Chapter 5 - Ancient Greece

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Chapter 5
Ancient Greece
Gardner’s Art Through the Ages,
14e

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Goals
• Understand the diverse cultural influences on Greek artistic
development
• Connect the philosophy and religion of the ancient Greeks to
their values in art and architecture.
• Recall the basic periods of Greek art and place works of art and
architecture into these periods based on their characteristics
• Discuss the representation of the human form through different
periods of Greek art.
• Observe the development of Greek architectural structures in
accordance with their purposes
• Identify the orders of Greek architecture and compare and
contrast their appearances
• Understand the impact of the conquest of the Greeks on their
respective art forms
• Discuss individual artists and their respective styles

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5.1 Geometric and Orientalizing Periods
• Understand the diverse cultural influences on Greek
artistic development
• Discuss the representation of the human form
through different periods of Greek art.

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Greek Artistic Development
• Understand the diverse cultural influences on Greek
artistic development.
• Identify the artistic elements and influences in the
Geometric (9th
– 8th
centuries BCE) and Orientalizing
styles (7th
century BCE).
• Observe the values of religion, military valor,
heroism, and athleticism as they emerge in Greek art
during these periods.

Geometric Period (9th
– 8th
centuries BCE)
• Describe geometric features in the design of the
Geometric krater from the Dipylon Cemetery.
• What type of scene is being displayed in the registers?
• What was the purpose of such an item?
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Figure 5-2 Geometric krater, from the Dipylon
cemetery, Athens, Greece, ca. 740 BCE. 3’ 4
1/2” high. Metropolitan Museum of Art, New
York.

5-2A DIPYLON PAINTER, Geometric amphora with
mourning scene, from the Dipylon cemetery, Athens,
Greece, ca. 750 BCE. 5’ 1” high. National Archaeological
Museum, Athens.
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The Human Figure in Early Greek Art
• Describe the representation of the human form in
early Greek art.
• Examine Greek religion, mythology, and philosophy
and their expression in art.

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Figure 5-3 Hero and centaur (Herakles and
Nessos?), from Olympia, Greece, ca. 750–730
BCE. Bronze, 4 1/2” high. Metropolitan Museum
of Art, New York (gift of J. Pierpont).

Orientalizing Period (7th
century BCE)
• The pace and scope of Greek trade and colonization
increased in the near East and Egypt during this period.
• What Egyptian and/or near Eastern qualities can be
observed in the works of Greek art during this period?
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Figure 5-4 Mantiklos Apollo, statuette of a youth dedicated by
Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze,
8” high. Museum of Fine Arts, Boston.

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Figure 5-5 Corinthian black-figure amphora with
animal friezes, from Rhodes, Greece, ca. 625–600
BCE. 1’ 2” high. British Museum, London.
Observe the creatures
on this black-figure
amphora. Are there
any precedents for
such composite
creatures?

Architecture during the Orientalizing
Period
• Examine features of Temple A from Prinias on the
island of Crete.
• What architectural structures may have influenced this
building either from Egypt, the near East, or the Greek
mainland?
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Figure 5-6A Plan of Temple A, Prinias, Greece, ca. 625 BCE.

Figure 5-6B Lintel of Temple A, Prinias, ca. 625BCE
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Figure 5-6 Lady of Auxerre, ca. 650–625 BCE. Limestone, 2’ 1 1/2”
high. Louvre, Paris.

5.2 Archaic Period (6th
century BCE)
• Notice how representation of the human figure changes
• Recognize the emergence of the Doric and Ionic orders
of architecture
• Realize the refinement of Greek vase painting and
differentiate between black-figure and red-figure vases
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The Human Figure in Archaic Art
• Understand the development and influences relating to
the early Greek kouros (male youth)/kouroi (pl.)
• Understand the development and influences relating to
the kore (maiden)/korai (pl.).
• What culture(s) had a significant influence on the New
York kouros? How is it uniquely Greek?
• What was/were the purpose(s) of such statues?
• How is the Kroisos figure different from the other
kouroi?

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Figure 5-7 Kouros, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan
Museum of Art, New York.

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Figure 5-8 Calf Bearer, dedicated by Rhonbos on the Acropolis,
Athens, Greece, ca. 560 BCE. Marble, restored height 5’ 5”;
fragment 3’ 11 1/2” high. Acropolis Museum, Athens.

