Download - A Clash Of Values Chanukah And Greek Art
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A CLASH OF VALUESA CLASH OF VALUES
THE CHANUKAH STORY THE CHANUKAH STORY AND THE HISTORY OF AND THE HISTORY OF
GREEK ARTGREEK ART
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THE DIFFERENT PERIODS OF THE DIFFERENT PERIODS OF GREEK HISTORY AND ARTGREEK HISTORY AND ART
600-480 BCE: THE ARCHAIC PERIOD600-480 BCE: THE ARCHAIC PERIOD 480-450 BCE: THE EARLY 480-450 BCE: THE EARLY
CLASSICAL PERIODCLASSICAL PERIOD 450-400 BCE: THE CLASSICAL 450-400 BCE: THE CLASSICAL
PERIODPERIOD 400-323 BCE: THE LATE CLASSICAL 400-323 BCE: THE LATE CLASSICAL
PERIODPERIOD 323-31 BCE: THE HELLENISTIC 323-31 BCE: THE HELLENISTIC
PERIODPERIOD
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THE CHANUKAH STORY TAKES THE CHANUKAH STORY TAKES PLACE IN PLACE IN
APPROXIMATELYAPPROXIMATELY 164 BCE, 164 BCE, PLACING THE HOLIDAY FIRMLY PLACING THE HOLIDAY FIRMLY
WITHIN THE HELLENISTIC WITHIN THE HELLENISTIC PERIODPERIOD
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THE ARCHAIC PERIOD:THE ARCHAIC PERIOD:KOUROS, CA. 600 BCEKOUROS, CA. 600 BCE
MARBLEMARBLE APPROX. 6’ HIGHAPPROX. 6’ HIGH RIGID AND FRONTALRIGID AND FRONTAL ONE FOOT FORWARD ONE FOOT FORWARD
AND FIST CLENCHEDAND FIST CLENCHED HAIR AND ARMS HAIR AND ARMS
ATTACHED TO BODYATTACHED TO BODY ELEMENTS OF ELEMENTS OF
EGYPTIAN ARTEGYPTIAN ART
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ARCHAIC TO CLASSICAL: DYING WARRIORS, ARCHAIC TO CLASSICAL: DYING WARRIORS, CA. 500-490 BCE AND CA. 490-480 BCECA. 500-490 BCE AND CA. 490-480 BCE
MARBLEMARBLE BOTH FROM THE BOTH FROM THE
TEMPLE OF TEMPLE OF APHAIA, AEGINA, APHAIA, AEGINA, GREECEGREECE
LOOK HOW ART LOOK HOW ART CHANGES IN TEN CHANGES IN TEN YEARS!YEARS!
WHAT IS THE WHAT IS THE ARCHAIC SMILE?ARCHAIC SMILE?
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EARLY CLASSICAL ART AND EARLY CLASSICAL ART AND KRITIOS BOYKRITIOS BOY, CA. 480 BCE, CA. 480 BCE
MARBLEMARBLE FROM THE ACROPOLIS, FROM THE ACROPOLIS,
ATHENS, GREECEATHENS, GREECE INTRODUCES THE WORLD INTRODUCES THE WORLD
TO THE TO THE CONTRAPPOSTO CONTRAPPOSTO POSE!POSE!
HUMANS SHIFT THEIR HUMANS SHIFT THEIR WEIGHT AND THE WEIGHT AND THE POSITION OF THE MAIN POSITION OF THE MAIN BODY PARTS AROUND BODY PARTS AROUND THE VERTICAL, BUT THE VERTICAL, BUT FLEXIBLE, AXIS OF THE FLEXIBLE, AXIS OF THE SPINESPINE
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EARLY CLASSICAL: WARRIOR, EARLY CLASSICAL: WARRIOR, CA. 460-450 BCECA. 460-450 BCE
FOUND IN THE SEA FOUND IN THE SEA OFF RIACE, ITALYOFF RIACE, ITALY
BRONZEBRONZE THE THE
CONTRAPPOSTO CONTRAPPOSTO POSE IN FULL VIEWPOSE IN FULL VIEW
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EARLY CLASSICAL: EARLY CLASSICAL: DISKOBOLOSDISKOBOLOS, 450 BCE, 450 BCE
AN ARTIST: MYRONAN ARTIST: MYRON MARBLEMARBLE FREED FROM FREED FROM
FRONTAL, RIGID FRONTAL, RIGID POSEPOSE
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GOING FURTHER IN HIGH GOING FURTHER IN HIGH CLASSICAL ART: CLASSICAL ART: DORYPHOROSDORYPHOROS, ,
CA. 450-440 BCECA. 450-440 BCE POLYKLEITOS POLYKLEITOS
ESTABLISHES A ESTABLISHES A CANONCANON
AIM IS TO IMPOSE AIM IS TO IMPOSE ORDER ON HUMAN ORDER ON HUMAN MOVEMENT, TO MAKE MOVEMENT, TO MAKE IT “BEAUTIFUL,” TO IT “BEAUTIFUL,” TO “PERFECT” IT“PERFECT” IT
MARBLEMARBLE ROMAN MARBLE COPY ROMAN MARBLE COPY
AFTER BRONZE AFTER BRONZE ORIGINALORIGINAL
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WHERE ARE THE WOMEN? HIGH WHERE ARE THE WOMEN? HIGH CLASSICAL ART AND THE GODDESSES CLASSICAL ART AND THE GODDESSES OF THE ACROPOLIS, CA. 438-432 BCEOF THE ACROPOLIS, CA. 438-432 BCE
THREE GODDESSES THREE GODDESSES (HESTIA, DIONE, AND (HESTIA, DIONE, AND APHRODITE?)APHRODITE?)
