AHIS 120g 1st EditionExam 2 Study GuideCLASSICISM AND THE CANNON- Kore: Greek word for ‘maiden’. An Archaic Greek statue of standing, draped female.- Kouros: Greek word for ‘male youth’ an Archaic Greek statue of standing, nude youth.- Archaic smile: unnaturalistic smile characteristic of any archaic Greek sculpted images.Artists ceased to depict figures smiling in this way once they began to explore greaternaturalism. - Canon of proportion: conventions of pose, proportion and appearance- Contrapposto: Italian for “set against”. A composition developed by the Greeks to representmovement in a figure.o The parts of the body are placed asymmetrically in opposition to each otheraround a central axis, and careful attention is paid to the distribution of weight. - S-curve: is a traditional art concept in Ancient Greek sculpture and Roman sculpture wherethe figure's body and posture is depicted like a sinuous or serpentine "S".o It is related to and is an extension of the art term of contrapposto.- Classicizing: to refer to the forms and ideals of the Classical world, principally Greece andRome.Archaic sculpture- New York Kouros (ca. 600 BCE)o Similarities with Egyptian sculpture. Rigidly frontal; slim and broad-shouldered; arms side-by-side; left legforward; shoulders, knees and hips are all level; conceived from all foursides.o Differences with Egyptian sculpture. Greek sculptures are free-standing, without the back slab that supportsEgyptian stone figures.  Incorporation of empty space between the legs, arms and torso. More stylized. Large staring eyes, emphasized by bold arching eyebrows,and in linear treatment of anatomy. Archaic smile.  The male youth is nude.- Kore (ca. 630 BCE)o Similarities with Egyptian sculpture.o Differences with Egyptian sculpture.o Although demonstrating breasts, she is covered. Ancient Greeks allowed nudity for males, as it was the idealized body.Femininity was inferior. - Kroisos (ca. 540 BCE)o Modeling of anatomy with swelling curved—more NATURALISTIC. Allowed greater plasticity of the body.o Archaic smile. CLASSICAL GREECEKritios Boy (480 BCE)- Has one leg forward like the earlier kouroi, however an important change has occurred.o The sculptor has shifted the youth’s weight, creating a calculated asymmetry in thetwo sides of his body. o The axis of the body is not a straight vertical line, but a reversed S-curve. - Kritios Boy stands at ease. o The artist masterfully observed the balanced asymmetry of this relaxed naturalstance, which is known as chiastic pose—also contrapposto. - The sculptor exaggerated the line of muscles over the pelvis to create a greater unitybetween the thighs and torso, emphasizing the sculpture’s three-dimensionality andencouraged the viewer to walk around it. - The Archaic smile is gone.- The head is turned slightly away from the front, removing the direct gaze of earlier kouroiand casting the figure into his own world of thought.Doryphorus (Spear Bearer) by Polykleites (c. 450-440 BCE)- The chiastic pose is much more emphatic than in the Kritios Boy, the turn of the head morepronounced. - Polykleitos explored principles of commensurability—symmetry—where part related topart, and all the parts to the whole: he proposed an ideal system of proportions, not just forindividual elements of the body but for their relation to one another and to the body as awhole.- Yet for Polykleitos, the search for an idea system of proportions was more than the artist’said. o It was rooted in a philosophical quest for illumination, and in a belief of harmony inthe universe such as in music and in all things—could be expressed in mathematicalterms.- Pose and expression reflected character and feeling, which revealed the inner person andwith it, arête—excellence or virtue. LATE CLASSICAL, GREECEAphrodite at Knidos by Praxiteles (c. 340-330 BCE )- Working with marble instead of bronze, Praxiteles gave his sculptures of divinities a youthfulsensuousness that suggests their willful capriciousness toward humans.- Aphrodite was the first nude monumental statue of a goddess in the Greek world. o Her fame spread fast, and visitors came to the island from far and wide to see her.- Her appeal resided in the blatant eroticism of the image. o A viewer catches Aphrodite either as she is about to bathe or as she is rising from herbath.o Her head is slightly turned, so she does not engage a viewer’s gaze directly, but aviewer is made complicit with the sculpture.o Aphrodite intended to be surprised as she bathed, the uncertainty for a viewerarguments the erotic quality of the image. - A viewer’s role is more complex here than in the Classical period: the sculpture invitesphysical and emotional engagement.Apollo Belvedere (4th c. BCE)- Represents the god in an open pose, with his left arm outstretched.- Perceived power and desirability, tinged with eroticizing overtones. - Its significance for art historians resides more in its modern reception—the role it played foradmiring Renaissance artists for instance—than its place in ancient culture. HELLENISTIC, GREECENike of Samothrace (c. 190 BCE)- Dramatic location and style combine in the victorious monument.- The victory goddess seems to be landing on the prow of a ship—about to take flight.- The lift of the wings makes the whole statue appear weightless, despite the great mass ofstone: in a new variant of chiastic stance, neither legs holds the body’s full weight. - Drapery swirls around the goddess’s body, exposing her anatomy and stressing the sensuouscurves of her form. Altar of Zeus, Pergamon, (c. 200 BCE)- Exemplifies the highly emotional, dramatic style at its height. - Built to commemorate territorial victories over Prontos and Bithynia and the establishmentof a grand victory festival—the Nikephoria. - The boldest feature is a frieze encircling the base, which extends over 400 feet in length andover 7 feet in height.o Its subject, the Battle of the Gods and Giants, was a familiar theme in architecturalsculpture. - Imbued with Hellenistic theatricality. o Sculptors carved the figures so deeply, and undercut them in places so forcefullycreating a vivid interplay of light and dark. o Muscular bodies rush at each other, overlapping and