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Figure 5-9 Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4”
high. National Archaeological Museum, Athens.
Why did Greek artists render the
male form in the nude?

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Figure 5-10 Peplos Kore, from the Acropolis, Athens, Greece, ca.
530 BCE. Marble, 4’ high. Acropolis Museum, Athens.
Notice traces of encaustic
paint on the Peplos Kore. Most
Greek stone statues were
painted.
Notice also that the Peplos Kore
is clothed.

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Figure 5-11 Kore, from the Acropolis, Athens, Greece, ca. 520–
510 BCE. Marble, 1’ 9” high. Acropolis Museum, Athens.

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Greek Architectural Development
• Observe the development of Greek architectural
structures in accordance with their purposes
• Identify the orders of Greek architecture and
compare and contrast their appearances
• What is a common support element that Greek
temples share with structures with other historical
periods even Stonehenge?

Figure 5-12 Plan of a typical peripteral Greek temple.
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Peripteral Greek Temple

Figure 5-13 Elevations of the Doric and Ionic orders.
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Compare Doric and Ionic Orders

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Figure 5-14 Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE.

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Figure 5-15 Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE.

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Figure 5-16 West pediment from the Temple of Artemis, Corfu, Greece, ca. 600–580 BCE. Limestone,
greatest height 9’ 4”. Archaeological Museum, Corfu.

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Figure 5-17 Reconstruction drawing of the Siphnian Treasury, Delphi, Greece, ca. 530 BCE (John Burge).

5-17A Aerial view of the sanctuary of Apollo, Delphi, Greece, with the temple of Apollo, begun 548 BCE, and Archaic
treasuries.
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Figure 5-18 Gigantomachy, detail of the north frieze of the Siphnian Treasury, Delphi, Greece, ca. 530
BCE. Marble, 2’ 1” high. Archaeological Museum, Delphi.

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Greek Vase Painting
• Observe the representation of the human form on
Archaic vases. What similarities do figures on these
vases share with figural art of other ancient cultures?
• Differentiate between black-figure and red-figure
vases in terms of appearance, tools used, and
technique.
• Identify individual painters and potters who signed
their vases.
• Identify common subject matter in the paintings
• Realize the importance of Greek vases as the main
surviving repositories of Greek painting.

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Figure5-19 KLEITIAS and ERGOTIMOS, François Vase (Athenian black-figure volute krater), from Chiusi, Italy, ca. 570 BCE.
General view (top) and detail of centauromachy on other side of vase (bottom). 2’ 2” high. Museo Archeologico, Florence.

5-20A EXEKIAS, Achilles killing Penthesilea (Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. 1’ 4 3/8” high.
British Museum, London.
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Figure 5-20 EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy,
ca. 540–530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei Vaticani, Rome.

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Figure 5-21 ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Athenian bilingual amphora), from Orvieto,
Italy, ca. 525–520 BCE. Black-figure side (left) and red-figure side (right). 1’ 9” high. Museum of Fine Arts, Boston.

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Figure 5-22 EUPHRONIOS, Herakles wrestling Antaios (detail of an Athenian red-figure calyx krater), from Cerveteri, Italy,
ca. 510 BCE. Whole vessel 1’ 7” high; detail 7 3/4” high. Louvre, Paris.

Figure 5-22A Euphronios, Death of Sarpedon, ca. 515 BCE
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Figure 5-23 EUTHYMIDES, Three revelers (Athenian
red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’
high. Staatliche Antikensammlungen, Munich.

5-23A ONESIMOS, Girl preparing to bathe (interior of an Athenian red-figure kylix), from Chiusi, Italy, ca. 490 BCE. Tondo 6”
in diameter. Musées Royaux des Beaux-Arts de Belgique, Brussels.
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Aegina and the Transition to the Classical
Period
• Compare and contrast the design of the Temple of
Aphaia at Aegina (500 – 490 BCE) to the Temple of
Hera I at Paestum.
• Notice the refinement of form of the Temple of
Aphaia.
• Compare and contrast the pediment sculpture of the
Temple of Aphaia to the Temple of Artemis of
Corfu.
• Notice that the pediment of Temple of Aphaia
utilized sculpture in the round, similarly sized figures
throughout, and a unified narrative.

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Figure 5-24 Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE.

5-25 Model of the Temple of Aphaia, Aegina, Greece, ca. 500-490 BCE, showing internal elevation. Glyptothek, Munich.
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Figure5-26 GUILLAUME-ABEL BLOUET’S 1828 restored view of the façad of the Temple of Aphaia,
Aegina, Greece, ca. 500–490 BCE.

