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Greek Art & Architecture: Aesthetics

A2 Classical Civilisation Revision: Archaic and Black Figure
by

Vanessa Szymanska

on 18 November 2012

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Transcript of Greek Art & Architecture: Aesthetics

Archaic and Black Figure Composition Composition Herakles and the Kerkopes, Metope from Temple C from Selinus, 575-550BC symmetrical
figures mirror each other (e.g. legs, braided hair and arms)
evenly distributed
geometric patterning
spacial design Dionysus Sailing, Exekias, Kylix, 540-530BC circular composition
frame (grapes and dolphins) fills up the space
boosts contextual relevance and atmosphere intended Dionysus and the Maenads, The Amasis Painter, Neck Amphora, 550-530BC conventional archaic-style pattern used to fill up space
but, the hare acts as a clear focal point - lower frieze pattern point up towards it
the Maenads provide a balance against Dionysus
symmetrical West Pediment from Temple of Artemis, Corfu, 590-580BC empty spaces between figures
corners not filled attentively
but, fairly symmetrical Depth Depth Pediment from the Siphnian Treasury, Delphi, Before 525BC
half in relief/half in the round
effective when looked at from above
mule overlaps two figures
layering
experimental
revolutionary Ajax and Achilles Playing Dice, Exekias, Amphora, 540-530BC cloaks fall visibly on both sides of their seats
legs are clearly depicted as one in front of the other
but, the spears seem to pass through the figures' necks. Patterning Patterning Herakles/Dionysus Feasting in the Presence of Athena, Lysippides Painter, (Bilingual) Amphora, 530-515BC
spear appears to pass through Athena's neck
unclear depth of the grape vines
lack of depth in Herakles'/Dionysus' cloak hinders its fluidity and movement The Wedding Procession, The Amasis Painter, Lekythos, c.550
furthest wheel missing
figure at the back of the carriage positioned to high
but, foreshortening used to emphasise distance (e.g. smaller figure at the back),
and layering of horses is recognisable Kore 675, Acropolis Athens, 530-520BC West Pediment of Aphaia on Aegina, End of 6th Century BC expensive marble
chiton under the himation visible - usually invisible
different textures
richly patterned garments
multiple, natural folds
elaborately embroidered hems
asymmetry
decorative figures fanning outwards
interest in different levels (e.g. kneeling, lying down)
front and profile view
cohesive pattern
symmetry Perseus Pursued by the Gorgons, The Gorgon Painter, Dinos, 600-590BC The Heroic Cattle-Raid, Dioskouroi and Sons of Aphareus, Metope from the Sikyonian Treasury, Delphi, 575-550BC busy, complex patterning
unrelated multiple friezes
repetition
animals facing inwards and outwards
no unity or cohesion
unorganised repetition and symmetry
identical angles of the spears
in step with the cattle
repeating triangles (bottom half of the metope)
but, the patterning binds the design together Incision & Carving Incision & Carving Kleitias (Painter) and Ergotimos (Potter), The Francois Vase, Volute Krater, c. 570BC delicate, precise, clean lines
intricate pattern on the handles
clear overlapping of horses - innovative texture
but, the cluster of diplomats is too unified and indistinguishable (individual figures merging together) Frieze from Siphnian Treasury, Delphi, Before 525BC shallowly, but sharply carved
layering is distinguishable (e.g. the overlapping shields)
sense of continuity
neat and orderly Women Weaving, The Amasis Painter, Lekythos, 550-530BC simplistic, bleak
basic silhouettes
no incised facial features
no colour
disproportional, block figures
some attention to the feminine shape
resembles tribal paintings
no innovation or creativity Nikandre Kore, Dedication to Artemis on Delos from Nikandre, 650-625BC simplistic, heavy drapery
block, solid pose
no creative alterations
invisible shape of the legs
feminine shape absent
unrealistic feet
very shallow (7 inches)
unrealistically symmetrical braided hair
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