight twist of the torso and abarely tilted head•first good example of 

contrapposto or counterpoise•stylization of hair andmusculature as well as rigidsymmetry abandoned

Kritian Boy, c. 480 B.C.

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High Classical Style

Increased naturalismeven as a greater idealism is perfected (the opposite of naturalism is formalism, not idealism; Greeks

saw a godly figure as the ideal natural form)

Refined figures at rest

Figures in action freeze action to show motion in staticmedium

Polykleitos’ canon sets ideal proportions (foot 1/10 of height,etc.)

more relaxed contrapposto

defined musculature

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Riace Warrior, c. 460-450 B.C. “Striding God” c. 460-450 B.C.

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Diskobolos, or

“the discus thrower”

Myron, c. 450 B.C.

Roman marble copy of Myron’sbronze original

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Doyphoros or “Spear Bearer”Roman copy of a bronze original by Polykleitos, c. 440 B.C.

 This statue was originally sculpted and castto illustrate a treatise (now lost) written byPolykleitos called theKanon, which set outto codify his theory of proportions

• Each limb bears a numerical relationship tothe overall measurements of the figure•Focus is on symmetria, or “thecommensurability (proportionality) of parts”•Achieved a balance of straight and bent,tense and relaxed that marks it as an idealexample of contrapposto

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 The Greek Sanctuary:

Example of Delphi

Choice of site: focalreligious and aestheticspace

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Model of Delphi and Shots of 

the Temple of Apollo

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East Greece—Pythagorean influence: 6x13, balanced proportions,simple designs, restrained decoration (sc. Principles of Classicism)

West Greece—West Greece (“Magna Graeca” in south Italy and Sicily):rich, experimental, less refined

Development of 

Doric

 Architecture

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Sketch of Complete Acropolis

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Panathenaic Procession

entering the Acropolis

(artist’s rendition left with real shotbelow)

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 The Parthenon Perikles used league funds

to rebuild the main temple toAthena on the Athenianakropolis

Ictinus and Callicrates,architects

Refinements for “apparent”perfection entasis: columns bulge or

swell in the middle

column spacing not even

no straight lines, no truehorizontal, no realperpendicular (stylobatebows in middle)

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Model of the Parthenon

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Examples of Refinements(entasis, column spacing, etc.)

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Entablature and Pediment

of the Parthenon, showing 

architectural sculpture in metopesand pediment

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Details of a Doric Entablature

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Metopes, sculpted by 

PhidiasCivilization vs. Barbarism: godsand giants, Greeks and Trojans,Lapiths and Centaurs, men andAmazons

Important ideas: Panathenaea, glory of Athens, gods await procession withtranquility and calm serenity (ideal of inner life), contemporary Athenians

pictured with the gods

Running Ionic Frieze:an Ionic innovation used in a Doric temple!

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 The running Ionic Freeze within the colonnade and around the cellaand porch depicted the Great Panathenaic procession.

Parthenon Floor Plan

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 View of interior Ionic frieze running around the inner cella

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Ionic Frieze under the porches of the Parthenon and along the cella

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Unpainted and Painted

Parthenon!Below: Parthenon stone with some originalpaint still intact

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Running Ionic frieze with painted restoration

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Statues from the East Pediment: gods and goddesses witness the birth of Athena

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Due to a Turkish powder magazine stored in the Parthenon, and an

ill-fated Venetian shell, the roof and interior are lost

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Rendering of a possible reconstruction of the interior together with the great

cult statue by Pheidias

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Model of thechryselephantine (gold

and ivory) cult statue

of Athena Parthenos

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 The Ionic Order Art in the Midst of War: “By the end of the Fifth Century a rich

style was developed in which elegance, decorativeness andlinear grace superseded all other values.” (Woodford, 138)

Characteristics

Freer, more graceful, more embellished

Slender, delicate columns

Decorated column bases and volute capitals, complex moldings

Running frieze

In the context of the Peloponnesian War, more closely

associated with the Ionian majority within the Athenian

Empire

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Comparison of Doric and Ionic Orders

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Details of the Ionic Order

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Ionic temple of Athena Nikeand steps leading to thePropylaia or gateway to the

 Athenian Acropolis

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 The Erechtheion, c. 410 B.C.

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Erechtheion

Porch of the Maidens of the ErechtheionIts famous caryatids (statues of maidens serving as supports) replace

conventional columns

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 The Erechtheion’s caryatids also reflect the last phase of Classical sculpture before the fourth century 

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•Decorative detail replacesnaturalism•Delights in linear effectssuch as modeling lines andmotion lines•Attention given to draperyand its potential for effect

Late ClassicalSculpture, last quarter

of the fifth century 

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Nike untying her

sandal

From the precinct wall of the temple of AthenaNike

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Grave Stele of Hegeso, end of Fifth

Cent. B.C.