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Figure5-28 Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1” long.
Glyptothek, Munich.

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Figure 5-27 Dying warrior, from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 500–490 BCE. Marble,
5’ 2 1/2” long. Glyptothek, Munich.

Dying Warriors from the Temple of
Aphaia
• Notice the difference(s) between the two dying warriors
from the west and east pediments of the Temple of
Aphaia.
• How are they different?
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5.3 Early and High Classical Periods (5th
century BCE)
• Understand the significance of the Persian invasions
of the early 5th
century to the development of the
Classical period.
• Examine the development of human representation
in sculpture and the philosophy and principles
behind its form.
• Explore the Acropolis, its architecture and
sculpture.

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Perfection in Sculptural Form
• Understand the concepts of contrapposto, Polykleitos’
canon, and the expression of the Greek ideal of
human form in the work of Classical sculptors.
• Examine the art materials, techniques, and
individual artists that made the sculptural forms
possible.

Temple of Zeus at Olympus (470 –
457 BCE)
• First great monument of Classical art and architecture
• Since it is largely in ruins today, compare to Temple of
Hera II at Paestum (believed to influenced by Temple
of Zeus)
• Statuary of east pediment of Temple of Zeus remain
• How do they differ from Archaic statuary?
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Figure 5-29 Temple of Hera II, Paestum, Italy, ca. 460 BCE.

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Figure 5-30 East pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, 87’ wide. Archaeological
Museum, Olympia.

5-32A Centauromachy, west pediment from the Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble, Apollo (central
figure), 10’ 8” high. Archaeological Museum, Olympia.
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Figure 5-31 Seer, from the east pediment
of the Temple of Zeus, Olympia, Greece,
ca. 470–456 BCE. Marble, full ﬁgure 4’ 6”
high; detail 3’ 2 1/2” high. Archaeological
Museum, Olympia.

Figure 5-32 Apollo, from the west pediment (Fig. 5-32A) of the Temple of Zeus, Olympia, Greece, ca. 470-
456 BCE. Marble, restored height 10’ 8”. Archaeological Museum, Olympia.
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Figure 5-33 Athena, Herakles, and
Atlas with the apples of the
Hesperides, metope from the
Temple of Zeus, Olympia, Greece,
ca. 470–456 BCE. Marble, 5’ 3”
high. Archaeological Museum,
Olympia.

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Figure 5-34 Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE.
Marble, 2’ 10” high. Acropolis Museum, Athens.
Kritios Boy is the earliest known
example of contrapposto, a relaxed and
natural stance.
Notice how his weight shifts to his
left leg and how his head turns
slightly to his right.
Notice absence of Archaic smile

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Figure 5-35 Warrior, from the sea off Riace, Italy, ca. 460–450
BCE. Bronze, 6’ 6” high. Museo Archeologico Nazionale, Reggio
Calabria.
This Riace Warrior, like most
Classical Greek statues, was
sculpted in bronze. Most
Classical bronzes have not
survived.
Much of the Classical Greek
sculptures today are Roman
marble copies.

5-36 Two stages of the lost-wax method of bronze casting (after Sean A. Hemmingway).
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5-37 Charioteer, from a group dedicated by Polyzalos pf Gela in the sanctuary of Apollo, Delphi, Greece, ca.
470 BCE. Bronze, 5’ 11” high. Archeological Museum, Delphi.
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Fig. 5-38 Zeus (or Poseidon?), from the sea off Cape
Artemision, Greece, ca. 460–450 BCE. Bronze, 6’ 10”
high. National Archaeological Museum, Athens.

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Figure 5-39 MYRON, Diskobolos (Discus Thrower).
Roman marble copy of a bronze original of ca. 450
BCE, 5’ 1” high. Museo Nazionale Romano—Palazzo
Massimo alle Terme.

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Figure 5-40 POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble
copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’
11” high. Museo Archeologico Nazionale, Naples.
Doryphoros (Spear Thrower),
POLYKEITOS
•Originally titled Canon
•Established Polykleitos’ canon of
proportions, setting ideal
correlations among body parts
•Contrapposto
•Notice the harmony of opposites

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Figure 5-41 KRESILAS, Pericles. Roman marble
herm copy of a bronze original of ca. 429 BCE. Full
herm 6’ high; detail 4’ 6 1/2” high. Musei Vaticani,
Rome.
Pericles:
•Elected stratego, general of
Athens 15X
•Instrumental in rebuilding
and beautifying Athens
after second Persian
invasion
•Notice his idealized
appearance

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The Acropolis of Pericles
• Examine the architectural detail of the Parthenon,
the Propylaia, and the Erechtheion.
• Explore the sculpture of Phidias at the Acropolis.

