Archaic Greek
Art
Image
Source: http://www.people.auckland.ac.nz/Frances/Archaic
Art/ “Volute Krater”. Click image
for more info.
"In art, all who have done
something other than their Predecessors have merited the epithet of
revolutionary; and it is they alone who are masters" -Paul gauguin
different
types of Archaic
Art:
Painting
Pottery
Sculpture
Image Source: http://www.people.auckland.ac.nz/Frances/Archaic
Art/ Image Source: http://www.usask.ca/antiquities/Collection/Rampin_Head.html
Architecture
Image Source(s): http://www.holylandphotos.org/browse.asp?ImageID=GISGEG05&SiteID=72
, Doric entablature at Temple of Aphaia (left) ; http://www.greatbuildings.com/buildings/The_Parthenon.html
,
The Parthenon (center) ; http://www.greatbuildings.com/buildings/Temple_of_Athena_Nike.html , Temple of Athena-Nike (right). Click images for more info.
I’ve discovered the many styles of Greek Architecture, and the fact that they are all beautiful and brilliant in their own unique ways.
The method of architecture on mainland Greece was the Doric Order created by the Dorians. This distinctive style is categorized by its simplicity. I would think that as a famous Greek style there would be more to it, however this is not the case. After the Mycenaean palaces were destroyed and not longer made, the people launched into new styles of the Doric. This was so popular that we can still recognize it today in modern day buildings.
What
we can classify as one of the oldest known temples of the Doric influence is
the Temple of Hera at Olympia. It is classic example of this simple style. It
had 6 columns on either side and 16 along each opposite side. Although it is in
ruins today, we can still recognize this specific architecture. I think one of
the main reasons that we can still see
reproductions of this style today, is
that it was created with such simplicity that it withstands time.
A
second example of Doric style I found is the Temple of Aphaia on Aegina. This
famous temple originally had 12 columns along it’s borders. Aegina had been
occupied by the Dorians at the time of its construction, and therefore, this is
also a prime example.
Image Source(s): http://harpy.uccs.edu/greek/olympia.html, Doric Column at Temple of Hera (above,
left) ; http://www.holylandphotos.org/browse.asp?ImageID=GISGEG04&SiteID=72 , Temple of Aphaia (right).
Click images for more info.
Many classify Doric as the simplest of the architectural orders, and while it’s true that this style has no really fancy engravings or structural elements, I still believe that the classic perfection of its design is what draws millions all over the world to the Parthenon, one of the most famous Greek ruins, and , oh yeah, it’s also a Doric temple.
While
mainland Greece is doing the Doric order, a Grecian traveling along the eastern
Aegean sea would see a very different kind of column. (Since, at least I feel,
the styles are based mainly on their columns.) This Ionic order is categorized
by longer and more slender columns than the Doric. Although, what I find to be
the most interesting about the Ionic column is the clever design of the shaft
itself. It contains an entasis, or bulge in the column that helps to
trick the eye into believing the column is straight, when it actually gets
smaller (narrower) as it goes up. Those Greek architects were quite clever! The
Ionic is also categorized by the difference in its capitals, the tops of its
columns , from the Doric capitals. The Ionic, has scroll-like architectural
element on its capital. I think that this is the kind of column design most
people 
today would think of when they
picture a "Greek temple".
One of the most famous examples of the Ionic style is the Temple of Athena-Nike. This is, in my opinion, one of the smaller temples on the acropolis, however still magnificent. It contains four columns in front and four in back, and would have held a statue of Athena inside. Siegel)
During
the times of Doric and Ionic architecture, there was another, later, style of
architecture, known as Corinithian. It seems that the Greeks were never quite
satisfied with their column designs. They really wanted a column that was the
same all around, those Greeks were really perfectionists! So, they decided to
change the capital of the column, creating the Corinithian design. The new
capital was an inverted bell shape, decorated with a leaf design. It was
definitely the most elaborate of them all.(Art101)
Image Source: http://lilt.ilstu.edu/drjclassics/sites/acropolis/athenanike.shtm , Ionic column at Temple of Athena-Nike (above).. Click image for more info.
So, it seems that the Greek Architects were never quite satisfied with their designs. Changing from Doric to Ionic and finally Corinithian, they came up with all kinds of grand designs that can still be recognized in architecture of today. It’s the classic Greek columns that grace some of the most important building in our country, including most in our nations capital. I have found that Archaic Greek Architecture is a style of art that many don’t consider, yet, to me, it is one of the more beautiful. It not only is a anchor for the great temples and palaces of the Greek empire, it is what makes the ruins of those great monuments still as beautiful today as thousands of years ago.
