5.4 Late Classical Period (4th century BCE)

5.4 Late Classical Period (4th century BCE)

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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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
Figure 5-62 PRAXITELES, Aphrodite of Knidos. Roman marble
copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei
Vaticani, Rome.
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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- not common
in earlier works
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
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Apoxyomenos,
LYSIPPOS
Established a different
canon of proportions
from that of Polykleitos
Figure 5-65 LYSIPPOS, Apoxyomenos (Scraper). Roman marble
copy of a bronze original of ca. 330 BCE, 6’ 9” high. Musei
Vaticani, Rome.
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Athena, Herakles, and Atlas, metope from the Temple of
Zeus, ca. 470 bce
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 5-68 GNOSIS, Stag hunt, from Pella, Greece, ca. 300 BCE. Pebble mosaic, figural panel 10’ 2” high. Archaeological
Museum, Pella.
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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.
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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.
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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 5-77 Stoa of Attalos II, Agora, Athens, Greece, ca. 150 BCE (with the Acropolis in the background).
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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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Compare and Contrast these two sculptures representing the same story
(Gigantomachy, Athena and Gods against the giants)
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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.
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Figure 5-84 Sleeping satyr (Barberini
Faun), from Rome, Italy, ca. 230–200
BCE. Marble, 7’ 1” high. Glyptothek,
Munich.
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Figure 5-85 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 5-86 Old market woman, ca. 150–100 BCE.
Marble, 4’ 1/2” high. Metropolitan Museum of Art, New
York.
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Figure 5-87 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 5-88 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 5-89 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.
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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?
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