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Figure 5-42 Aerial view of the Acropolis looking southeast, Athens, Greece.

5-43 Restored view of the Acropolis, Athens, Greece (John Burge). (1) Parthenon, (2) Propylaia, (3)
pinakotheke, (4) Erechtheion, (5) Temple of Athena Nike.
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Figure 5-1 IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast),
Acropolis, Athens, Greece, 447–438 BCE.

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Figure 5-45 Plan of the Parthenon, Acropolis, Athens, Greece, with diagram of sculptural program (after Andrew Stewart),
447–432 BCE.

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Figure 5-46 PHIDIAS, Athena Parthenos, in the cella of the Parthenon, Acropolis, Athens, Greece, ca. 438 BCE. Model of the
lost chryselephantine statue. Royal Ontario Museum, Toronto.

5-47 Lapith versus centaur, metope from the south side of the Parthenon, Acropolis, Athens, Greece, ca.
447-438 BCE. Marble, 4’ 8” high. British Museum, London.
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Figure 5-48 Helios and his horses, and Dionysos (Herakles?), from the east pediment of the Parthenon, Acropolis, Athens,
Greece, ca. 438–432 BCE. Marble, greatest height 4’ 3”. British Museum, London.

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Figure 5-49 Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens,
Greece, ca. 438–432 BCE. Marble, greatest height 4’ 5”. British Museum, London.

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Figure 5-50 Details of the Panathenaic Festival procession frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447–438
BCE. Marble, 3’ 6” high. Horsemen of north frieze (top), British Museum, London; seated gods and goddesses (Poseidon,
Apollo, and Artemis) of east frieze (center), Acropolis Museum, Athens; and elders and maidens of east frieze (bottom), Louvre,
Paris.

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Figure 5-51 MNESIKLES, Propylaia (looking southwest), Acropolis, Athens, Greece, 437–432 BCE.

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Figure 5-52 Erechtheion (looking northwest), Acropolis, Athens, Greece, ca. 421–405 BCE.

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Figure 5-53 Plan of the
Erechtheion, Acropolis,
Athens, Greece, ca. 421–
405 BCE.

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Figure 5-54 Caryatids of the south porch of the Erechtheion, Acropolis, Athens,
Greece, ca. 421–405 BCE. Marble, 7’ 7” high.

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Figure 5-55 KALLIKRATES, Temple of Athena Nike (looking southwest), Acropolis, Athens, Greece, ca.
427–424 BCE.

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Figure 5-56 Nike adjusting her sandal, from the south side of
the parapet of the Temple of Athena Nike, Acropolis, Athens,
Greece, ca. 410 BCE. Marble, 3’ 6” high. Acropolis Museum,
Athens.

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Figure 5-57 Grave stele of Hegeso, from the
Dipylon cemetery, Athens, Greece, ca. 400 BCE.
Marble, 5’ 2” high. National Archaeological
Museum, Athens.

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Classical Vases and Painting
• Painters painted large wooden panels that were
displayed in public buildings; these are lost today
• Classical vases provide insight into possible
elements of those panel paintings
• Examine polychromy and white-ground vase
painting.
• Learn about Polygnotos, landscape painting, and
mosaic copies of Greek painting.

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Figure 5-58 ACHILLES PAINTER, Warrior taking leave of his
wife (Athenian white-ground lekythos), from Eretria, Greece, ca. 440
BCE. Approx. 1’ 5” high. National Archaeological Museum, Athens.

5-58A REED PAINTER, Warrior seated at his tomb (Athenian white-ground lekythos), from Eretria, Greece, ca. 410–400
BCE. 1’ 7 1/4” high. National Archaeological Museum, Athens.
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Figure 5-59 NIOBID PAINTER, Artemis and Apollo slaying the children of Niobe (Athenian red-figure calyx krater), from
Orvieto, Italy, ca. 450 BCE. 1’ 9” high. Louvre, Paris.

