(information about both pieces collected from the National Archeological Museum of Greece)
The piece on the left is a double handled amphora from Athens, Kerameikos, by the Painter of Athens 216. It dates around 850-800 B.C., and is from the Geometric Period, which fits under the larger umbrella of the Archaic period. This piece features a large, round, symmetrical body. The neck and opening of the vase is very wide, with no sculptural detail. In fact, the only sculptural details in the piece are the handles attached to each side, which notably have no separation from the walls of the vase. From this observation, we know that pottery making was still primitive at that time. The artist was not able to make the piece ornate by means of sculpture, so it was inscribed with great detail. The artist would have covered the piece in a black substance called silt, and carefully carved in the geometric patterns. (This relates to a piece we studied in class, Achilles and Ajax Playing a Game, because it was created by applying silt and carving the design into the surface). Geometric patterns are also an indication of a primitive society attempting to express sophistication and luxury, because while the designs are beautiful and complex as far as geometric design, it does not feature any living forms. Living forms require expression of a body in motion through a still and two-dimensional image, as well as more accurate detail. By using geometric design, the artist is able to create a beautiful and functional piece while utilizing a fairly simple design.
The piece on the right is a Lagyno decorated with wreaths and a syrinx. It is from an unknown provenance in Greece, and was sculpted c. 100 B.C. It is from the Hellenistic Period, and by this point, the Greeks had taken several steps forward in technology, innovation, mathematics, and science. This piece features images of several complex musical instruments in beautiful and careful detail. The pottery itself is also detailed, and features an interestingly shaped body, a handle with separation from the body, and a narrow neck and opening at the top of the piece. The form of the pottery required more advanced sculpting than the Geometric piece, and the forms painted on the sides are more detailed and realistic. (Another example of Hellenistic art displaying the technological advancements of Greek society is Lacoon and His Sons. This is a large sculptural piece that also shows off the industrial ability of the Greeks.)
1-2. Two examples of Greek art from two different periods (Geometric, Archaic, Classical or Hellenistic). Describe the qualities that they have in common with other works from that period presented in class, then describe how they expand your knowledge of the period. (information about both pieces collected from the National Archeological Museum of Greece)
The figure on the left is a marble funerary kouros from Merenda, Attica, which dates to about 540-530 BC.It is an example of verism, because the sculptor wanted to use this funerary sculpture to express that the deceased was an example of the ideal man. His anatomy is extremely rigid, symmetrical, and far too smooth and perfect to reflect the body of an actual living person. This statue relates to the kouros and kore statues we studied this semester because they also strove to depict that the deceased had been ideal when they were alive.
The figure on the right is a marble portrait bust of Herodes Atticus, found at Kiphisia, Attica. It dates to the middle of the second century A.D. This portrait of Herodes Atticus is made of Pentelic marble, and exhibits a high degree of realism. The man’s face looks tired but wise, as if expressing weariness at the end of a long, powerful, and influential life. The figure maintains a dignified aura, but his eyes clearly express emotional pain, his hair is tousled, and his clothing is hanging listlessly from his neck. Herodes was extremely wealthy, which means that he could afford to sponsor a portrait of himself that was not just a beautiful, ideal template for a portrait bust, but an accurate, emotional portrait with conceptual depth. This relates to the Roman portrait we saw in class (it is untitled, so I will attach a photo) because it depicts a portrait of an aged Roman man in high detail. As was mentioned in class, one of the reasons for portraits that are so detailed is the Roman’s reverence for their ancestors. This is the example of a Roman portrait that we discussed in class.
(information and photo gathered from the Metropolitan Museum of Art)
This sarcophagus depicts the Triumph of Dionysos and the Season, and is from the Late Imperial/Gallienic Period. It dates around 260-270AD. This sarcophagus is impeccably ornate, beautifully crafted, and angelic in its quality. Every single figure in this work of sculpture could function as a complete work on its own, and when they’re all featured as one in this way, the result is breathtaking. However, this scene most likely didn’t have any particular importance to the deceased themselves. According to the MoMA website, it’s more likely that this design would have come from a sculptor’s template book. This is comparable to the Funerary Relief that we discussed in class because because it is a marble sculpture that goes on the side of a tomb. The Funerary Relief is more simple and modest than this Triumph of Dionysos, however.
(information gathered from the Metropolitan Museum of Art)
This manuscript is called “Leaf from a Beatus Manuscript: Christ in Majesty with Angels and the Angel of
God Directs Saint John to Write the Book of Revelation”. It dates ca. 1180, and is a Spanish work. In spite
of its incredibly explanatory title, there are still some more subtle conclusions that can be drawn from the piece. The Book of Revelation is important to Christianity because it details the Apocalypse according to Christians. This specific manuscript is distinct because of its ornate nature, such as the abstract and colorful nature of the figures’ bodies. The artist also used paint which contained actual gold to paint the gold detail.
(From the MoMA website) : In the lower register, the angel of God directs Saint John to write the
Apocalypse (Book of Revelation): “The Revelation of Jesus Christ, which God gave unto him, to make
known to his servants the things which must shortly come to pass: and signified by sending his angel to his servant John.” (Apocalypse 1:1)