ARTHIST 101 1st Edition Lecture 15 Temple of Aphaia Aegina Greece c 500 490 BC Vertical on top of a mountain Archaic style overt focus Doric order classical order very important Peristyle temple Not bisected Increasing the vertical movement of the temple Surviving sculpture of the West above and East below Pediments of the temple of Aphaia Marble Aegina Greece c 500 490 BC Great source of hybridization Athena guiding the Greeks into the war in Troy Stone heavily painted amplifying flesh was color of the stone Reconstruction of the West Pediment of the temple of Aphaia Marble Aegina Greece c 500 490 BC Greater understanding of the human body Position of the body Athena is a dominant figure Incredibly vertical rigid Archaic smile perfect symmetry Naturalism is becoming more and more dominant Slight sense of movement yet still fairly rigid Dying Warrior from the West pediment of the temple of Aphaia Marble Aegina Greece c 500 490 BC Spear has been driven into the chest Death rows trying to pull spear out Strange contortions with the legs These notes represent a detailed interpretation of the professor s lecture GradeBuddy is best used as a supplement to your own notes not as a substitute Not following the actual movements of the body Psychology behind the face Reconstruction of the East pediment from the temple of Aphaia Marble Aegina Greece c 500 490 BC The way in which the emotion is expressed in its natural form Athena guiding the troops into the battle of Troy Athena is much more dynamic Naturalistically falling Dying warriors Dying Warrior from the East pediment of the temple of Aphaia Marble Aegina Greece c 500 490 BC In his death rows Trying to revive himself Using all of his force on the shield leverage himself The tension in his forearm and bicep amplify the advancement of naturalism Greater attempt to show the real emotion of the figure The Classical Period Directly referencing classical forms Foundation of movement of the western world 480 is important Delian Delos Kritios Boy Marble Acropolis Athens Greece c 480 BC Skeleton and body work showing from underneath inside to out Focus on the actual movement of the body Face turned slightly to the side classical S curve Tension and relaxation in the body Every contraction of a muscle relaxes another Flexibility and relaxation Contrapostto counterweight Warrior Bronze from the sea off Riace Italy c 460 450 BC More balanced than marble no support or rigid forms Masculine body Fairly colossal naturalism furthers No base at his feet can stand on his own 2 feet Individual engagement Another use of contrapostto tension and relaxation Ideals heroic male nude Tension shown in 360 degrees Gauntlet on his arm Bronze was opulent typical Greek soldier fashion Intended to look like he was living Lost in his own thoughts Polykleitos artist Doryphoros Spear Bearer Marble copy from Pompeii Italy of Bronze original c 450 440 BC Not the original the greatest classical sculpture of this time Experiment in human ratios Head is 1 6 ratio of the body Athlete heroic male nude Incredibly convincing anatomy Appears as living In a mid stride forward S curve defining the figure Pectorals and stomach shaped Perfect proportions Leg stepping taking all of the weight Chiastic balance Lost in his own thoughts Dominant aspects of the classical world Clean shaven and given a cap of hair to amplify the true proportions of the body Showpiece Redefine the classical era Holding spear in the original