Red-figure and black-figure vase paintings are two of the most significant styles of pictorial and narrative Greek art. Around the third quarter of the sixth century (550-525 BCE) Attic black- figure painting developed with artists such as Exekias, and around 475-450 BCE this technique progressed into red-figure painting. Vases produced for the purpose of these styles of painting, were created in diverse shapes such as amphorae and hydrae that were employed for different functions like carrying water or storage and transport. Some of the vases are painted with scenes related to the function and shape of them, and some may have alternative domestic, religious or political purposes. This essay will describe and compare two Greek vases that …show more content…
War or battle is the main theme of these vases and it is portrayed through the use of heroic figures such as Herakles and Theseus who slay beasts and monsters. These images are not necessarily documents or representations of real life. They are symbols and statements of a larger social or political event such as the Peloponnesian or Persian wars. The defeat of the Nemean Lion by Herakles could be symbolic …show more content…
The roles of war and battle themed vases were to provide the youth with heroic figures to idealize and to educate them in ways to defeat the enemy. Also, since the Persian wars were an active event in that period, war scenes gained much popularity in Greek art. Moreover, military and physical ability were two aspects expected from male individuals in that period of time. Hence the heroic scenes were depicted in many styles of Greek art as an emphasis on what is expected. The study of red-figure and black-figure Greek vase painting is a broad topic still under research. There are certain features that are in common between the techniques and certain that differentiate them to a large extent. However, pictorial narrative is a common theme they both possess. Mythological representation of certain characters is seen throughout these techniques in Greek art. Some are comprehended literally and some are evident to have hidden meanings and purposes that are most likely to be understood by Greeks in the time period they were produced in. The choice of myths and images on them mostly depend on their purpose which may nor may not depend on their
Played a vital role in Greek society for they were responsible for many aspects of Greek
told a story through their artwork. All the different artists had different mediums and ways of expressing
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
The wide rimmed ring of space located at the top of the lekythos was commonly decorated with a pattern called palmette. Discovering a palmette pattern is not unusual to find on a lekythos, and many other types of ancient Greek pottery. The different variations in color, design, pattern, intricacy and brushstroke can help determine the ancient painter. Because the colors were not fired directly on the white-ground, they are not necessarily as permanent as the black gloss; therefore overtime the vivid colors and detailed decoration will
Those familiar with Greek mythology will recognize the name of Iolaos, as he is the nephew of Herakles. In many renderings of Herakles’ labors, Iolaos is nearby. Sometimes, Iolaos is in the center of the action of Herakles’ endeavors, just as he is in the thick of this fight on this chous. Some versions of the story of Herakles and the hydra say that Herakles asked for Iolaos help to cauterize the decapitated stumps of the hydra. Perhaps this is why Iolaos is displayed holding torches at such an odd angle over the hydra as Herakles attacks the hydra. If this is the reason for Iolaos’ presence, one suspects that Iolaos’ help is a vital part of Herakles’ venture. One of the most interesting details to note about the depiction of Iolaos is the similarity in appearance to Herakles. In fact, the resemblance is shocking. Though the two are related, one would not expect for Herakles to look exactly like his nephew. Yet, the artist chose to present the viewer with very similar young males. The only clear distinctions are Herakles’ cloak and the fact that Herakles has a bit more muscular development than Iolaos. Otherwise, these two could easily be mistaken for each other in this work of
Onians, John. Art and Thought in the Hellenistic Age: The Greek World View 350-50 B.C. London: Thames and Hudson, Ltd., 1979.
Throughout the history of Ancient Greece thousands of great works of art were produced. Works were created in many different media, ranging from life-size statues to larger than life architectural structures. One type of art that can sometimes be overlooked, though, is pottery. There are many examples of great Greek pottery, but the two that will be used as a sample are Artemis Slaying Actaeon and Woman and Maid. By considering the backgrounds of these works, and comparing them directly we are able get a taste not only of the artistic styles of the time, but also a taste of ancient Greek culture.
Winckelmann like Vasari dealt greatly with the artistic problems concerning representation and imitation of nature including the need for the human beauty in a figure. However he also was interested in art criticism based in historical timelines and causes for the change and evolution of modern art. This greatly seen in this article not only in his thesis that great contemporary art is based in antiquity but also in his explanation for why the Greek art was so well done and why it has risen back into the hands of modern art. First, Greek work came back to contemporary society greatly by the monarch led by Titus who brought authentic work from Greek masters for his artists to learn from and imitate. He also discusses the correlation between the bodies, like that of the Theseus model, with the Greek lifestyle they lived based heavily on training for the Olympic games and the resemblance of youth’s bodies to godlike figures. Great masters of contemporary work use these same bodily model and ideal of beauty in their work. Winckelmann states that their present good taste is due to the fact that they, “partook of good taste at its source.” Overall the Greeks set up rules of art that could be imitated to capture nature and its ideal form of beauty, an idea that many sought to accomplish.
varied from designing coins, mosaics, gem engravings, architecture, pottery and sculptures. I’m also going to talk about what tools the sculptors used and the various methods used to make pottery and vases. The second part of my report will be about a day in the life of a Greek artist for example how they were treated were they considered middle class, upper class or were they looked down upon also what were their daily tasks, how did they would start their day and end it. The main reason I picked this topic is because art is a very important key to learning about a cultures history and beliefs. Greek art has influenced many other countries especially Rome most of their art and art from the Italian renaissance were copies of original Greek works of art.
Greece is famously known world widely for its spectacular artworks. People are familiarized with its sculptures, paintings, and mosaics, but not many know how its art has been transforming from time to time. An explicit example would be the drastic changes from Aphrodite of Knidos to The Old Market Woman.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Herodotus. “Greece Saved from Persian Conquest.” Readings in Ancient History. Eds. Nels M. Bailkey and Richard Lim. Boston: Houghton Mifflin Company, 2002.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.
"Greek artists…explored people’s experienced, interactions with the natural world,and human relations to the gods. Everyday people were represented in Greek art…" (Emory)
The first definable period of Greek pottery, Geometric (c. 900-700 BCE), accounts for the majority of ancient vase painting still in existence today; and as such, affords us the broadest view into this art form. The period attributes its name to the geometric forms that artists used to detail their vessels. The primary decorative motifs that distinguish the period include parallel lines, concentric