Image source: http://bfn.org/preservationworks/bam/vocab/doric/
, Corinthian Capitals. Click images for more Info.
Painting
Image Source: Archaic and Classical Greek Art by Robin Osbourne, pg 72, scanned image
I couldn’t find much information on the topic of archaic wall-paintings, which
leads me to attempt to answer questions I have based on some observations
pointed out by books and of my own. Through looking at Archaic and Classical
Art, I made the observation that all of the archaic wall-paintings were found
in tombs and temples as opposed to houses and other, more secular
places. A possible answer to why they’re found there could be that,
unlike vases, they serve no purpose except to decorate. In this
utilitarian sense, then, they become a form of abstract art because they have
no real use. Wall-paintings then are possibly forms of higher art
for the Greeks, making their use in spiritual places and purpose correspond
well; they are complex works going into places centering on the philosophical
and mystical thoughts associated with religion and the afterlife. On the other
hand, the opposite thoughts could be applied to them too. Because of
their useless nature, the Greeks possibly revered them less than the vase
pottery and painting. Their scarcity could simply be explained by
the fact that artisans didn’t want to waste their time and energy on something
so trivial. Given that religious issues usually involve intellectual
and/or philosophical thought, they become grounded in the unreality of the
mind, something that most Greeks possibly disliked. This could have
forced the wall-paintings to reside not in secular, "real" locations
but in theoretical, "abstract" places.
Image Source: http://www.perseus.tufts.edu/cgi-bin/image?lookup=1990.27.0627 , Rhadamanthys.
Click image for more Info.
If the latter reason is correct, then the mythological subject
matter fits the unreal feel that they give off and their locations well.
However, because the Greek gods and goddesses resemble humans and have the same
types of behavior, they helped the Greeks to understand their own
existences. By showing these scenes, people are shown in both
negative and positive aspects of humanity, better learning about their religion
and themselves. The life-loving pictures give praise for their enjoyment
of life (Osbourne 167); the others are used as teaching methods, provoking the
mind to gain understanding into their own actions, and allowing people to
further critique their lives, fixing their problems and mistakes and bettering
themselves. From here, I’m going to focus solely on a painting found on a
metope (a section of an entablature on the top of a temple) at the Temple of
Apollo at Thermon (Osbourne 70-72), showing how it
could demonstrate the answers/observations I made. Once again, the
subject deals with a mythological character, Khelidon,
whose sister’s husband raped her. She then kills her attacker’s son,
feeding him to his father. The depiction of such perversion of human
nature seems to serve as a warning to its viewers, provoking them to think
about humanity and it’s brutality. Though the artistic
characteristics of Archaic Greece don’t look as refined as the following
Classical period, facial expression and body language still allow for proper
understanding and demonstrate new techniques that the painters experimented
with (71). Khelidon’s face displays a
determination to avenge her violation (shown through her large, staring
pupil). She leans over something, and according to Osbourne holds
the son’s head in her lap. Though her body leans little, it still
shows her in action, unlike some passive and tranquil Classical sculptures.
(see pg. 185 for an example).
Image Source: http://www.perseus.tufts.edu/cgi-bin/image?lookup=1990.27.0628 , Aiakos.
Click on image for more info
Pottery
In the 7th and 6th centuries of the Archaic Age of Greece, many new types of pottery emerged with more complex and meaningful designs. This age in Greece served to influence art, especially pottery, of all other ages. There were more innovations in pottery during this time than in any other.
The most common types of pottery were black
figure and red figure. Various topics were covered in the pottery ranging
from the beauty of nature such as animal art to the struggles of war such as
the hoplite armies. They also covered mythology and heroism among the
upper-class males. Athletic events, drinking parties, and school and
homosexual scenes could all be found in flawless detail on the pottery.
Other new and detailed patterns in pottery included floral and geometric
designs. The images show the emotion and beauty of the event that had not
previously been expressed at that time.
Image Source: http://www.beloit.edu/~arthist/historyofart/greek/blackfigure.htm . Amphora.
Click on Image for more info.