FROM THE EAST FROM THE EAST PEDIMENT OF THE PEDIMENT OF THE PARTHENONPARTHENON
GODDESSES ARE GODDESSES ARE SHOWN CLOTHEDSHOWN CLOTHED
GARMENTS SEEM WET GARMENTS SEEM WET AS THEY CLING TO AS THEY CLING TO BODY AND SHOW BODY AND SHOW CLEAR PARTS OF THE CLEAR PARTS OF THE BODY UNDERNEATHBODY UNDERNEATH
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LATE CLASSICAL: FROM THE DIVINE LATE CLASSICAL: FROM THE DIVINE IDEAL TO THE EARTHLY SENSUALIDEAL TO THE EARTHLY SENSUAL
PRAXITELES, PRAXITELES, APHRODITE OF APHRODITE OF KNIDOSKNIDOS, CA. 350-340 , CA. 350-340 BCEBCE
GODDESSES ARE GODDESSES ARE UNCLOTHED FOR THE UNCLOTHED FOR THE FIRST TIMEFIRST TIME
SHOWN DOING SHOWN DOING HUMAN TASKS HUMAN TASKS (TAKING A BATH)(TAKING A BATH)
NO LONGER IN IDEAL, NO LONGER IN IDEAL, DIVINE REALMDIVINE REALM
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LATE CLASSICAL: MORE LATE CLASSICAL: MORE PSYCHOLOGICALPSYCHOLOGICAL
LYSIPPOS, LYSIPPOS, APOXYOMENOS APOXYOMENOS (SCRAPER)(SCRAPER), ROMAN , ROMAN MARBLE COPY, CA. MARBLE COPY, CA. 330 BCE330 BCE
ARM THRUSTS ARM THRUSTS FORWARDFORWARD
ENCOURAGES ENCOURAGES VIEWING VIEWING SCULPTURE FROM SCULPTURE FROM MULTIPLE ANGLESMULTIPLE ANGLES
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WITHIN THE EARTHLY, INTENSELY WITHIN THE EARTHLY, INTENSELY PSYCHOLOGICAL REALM OF PSYCHOLOGICAL REALM OF
HELLENISMHELLENISM EPIGONOS(?), EPIGONOS(?),
DYING GAUL, DYING GAUL, ROMAN MARBLE ROMAN MARBLE CPY, TURKEY, CA. CPY, TURKEY, CA. 230-220 BCE230-220 BCE
TOTALLY LOST IN TOTALLY LOST IN PAIN AND ANGUISHPAIN AND ANGUISH
NO RECTANGULAR NO RECTANGULAR BOX OF BODYBOX OF BODY
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TWO FAMOUS FEMALE FORMS:TWO FAMOUS FEMALE FORMS:THE NIKE OF SAMOTRHACE, CA. 190 AND THE THE NIKE OF SAMOTRHACE, CA. 190 AND THE
VENUS DE MILO, VENUS DE MILO, CA. 150-125 BCECA. 150-125 BCE
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SEE HOW FAR WE’VE COMESEE HOW FAR WE’VE COME
SEATED BOXER, SEATED BOXER, BRONZE, CA. 100-BRONZE, CA. 100-50 BCE50 BCE
FATIGUED AND FATIGUED AND WEARY, BOXER WEARY, BOXER SITS DOWN AFTER SITS DOWN AFTER THE FIGHT, THE FIGHT, AWAITING JUDGES’ AWAITING JUDGES’ VERDICTVERDICT
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