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Figure 5-60 PHIALE PAINTER, Hermes bringing the infant Dionysos to Papposilenos (Athenian white-ground calyx krater),
from Vulci, Italy, ca. 440–435 BCE. 1’ 2” high. Musei Vaticani, Rome.

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Figure 5-61 Youth diving, painted ceiling of the Tomb of the Diver, Paestum, Italy, ca. 480 BCE. 3’ 4” high. Museo
Archeologico Nazionale, Paestum.

5.4 Late Classical Period (4th
century
BCE)
• Late 5th
century was marked by the devastating
Peloponnesian War between Athens and Sparta
• Macedonians invade Greece and defeat the united city
states at the Battle of Chaeronea in 338 BCE.
• 4th
century Greece – political turmoil
• Affected appearance of art
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Figure 5-62 PRAXITELES, Aphrodite of Knidos. Roman marble
copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei
Vaticani, Rome.
Aphodite of Knidos,
PRAXITELES
•Bold step to render a goddess
in the nude
•Sensuous and humanizing
qualities – different from the
cold, aloof gods and athletes of
the High Classical

5-62A Head of a woman, from Chios, Greece, ca. 320–300 BCE. Marble, 1’ 2” high. Museum of Fine Arts, Boston (gift of
Nathaniel Thayer, 1910).
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Figure 5-63 PRAXITELES(?), Hermes and the infant
Dionysos, from the Temple of Hera, Olympia, Greece. Copy
of a statue by Praxiteles of ca. 340 BCE or an original work of
ca. 330–270 BCE by a son or grandson. Marble, 7’ 1” high.
Archaeological Museum, Olympia
Hermes and the infant
Dionysus
•By follower of Praxiteles (son
or grandson possibly)
•Notice S-curve of the body
(pronounced contrapposto)
•New standard of adult and
child interaction

5-63A Artist painting a marble statue of Herakles (Apulian red-figure column krater), ca. 350–320 BCE. 1’ 8 1/4” high.
Metropolitan Museum of Art, New York (Rogers Fund, 1950).
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Figure 5-64 Grave stele of a young hunter, found
near the Ilissos River, Athens, Greece, ca. 340–330
BCE. Marble, 5’ 6” high. National Archaeological
Museum, Athens.
Grave stele influenced by
the work of Skopas of
Paros (sculptor)
Known for including
intense emotionalism in
his work

5-64A Head of Herakles or Telephos, from the west pediment of the Temple of Athena Alea, Tegea, Greece, ca. 340 BCE.
Marble, 1’ 1/2” high. (Stolen from) Archaeological Museum, Tegea.
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Figure 5-65 LYSIPPOS, Apoxyomenos (Scraper). Roman marble
copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei
Vaticani, Rome.
Apoxyomenos,
LYSIPPOS
Established a different
canon of proportions
from that of Polykleitos

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Figure 5-66 LYSIPPOS, Weary Herakles (Farnese Herakles).
Roman marble copy from Rome, Italy, signed by GLYKON OF
ATHENS, of a bronze original of ca. 320 BCE. 10 ‘ 5” high.
Museo Archeologico Nazionale,Naples.

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Figure 5-67 Head of Alexander the Great,
from Pella, Greece, third century BCE. Marble,
1’ high. Archaeological Museum, Pella.

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Figure 5-68 GNOSIS, Stag hunt, from Pella, Greece, ca. 300 BCE. Pebble mosaic, figural panel 10’ 2” high. Archaeological
Museum, Pella.

Figure 5-69 Hades abducting Persephone,
detail of wall painting from tomb 1,
Vergina, Greece, mid-fourth century BCE,
3’ 3 ½ ”
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Figure 5-70 PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House
of the Faun, Pompeii, Italy, late second or early first century BCE. Tessera mosaic, approx. 8’ 10” X 16’ 9”. Museo
Archeologico Nazionale, Naples.

5-70 PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy (Alexander Mosaic) from the House of the Faun,
Pompeii, Italy, late second or early first century BCE. Tessera mosaic, 8’ 10” x 16’ 9”. Museo Archeologico Nazionale, Naples.
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Late Classical Architecture
• Explore the development of late classical architecture in the
Greek theater, the Corinthian capital, and the tholos.

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Figure 5-71 POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350 BCE.