The artists most responsible for these
works of pottery were Corinthians. Their pottery was the most distinctive
because they took great care in making it creative and detailed, to depict
life-like subjects and events. They also had immense pride in their
intricate work as shown by their signatures and messages of competitiveness on
their pieces of pottery. These artists allowed an insight to the life of
their people through their pottery. From political to social life, the
Corinthians showed their culture through a new medium and in a new light.(Pomeroy
109-111)
As seen in this image, the black figure technique was widely popular because of beauty, detail and creativity. It consisted of the artist painting black outlines on red clay. Fine details could then be made by carving with a sharply pointed tool. The carvings could also be filled in with white or red paint at the artist's desire making for more animated portrayals of the pottery's subject.
Red figure pottery was created when black figure was so copied and exported that it was no longer a creative design. This reversed the idea of the black figure technique by drawing outlines, then painting the background black. An artist could then use a fine brush to paint small details. This design was more subtle, but not as popular as the black figure design. (Pomeroy 110).
A common subject of pottery at this time was war. It was largely illustrated to show the battles of their people and the new weapons that were being created during that time period. More specifically, phalanx war fighting was often shown where groups of Athenian hoplite soldiers lined up shield to shield to protect one another from the oncoming clashes of battle. Usually eight rows deep, the pottery depicted duplicate images of these soldiers in amazing accuracy. It is almost as if one can see animation in the hoplite soldiers as they move toward one another in conflict. (Pomeroy 110-111).
Men were portrayed more on this pottery more than women. Women were shown as servants or flute girls, and a select few included them as upper-class citizens in domestic settings.
Archaic Age works of pottery are still greatly admired and give us a look back into their time period, politically and socially. Their content goes beyond that of realist art and delves into the very depths of Archaic Greek society.
Sculpture
Archaic
Greek sculpture, in the years from 700 B.C. to 500 B.C., underwent significant
changes. As mentioned in Ancient Greece: A Political,
Social, and Cultural History, at the beginning and middle of the Archaic
period, Greek 
sculptures looked very similar to Egyptian
sculptures. Bodies were in a rigid stance with both arms down at the
sides and one foot stepping forward. See Sounion
Kouros at right. By the end of the archaic period around 500 B.C.,
sculptures began to show more defined features and become more life-like. See Aristodikos at left. What caused this
change in style? Also mentioned in Ancient Greece are the two
types of sculpture: the young, nude male called a kouros and the
young, clothed female called a kore. Of course, later on in the Classical
period of Greek art, females would become nude subjects as
well. What caused this difference in depiction between male and
female subjects?
Image Source(s):
http://www.davidgill.co.uk/attica/nm3938.htm
, Aristodikos (left); http://www.people.auckland.ac.nz/Frances/Archaic
Art/Archaic Free-Standing Sculpture/ ,
Sounion Kouros (right). Click on images for more info.
First, a possible answer to the former question: what caused
Greek sculpture to begin to become more realistic? It is obvious
that a sculpture from the sixth-century shows more muscle-definition than a
sculpture from a century before. One possibility for this change
could be found in the new type of warfare that was emerging in the Archaic
period. Ancient Greece showed that the hoplite army was developing
during this period. Since the hoplite battles were quite physical it
is easy to assume that muscular physiques were becoming an important commodity
at this time. Since being a hoplite soldier showed power and
ranking, the muscular attributes of a soldier would be more
idolized. Artists found inspiration in this idolization and used it
in their work. This idealization also springs from the Homeric poems
being composed at his time, also mentioned in Ancient Greece. Artists,
or perhaps the subjects they were sculpting, wanted to show the heroism that
was so idealized at this time. What better way to showcase the
subject's heroism than to showcase him as a muscularly defined, realistic
figure?
Now, why were female figures in archaic sculpture clothed, while
males were always shown in the nude? A look at the social rankings
of Greece at this time might hold the answer to this question. The
women in Greek society obviously did not have anywhere near the same rights 
as men. Since women were
sheltered from the outside world and led different lives from the men of the
cities, the artist might have felt a barrier between him and his
subject. This "barrier" is expressed in the dress that was
absent from sculptures of males at this time. Since women were
expected to stay in the home, men of the cities knew very little about the
lives of women not in their own family. Sculptors, who were most certainly
males at this time, might have felt that since women were not a real part of
their everyday lives or the life of the government, as mentioned in Ancient
Greece, they could not paint the "real" woman (in this case is
the nude woman). Their sculptures were a mirror of the barrier that existed in
Archaic society. This barrier would eventually, for whatever reason,
be overcome in later centuries, but in the Archaic period, artists still felt
too isolated from women to sculpt them in the nude.
