Introduction to Greek and Roman Culture: Archaic Art:



Greek Art

Useful Bibliography

M. Stansbury-O’Donnell, A History of Greek Art. Wiley-Blackwell, 2015

R. Neer, Art & archaeology of the Greek world : a new history, C.2500-C.150 BCE. Thames & Hudson: 2012.

A. Stewart, Greek Sculpture (New Haven, 1990)

A. Stewart, Art, Desire and the Body in Ancient Greece (1997).

N. Spivey, Understanding Greek Sculpture (London, 1996)

R. Osborne, Archaic and classical Greek art (Oxford, 1998).

Kouroi and Korai

Identity and meaning:

A. Stewart, ‘When is a Kouros not an Apollo? The Tenea “Apollo” revisited’ in M. A. del Chiaro ed., Corinthiaca. Studies in Honor of Darrell A. Amyx, 1986, p. 54-70

R. Osborne, ‘Looking on - Greek style. Does the sculpted girl speak to women too?’ in I. Morris ed., Classical Greece. Ancient Histories and modern archaeologies, 1994, p 81-96, especially 88-95.

Kouroi (sing. Kouros)

Votives:

Colossal Apollo of the Naxians

Kouroi at Temple of Poseidon on Sounion, now Athens NM.

Kleobis and Biton,(? – or the Dioskouroi) from Delphi

Herodotus 1.131 ‘The Argives had statues made of them which they sent to Delphi, as a mark of their particular respect’

Funerary:

Dermys and Kittylos, from Tanagra (Boeotia), c. 580BC; inscribed by each with name and on base ‘Amphalkes put this up for Dermys and Kittylos’:

Anavysos Kouros, National Archaeological Museum, Athens (3851)

Associated with Inscription re Kroesus, c. 530 BC

‘Stay and mourn at the monument for dead Kroesus whom violent Ares destroyed, fighting in the front rank’

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Korai (sing. Kore)

Votives:

Kore dedicated by Nikandre, c. 640 BC, at sanctuary of Artemis on Delos

Inscription: ‘Nikandre dedicated me to the far-shooter of arrows, the excellent daughter of Deinodikes of Naxos, sister of Deinomenes, wife of Phraxos’

Kore from Samos, dedicated by Cheramyes, c. 560 BC

‘Cheramyes set me up as an agalma (offering) to Hera’

Athenian Acropolis:

Kore of Antenor, dedicated by the potter Nearchus

‘La Delicata’

Peplos Kore

Funerary:

Phrasikleia, from cemetary at Merenda, Attica. C. 550 BC

Inscription: ‘Marker of Phrasikleia. I shall ever be known as maiden (kore), the gods allotted me this title in place of marriage, Aristion of Paros made me’[pic]

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Delphic Charioteer, c. 470s Delphi Archaeological Museum

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Motya Youth, c. 480-450 BC. Motya, Museo Giuseppe Whitaker.

The Body in Classical Art and the problem of copies

Polyclitus’ Canon: (c 460 to 440?)

Pliny, Natural History 34.55-6:

Polyclitus of Sicyon, a pupil of Hegeladas, made a ‘Diadoumenus’, a supple youth, famous for having cost 100 talents, and a ‘Doryphorus’, a virile looking boy. He also made a statue that artists call the ‘Canon’ and from which they derive the principles of their art, as if from a law of some kind, and he alone of men is deemed to have rendered art itself in a work of art…it was strictly his invention to have his statues throw their weight onto one leg.

Galen tells us also of a treatise called the Canon that deals with proportions of the body, then supported by the statue.

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Diadoumenos, c. 530 BC (spot the difference...) [pic][pic]

Praxiteles’ Aphrodite, c. 350 BC

Pliny, Natural History 36.20-1

I have mentioned the date of Praxiteles among those sculptors who worked in bronze; yet in his fame as a marble-worker he surpassed even himself. There are works by him at Athens in the Ceramicus, but first and foremost not only of this, but indeed in the whole world, is the Venus that many have sailed to Cnidus to see. He made two statues and put them up for sale together: one was draped and for that reason was preferred by the people of Cos, who had an option on the sale, even though it was the same price as the other, for they judged this to be the sober and proper thing to do. The Cnidians bought the rejected one, whose fame became immensely greater. Later King Nicomedes wanted to buy it, promising that he would pay off the city's entire foreign debt, which was enormous. The Cnidians, however, preferred to suffer anything but this, and not without reason, for with this statue, Praxiteles had made Cnidus famous. The shrine she stands in is completely open, so that one can view the image of the goddess from all sides, an arrangement (so it is believed) that she herself favoured. The statue is equally admirable from every angle. There is a story that a man was once overcome with love for it, hid inside during the night, and embraced it, leaving a stain to mark his lust.

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Vases:

Rasmussen, T. and Spivey, N. (1991) Looking at Greek Vases (Cambridge: Cambridge University Press) esp chapters by Robinson and Beard

Boardman, J. The history of Greek vases: potters, painters and pictures (London: Thames and Hudson, 2001).

Architectural Sculpture

Barringer, Judith M. “The Temple of Zeus at Olympia, Heroes, and Athletes.” Hesperia: The Journal of the American School of Classical Studies at Athens, vol. 74, no. 2, 2005, pp. 211–241. JSTOR, stable/25067954.

Barringer, Judith. “Olympia: More than Meets the Eye.” Classics Ireland, vol. 19-20, 2012, pp. 26–49., stable/90008004.

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