Hellenistic Age
 

Visual Analysis/Museum Due on Blackboard
 
 
Alexander the Great in a Himation, after an original by Lysippos, late 4th or 3rd century BCE.
 

 

 

 

 

 

 

 

 

 

 

Peripteral Greek Temple plan
 
nucleus (cella, naos) = room in which image of the deity was placed
 
pronaos = the porch
 
peristyle = a colonnade
 
opisthodomos = either the rear room of an ancient Greek temple the inner shrine
 
  • In larger temples the nucleus of cella and porches is surrounded by a colonnade of 6 to 8 columns at front and back, and usually 12 to 14 columns along the sides
  • Entrance faces east, toward the rising sun
  • Floor plan not contingent upon order

 

 

 

 

 

 

 

 

 

 

Treasury of the Siphnians

Reconstruction drawing of the Treasury of the Siphnians. Sanctuary of Apollo at Delphi, ca. 530 BCE.

 

 

 

 

 

 

 

 

 

 

Classic Greek Painting

 

Youth diving, cover slab of the Tomb of the Diver, Tempe del Prete necropolis, Paestum, Italy, ca. 480 - 470 BCE.

 

 

 

 

 

 

 

 

 

 

 

Hades abducting Persephone, detail of a wall painting in tomb I, Vergina, Macedonia, ca. 340 – 330 BCE.

 

 

 

 

 

 

 

 

 

 

The Achilles Painter, Warrior taking leave of his wife on an Attic white-ground lekythos, ca. 440 BCE. 16” high.

 

 

 

 

 

 

 

 

 

Late Classical Sculpture

 

Doryphoros
Polykleitos, Doryphoros (Spear Bearer), Roman copy after an original of ca. 450 - 440 BCE. Marble, 6' 11" high.
Lysippos, Apoxyomenos (Scraper), Roman copy of a ca. 330 BCE. Marble, Height 6' 9".

 

 

 

 

 

 

 

 

 

 

Earliest known large female nude in Greek art.

 

Dying Niobid, ca. 450 – 440 BCE. Marble, height 59”.

 

 

 

 

 

 

 

 

 

 

According to Pliny, men who visited the shrine of the Aphrodite at Knidos on the island of Cos could not contain themselves. This nude, by the Greek master Praxiteles, was initially rejected by the people who commissioned it because of its provocative nakedness: the community of Knidos bought it and it became a popular tourist attraction.

Pliny says one man was driven so wild he tried to have sex with the marble statue. “A stain,” says the Roman author drily, “bears witness to his lust.” And he was not the first man to fall in love with a statue.
Praxiteles, Aphrodite of Knidos, Roman copy of a marble statue of ca. 350 - 340 BCE. Marble, 6' 8" high.

 

 

 

 

 

 

 

 

 

 

Knidian Aphrodite
Other Aphrodites, Roman copies after originals ca. 340 - 330 BCE, by Praxiteles.

 

 

 

 

 

 

 

 

 

 

Praxiteles, Hermes and the infanct Dionysos, Roman copy of an original of ca. 340 BCE.
Marble, height 7’ 1”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Philoxenos of Eretria or Helen of Egypt, Battle of Issus, ca. 310 BCE. Roman copy from the House of the Faun,
Pompeii, Italy, late second or early first centure BCE. 8' 10" X 16' 9".

 

 

 

 

 

 

 

 

 

 

Alexander the Great with Amun Horns, Four-drachma silver coin issued by Lysimachos, ca. 297 - 281 BCE. Diameter 1 1/8".

detail of Alexander from the Battle of Issus

 

 

 

 

 

 

 

 

 

 

Audience Hall of Darius and Xerxes, from the palace at Persepolis, Iran. ca. 521 - 465 BCE.

 

 

 

 

 

 

 

 

 

 

Hellenistic Sculpture

 

Pythokritos of Rhodes (?), Nike of Samothrace, ca. 190 BCE. Marble, height 8' 1".

 

 

 

 

 

 

 

 

 

 

Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE.

 

 

 

 

 

 

 

 

 

 

Epigonos of Pergamon (?), Dying Gaul, Roman copy after a bronze statue from Pergamon, Turkey, original ca. 230 – 220 BCE.
Marble, 3' 1/2" high.
Gallic Chieftan Killing His Wife And Himself, Roman copy after original bronze of ca. 220 BCE.
Marble, height 6' 11".

 

 

 

 

 

 

 

 

 

 

Agesander, Athenodoros, and Polydoros of Rhodes, Laocoon and his sons, from Rome, Italy,
early first century CE. Marble, height 7’.

 

 

 

 

 

 

 

 

 

 

Seated boxer, from Rome, Italy, ca. 100 - 50 BCE. Bronze, 4' 2" high.

 

 

 

 

 

 

 

 

 

 

The Seated Boxer was found buried deep between the foundation walls of what appears to be a private residence and a public bath, along with another unrelated figural sculpture. Each were buried in sifted sand, and the boxer was on top of a rare (in Rome) Doric capital.
"By placing the statues in this manner between the foundation walls, before filling up the space between the walls, the deposition was staged as part of the construction of the complex. The special significance attached to this potentially ritualised marking of the construction is indicated by the special value of the statues themselves, as well as the deliberate use of the capital and the burial with sand or fine earth. This allows us to draw two important conclusions. First of all, the statues were not buried to hide them from any kind of imminent danger; they were rather deposited carefully during the construction of the building. Secondly, our dating of the foundation walls by aterminus antequem (latest possible date) of ca. 200 CE suggests that the deposition took place in a period much earlier than has long been assumed." - Elon D. Heymans
The Seated Boxer at time of discovery in 1885 on the south slope of the Quirinal Hill in Rome, possibly from the remains of the Baths of Constantine.