5-64B Model of the tomb of
Mausolos (Mausoleum),
Halikarnassos, Turkey, ca. 353–340
BCE. Museum of Underwater
Archaeology, Bodrum.
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Figure 5-72 THEODOROS OF PHOKAIA, Tholos, Delphi, Greece, ca. 375 BCE.

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5.5 Hellenistic Period (323 – 30 BCE)
• Begins after the death of Alexander the Great (323 BCE);
lasts through the defeat of Cleopatra and Mark Anthony by
the Romans at the Battle of Actium (30 BCE)
• Relate the influence on Greek architecture as a result of the
expansion of the Greek world.
• Observe the different qualities and values of Hellenistic art
compared to the Classical period

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Figure 5-73 POLYKLEITOS THE YOUNGER, Corinthian capital, from the tholos, Epidauros, Greece, ca. 350
BCE. Archaeological Museum, Epidauros.

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Figure 5-74 Choragic Monument of Lysikrates, Athens, Greece,
334 BCE.

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Figure 5-75 PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo, Didyma, Turkey, begun 313 BCE.
Plan (left) and aerial view (right).

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Figure 5-76 Restored view of the city of Priene, Turkey, fourth century BCE and later (John Burge).

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Figure 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE (with the Acropolis in the background).

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Architecture in the Hellenistic World
• Relate the influence on Greek architecture as a result of the
expansion of the Greek world.
• Examine the architecture – and architectural sculpture – at
Pergamon in Turkey.

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Figure 5-78 Reconstructed west front of the Altar of Zeus, Pergamon, Turkey, ca. 175 BCE. Staatliche Museen, Berlin.

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Figure 5-79 Athena battling Alkyoneos, detail of the gigantomachy frieze, from the Altar of Zeus, Pergamon, Turkey ca. 175
BCE. Marble, 7’ 6” high. Staatliche Museen, Berlin.

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Sculpture in the Hellenistic Period
• Examine the dynamic motion and emotion in Hellenistic
sculpture.
• Understand how and why it is different from sculpture of the
Classical period.

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Figure 5-80 EPIGONOS(?), Gallic chieftain killing
himself and his wife. Roman marble copy of a bronze
original of ca. 230–220 BCE, 6’ 11” high. Museo
Nazionale Romano–Palazzo Altemps, Rome.

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Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo
Capitolino, Rome.

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Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from
Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high. Louvre,
Paris.

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Figure 5-83 ALEXANDROS OF ANTIOCH-ON-THE-MEANDER,
Aphrodite (Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble,
6’ 7” high. Louvre, Paris.

5-83A Aphrodite, Eros, and Pan, from Delos,
Greece, ca. 100 BCE. Marble, 4’ 4” high. National
Archaeological Museum, Athens.
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Figure 5-84 Sleeping satyr (Barberini
Faun), from Rome, Italy, ca. 230–200
BCE. Marble, 7’ 1” high. Glyptothek,
Munich.

5-85 Sleeping Eros, from Rhodes, ca. 150–100 BCE. Bronze, 2’ 9 1/2" long. Metropolitan Museum of Art, New York (Rogers
Fund, 1943).
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Figure 5-86 Seated boxer, from Rome, Italy,
ca. 100–50 BCE. Bronze, 4’ 2” high. Museo
Nazionale Romano–Palazzo Massimo alle
Terme, Rome.

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Figure 5-87 Old market woman, ca. 150–100 BCE.
Marble, 4’ 1/2” high. Metropolitan Museum of Art, New
York.

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Figure 5-88 POLYEUKTOS, Demosthenes. Roman marble
copy of a bronze original of ca. 280 BCE. 6’ 7 1/2” high. Ny
Carlsberg Glyptotek, Copenhagen.

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Figure 5-89 ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES, Laocoön and his sons, from Rome,
Italy, early first century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.

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Figure 5-90 ATHANADOROS,
HAGESANDROS, and POLYDOROS
OF RHODES, head of Odysseus, from
Sperlonga, Italy, early first century CE.
Marble, 2’ 1 1/4” high. Museo
Archeologico, Sperlonga.

130
Discussion Questions
 How have funerary markers or stelae changed in
contemporary times? What do these monuments say about
our culture? Our identities?
 What Greek beliefs about the human being and and the
human body are continued to this day?
 How does Greek art change with the conquests of
Alexander the Great and later, being conquered by the
Persians and the Romans?
 How is Greek influence reflected in contemporary art and
architecture?

Chapter 5 - Ancient Greece

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Chapter 5 - Ancient Greece