HIGH CLASSICALART 381, HANDOUT 3: EARLY CLASSICAL ART AND ARCHITECTUREI. SculptureThe Severe Style: another name for the new, more naturalistic sculpture of the Early Classical Age (ca. 480-450 B.C.). Statues now stand in a hipshot stance which moves them out of the rigid frontality of Archaic sculpture, and the drapery is much heavier and covers the body in thick, doughy folds (Delphi Charioteer). The name "Severe Style" describes the heads of the figures, which have heavy-lidded eyes, a full lower lip, and a brooding and serious expression (Blond Boy). Early Classical sculpture was interest in depicting the human figure in action poses, although the action may not be truly realistic (Zeus from Cape Artemesion). Some Early Classical sculpture also shows an interest in depicting emotion realistically (Seer from East Pediment at Olympia).Euthydikos' Kore: dedicated by Euthydikos on the Acropolis around 485 B.C., she has clinging late Archaic drapery, but the brooding features of the "Severe Style." Known to cognoscenti as Acropolis 686 (actually only her top half).Kritios' Boy: statue of a young boy dedicated on the Acropolis ca. 485-475 B.C. Although nude like an Archaic Kouros, he stands in the new hip-shot stance (often called contrapposto or "counterpoise, an Italian term). His name derives from a German scholar's belief that he was made by a sculptor named Kritios--it is merely a conventional nickname for the statue.The Blonde Boy: a fine head of a young boy with an elaborate braided hairdo made ca. 480 B.C. and dedicated on the Acropolis. Preserves much yellow paint on its hair, hence the name.Angelitos' Athena: statuette of Athena made by Euenor and dedicated by Angelitos ca. 485-480 B.C. on the Acropolis. Although headless, it preserves the earliest Early Classical drapery with its characteristic "doughy" look.The Mourning Athena: relief made in Athens ca. 470-460 B.C. Shows Athena leaning onher spear and reading an inscribed stele. Since the relief once crowned an inscription, she may be reading that very inscription. Notable for its fine columnar drapery.Myron: Sculptor active in Athens around the middle of the fifth century B.C. He is best known for his Discus Thrower, a bronze statue which survives in Roman marble copies, and gives an expressive interpretation of athletic endeavor (the illusion of strong effort dueto the exaggerated crouching pose of the athlete). Original commemorated an athletic victory.A group of Athena admonishing the satyr Marsyas has also been recognized; the Marsyas has a notable early momentary pose. Myron's style seems close to that seen on some of the Parthenon's metopes (the earlier in style).Delphi Charioteer: bronze statue once part of a chariot group depicting a victory in the games at Delphi. It honored a Sicilian who won the chariot race in either 478 or 474 B.C.,and the sculptor was likely a Peloponnesian artist. A fine example of Early Classical drapery, albeit on a guy.1Zeus from Cape Artemesion: fine bronze statue found off Cape Artemesion in a shipwreck; it dates to ca. 460 B.C. Shows a striding Zeus hurling his thunderbolt. Meant to be seen from the side in profile, it shows the Early Classical period's desire to depict theillusion of motion.Riace Warriors: bronze statues of two warriors (one older-A, one younger-B, but not much) from a sculptural group, likely a victory monument, dated ca. 450 B.C. Found in the harbor of Riace in south Italy. Very close to High Classical in style. The Ludovisi "Throne": likely an altar facing, this three-sided relief once belonged to the Ludovisi family and was made in southern Italy ca. 470 B.C. It depicts the birth of Aphrodite on its main face, a nude hetaira (prostitute) on one short side playing the pipes, while an old woman is on the other short side. The style has "lingering Archaic" decorative qualities.II. Architecture and Architectural SculptureTemple E, Selinus: well-preserved Doric Temple built ca. 470 B.C. Had sculpted metopesacross each porch of the interior building. These are limestone with marble faces and limbsfor the female figures. They depict scenes of various myths (Zeus and Hera, Artemis and Actaeon).Temple of Zeus, Olympia: large Doric temple built ca. 470-460 B.C. It had a well-knowngold and ivory cult statue of the seated god, but this was made by Phidias ca. 430 B.C. Notable for its sculpture. It had six carved metopes over each porch of the inner building depicting 12 deeds of Herakles (who traditionally founded the Olympic Games). The West Pediment shows a Battle of Lapiths and Centaurs watched by a central Apollo, the East the Chariot Race between Oinomaus and Pelops, with Zeus at the center.Temple of Hera II, Paestum: the younger of the two Hera temples has 6 X 14 columns, but is otherwise rather like the Temple of Zeus at Olympia. Built ca. 460 B.C. III. PaintingPolygnotos of Thasos: an innovative wall and panel painter of the second quarter of the fifth century B.C. Apparently spread his figures over the surface on different groundlines, creating the illusion of a deeper space than earlier Greek painting. Also known for depicting the emotions or the psychology of the scene. Worked with Mikon of Athens on the Theseion at Athens (ca. 470 B.C.); also decorated a building at Delphi (the Lesche or clubhouse of the Knidians).The Tomb of the Diver, Paestum: painted tomb made ca. 480-470 B.C., it has a "lingering Archaic" style. The lid shows an interesting seen of the dead man diving into a lake seen in "birds' eye" view.White-ground vases: these vases appear in the late 6th century B.C. and become popular in the 5th. The area to be painted was covered with a chalky white slip and the figures 2were painted on in pastel colors. The end result is likely somewhat akin to contemporary wall-paintings.The Pan Painter: an Athenian red-figured painter who preserves much of the old Archaic decorative qualities, although his career lasted from the 480s to ca. 460 B.C. (Artemis andActaeon).The Niobid Painter: Athenain vasepainter best-known for a "calyx" krater he painted around 460 B.C. This has figures scattered over the surface on seperate groundlines, and apparently copies Polygnotus' innovations in pictorial space in contemporary monumental painting. The best-known scene on this vase may show Herakles rescuing Theseus from the Underworld, the other side has Apollo and Artemis slaughtering the children of Niobe.IV. Terms and NamesThe Oath of Plataea: traditionally, before