Chapter 5 Study Guide

Ancient Greece

Geometric

• Dipylon Krater, Dipylon Cemetery, Athens, Greece, c. 740 BC
• Herakles and Nessos, Olympia, Greece, c. 750-730 BC

Orientalizing

• Mantiklos Apollo, Thebes, Greece, c. 700-680 BC
• Lady of Auxerre, c. 650-625 BC

Archaic Period

• New York Kouros, Attica, Greece, c. 600 BC
• Anavysos Kouros, Anavysos, Greece, c. 530 BC
• Peplos Kore, Athens, Greece, c. 530 BC
• Temple of Hera I, Paestum, Italy, c. 550 BC
• Kleitias and Ergotimos, Francois Vase, Chiusi, Italy, c. 570 BC
• Exekias, Achilles and Ajax, Vulci, Italy, c. 540-530 BC
• Euphronios, Herakles Wrestling Antaios, Cerveteri, Italy, c. 510 BC
• Euthymides, Three Revelers, Vulci, Italy, c. 510 BC

Classical Period

• Kritios Boy, Acropolis, Athens, Greece, c. 480 BC
• Artemision God, Cape Artemision, Greece, c. 460-450 BC
• Myron, Diskobolos (Discus Thrower), c. 450 BC
• Polykleitos, Doryphoros (Spear Bearer), c. 450-440 BC
• Iktinos and Kallikrates, Parthenon, Acropolis, Athens, Greece, 447-438 BC
• Caryatid Porch from the Erechthion, Acropolis, Athens, Greece, c. 421-405 BC
• Praxiteles, Aphrodite of Knidos, c. 350-340 BC
• Lysippos, Apoxyomenos (Scraper), c. 330 BC
• Head of Alexander the Great, Pella, Greece, 3rd c. BC

Hellenistic Period

• Altar of Zeus at Pergamon, Pergamon, Turkey, c. 175 BC
• Nike of Samothrace, Samothrace, Greece, c. 190 BC
• Alexander of Antioch-on-the-Meander, Venus de Milo, Melos, Greece, c. 150-125 BC
• Polyeuktos, Demosthenes, c. 280 BC
• Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoon and his Sons, Rome, Italy, early 1st c. BC

1. Why is it often difficult to determine whether early Greek figural sculptures represent humans or gods? (ex: Mantiklos Apollo, Lady of Auxerre)

2. Define the following:

A. Kouros

B. Kore

C. Contrapposto

3. What is the ‘Archaic Smile’ and what is a likely explanation for its consistent use?

4. Define the following architectural terms:

A. Cella/Naos

B. Stylobate

C. Peristyle

D. Pronaos

E. Pediment

F. Caryatid

5. Describe the features of the columns of the Doric, Ionic, and Corinthian Orders.

6. In the pediment sculpture of the Temple of Artemis at Corfu, how did the sculptor represent Medusa running?

7. What were the Gigantomachy and the Centauromachy? What did they represent symbolically?

8. What advantages did the red-figure painting technique have over the older black-figure technique?

9. What is remarkable about the representation of the figures in Euthymides’s Three Revelers Amphora?

10. What sculpture embodies the Classical ideal of human beauty and perfection? Who was the sculptor and briefly describe his treatise entitled The Canon.

11. Why was the rebuilding of the Athenian Acropolis necessary? How was it financed and under whose political leadership did the rebuilding take place?

12. What aspect of the Aphrodite of Knidos by Praxiteles was unprecedented and shocking at the time? Why?

13. Explain the differences between High Classical and Late Classical sculpture by comparing Polykleitos’s Doryphoros with Lysippos’s Apoxyomenos.

14. Who was Alexander the Great and why is he so important in the study of Greek art?

15. How does the Nike of Samothrace embody the Hellenistic interest in capturing a sense of theatricality? How does the Nike depart from the ideas propounded in Polykleitos’s Canon?