Image Source: http://www.beazley.ox.ac.uk/CGPrograms/catalogue/script/WomenGirlsStatues.html , Peplos
Kore. Click on image for more info.
Other
pages from the C101 class web page project:
If your interested in Ancient Greece
and want to learn more about other fascinating subjects relating to this time
period then check out some of these exciting websites:
Madness and Logic in Antigone
This site shows how some of the characters in
Antigone believed the actions of others to be mad and others to be
logical. It also shows how Antigone and Creon, in particular, acted
quite mad at times in the play. The site also has some interesting
pictures of interpretations of Antigone and interesting links to sites about
Sophocles and Antigone.
Interpretations
of the Odyssey
This site takes some of the major themes and
symbols of the Odyssey--immortality, the ideal woman, transition, the
importance of Ithaca, and the ideal hero--and relate them to the Ancient Greek
world. The writers give some insight into what the Ancient World
might have been like by taking clues from the Odyssey.
Violence and a Happy
Ending (in the Odyssey)
This site contains four essays on the “happy ending” aspect of the
Odyssey and violence at the end. They show some very interesting points that
you perhaps would have not thought of in the Odyssey. This site is linked
through several different pages that are well organized and easy to understand.
The Psychology of
Penelope
This site is based of four parts that make-up the character of Penelope,
in the Odyssey, as defined by the writers of the site. It’s divided into essays
on Personality traits, Dreams, Rejection of Hope, and Cleverness. These essays
are very detailed and give great references to quotes and scenes in the book.
Telemacheia
At this site, get detailed information that deals with the first four
books of The Odyssey. Topics include revenge and faith, most notably
the section entitled "Telemachus: Shrewd
Prince." If you like writings that offer unexpected viewpoints
and opinions on an issue, then this one's it. Get a look at a really
good vase painting in the red figure style. Yeah!
Changing
Sculptures in Classical Times
This site offers a look at the next big phase after Archaic art: the Classical period. The pictures
are great, and contrapposto figures take over from the kouroi. If you
want to see the evolutionary process of sculpture and the revolutionary styles
emerging from them, check this out!
The Language of Love and Hate
in Antigone
This web page would be useful for further information regarding Ancient
Greek Culture. It depicts some more Archaic Art of the famous writer
Sophocles and his
writings.
The Parthenon: Athena's Ancient Home
on Acropolis
Another useful site on Archaic Art includes the sculptures and paintings
of Athena. It also has some detailed
images and descriptions of ancient Greek architecture with the Parthenon.
Links to
other Interesting Sites on Archaic Art :
For Photos of Archaic Greek Architecture and Sculpture visit, Greek Architecture: Pictures
For a Digital Archive of Architecture
visit, Greek
Architecture
For Specific Diagrams of the different Architectural Styles visit, Details of Doric Architecture and
To find more information on Archaic Greek Art visit, Exploring the History of Art: Archaic Art
For photos and information on Greek Art and Architecture visit, Art and Architecture
Sources:
Harvey, Tracene F. "Archaic Greek
Art". The Museum of Antiquities Collection. July 2002. 20 Nov 2002.
<http://www.usask.ca/antiquities/collection/Archaic_Art.html>
Image(s) Included: "Rampin Head"
Pomeroy,
Sarah B., et. al., Ancient Greece: A Political, Social, and Cultural History. New
York: Oxford University Press, 1999.
Osbourne, Robin. Archaic and
Classical Greek Art. New York: Oxford University Press, 1998. Image(s) included: Color Painting
"Greek
Orders". Art 101: Lecture 6: Greek Art. 24 Nov 2002. <http://webed.vw.cc.va.us/vwbaile/pages_art101/101distance/leactures_distance/101dgrek.html#orders
>
"Greek Art and Architecture". Macmillian Encyclopedia. 2001. xrefer online. 17 Nov 2002. <http://www.xrefer.com/entry/504981
>
Sungirl. "Greek Architecture". 16 Mar 2000.
online posting. StudyArea.com. 17 Nov 2002. <http://essay.studyarea.com/essay/Art_History/14.shtml>
Rhodes,
Robin Frances. "Greek Art and Architecture". Architecture and
Meaning on the Athenian Acropolis. July 1995. 17 Nov 2002. <http://www.cyber_north.com/public/greek.htm
>