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Post by Senbecc on Jun 2, 2007 0:11:32 GMT -5
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Post by Lady Anastasia on Jun 5, 2007 4:03:38 GMT -5
You know.... You would think that when you post a thread titled Greek Art... That there would be some art in it! Just kidding Don't hurt me! lol... We should just pretty up this thread...
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Post by Senbecc on Jun 8, 2007 17:26:58 GMT -5
You know.... You would think that when you post a thread titled Greek Art... That there would be some art in it! Just kidding Don't hurt me! lol... We should just pretty up this thread... ROTF, we can do that
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Post by Senbecc on Jun 8, 2007 18:39:30 GMT -5
You know.... You would think that when you post a thread titled Greek Art... That there would be some art in it! Just kidding Don't hurt me! lol... We should just pretty up this thread... LoL, heres us a start sweets Aphrodite of Melos c. second century B.C. Louvre, Paris Description: Plaster figure of Aphrodite semi-draped. Both arms missing below the shoulder. Height 2.16 m. Provenance: Original found in 1820 on the island of Melos and given to Louis XVIII who presented it to the Louvre in 1821. Made two blocks of Parian marble, which meet just above the drapery. The original also had metal jewellery appending from the ears. This is probably a second century B.C. refined version of the Cnidos ancestress. The less stocky Venus de Milo, as she is better known, like the Anadyomene, is considerably more articulate. Her lifted left leg, withholding the slipping drapery, suggests at the same time an energetic movement to secure balance. It energizes the whole attitude and enhances the grace of the daintier body. A direct comparison of the Cnidos Venus with the Melos version would demonstrate the process of subtilization the latter (and later) underwent in all details and make more sensible the degree of refinement achieved by Hellenistic art of which she is an eminent representative www.usask.ca/antiquities/Collection/Aphrodite_Melos.html
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Post by Senbecc on Jun 8, 2007 18:48:24 GMT -5
Crouching Aphrodite c. mid-third century B.C. Louvre, Paris Description: Pyrimidal statue of plaster of Aphrodite in crouching position. Head missing and right arm from middle of upper arm, left arm at shoulder. Small hand of another figure remaining on back. Height 115 cm, length 74 cm, width 51 cm. Provenance: Original of marble found near Vienne in 1830. Original of Diodalsas of Bythinia, probably of bronze, of which this is a prototype. The Crouching Aphrodite, sometimes called the Venus of Vienne, is a Roman copy of a prototype of Diodalsas of Bythinia. The original was freely copied with many variations. The Greeks had long been preoccupied with the beauty of the male form, but it was only in the Hellenistic period that the female form became firmly established as an artistic subject. A descendant of the Aphrodite of Cnidos, after which Aphrodite was usually represented nude and at some point of bathing, this Aphrodite is plump and fleshy tending more towards seductiveness than beauty. She crouches, perhaps to receive a shower of water, and on her back are the remains of the left hand of Eros who flew nearby, possibly holding her mirror. www.usask.ca/antiquities/Collection/Crouching_Aphrodite.html
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Post by Lady Anastasia on Jun 8, 2007 18:52:24 GMT -5
From the Minoan Period The Harvest Rython was made of steatite (green-brown soapstone) and exhibits in low relief a group of peasants walking to, or returning from olive harvest. The bare stone vase we see today was originally gilded with gold hammered to paper-thin thickness (gold leaf). The overlapping bodies create an orderly unit of forms while the raised sticks (for shaking the olive trees) above their heads generate a band of chaotic rhythmic motion. While the composition is exquisite in itself, the expression of the figures is unprecedented. The manifestation of human emotions in the faces of the figures has not been witnessed in the history of art prior to the Minoans, and the depiction of the face as the vehicle of human emotions reveals a people who were increasingly aware of the human condition and inner world. The human being and his inner world as the center of attention, along with the importance of emotions became a central driving force during the later Classical and Hellenistic periods of ancient Greece. Eons later, during the Classical Greek period, concealment of emotions was of paramount importance in art as well as in life, while during the Hellenistic era robust exhibition of emotion in art was revered. In this respect, the joyous harvesters from Agia Triada, provide a minute point of reference for the direction the cultural compass of western man was beginning to point towards: the direction inward towards one's self.
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Post by Lady Anastasia on Jun 8, 2007 18:55:30 GMT -5
Minoan PaintingPlastered walls from the Minoan palaces and villas that have survived to our day provide a precious portrait of life in Crete during prehistoric times. The figures and scenes painted in the Minoan frescoes display the familiar Egyptian side view with the frontal eye, as well as the sharp outlines in solid color. The Egyptian influence when it comes to painting seems to stop there as the Minoan frescoes distinguish themselves from the products of other Mediterranean cultures in many ways. They are characterized by the small waist, the fluidity of line, and the vitality of character bestowed on every painted figure. Minoan stylistic conventions emphasized elasticity, spontaneity, and dynamic motion, while the colors and high-contrast patterns instill an elegant freshness to characters and nature scenes alike. While the Egyptian painters of the time painted their wall paintings in the "dry-fresco" (fresco secco) technique, the Minoans utilized a "true" or "wet" painting method. Painting on wet plaster allowed the pigments of metal and mineral oxides to bind well to the wall, while it required quick execution. The nature of this technique allowed for a high degree of improvisation and spontaneity and introduced the element of chance into the final art. Since they had to work within the time constrains of the drying plaster, the painters had to be very skillful, and their fluid brush strokes translated into the graceful outlines that characterize minoan painting. For this reason, the true wet method of painting was most appropriate for the fluid moments of life and nature scenes that the Minoans favored, which contrasted sharply with the strict stylization and stereotyping typical of frescoes from other Mediterranean cultures of the same time. The figures of Minoan frescoes are depicted in natural poses of free movement that reflect the rigors of the activity they engage with, an attitude characteristic of a seafaring culture accustomed to freedom of movement, liquidity, and vigor.
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Post by Senbecc on Jun 8, 2007 18:57:39 GMT -5
Borghese Gladiator early first century B.C. Louvre, Paris Description: Figure of a warrior in plaster, plunging forward, left arm extended upwards with remains of shield on forearm. Head facing left, right arm down and behind, hilt of sword in right hand. Length from head to left heel 1.99 m, height 1.63 m, width 1.10 m. Greek inscription on trunk. Provenance: Original of marble found at Nettuno near Anzio in 1611. By 1613 it was in the Borghese collection. It was purchased in 1807 by Napoleon. The Borghese gladiator bears the signature of the little-known sculptor Agasias of Ephesus on the trunk of the tree which supports the figure. Re-discovered in the Borghese collection in Rome, the warrior plunges forward, the body straining and stretching, to parry a blow, probably from above, a shield (now missing) on his left arm, a sword (now missing) in his right hand. Viewed from the side the long almost too straight diagonal thrust and the arrangement of torso and limbs seem confined to a one-dimensional frame, but the two dimensional aspects of the left arm, which leaves the body at a sharp angle, and the right arm pulling the torso in a strong twist, are evident from a frontal view. The muscles and tendons, too abundant and well defined, recall the late Hellenistic device of exaggeration of the muscular structure of the male figure. www.usask.ca/antiquities/Collection/Borghese_Gladiator.html
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Post by Lady Anastasia on Jun 8, 2007 19:05:30 GMT -5
ILLUSTRATION: OEDIPUS (IN PETASOS AND BOOTS, WITH WALKING STAFF) COTEMPLATES THE SPHINX'S RIDDLE OUTSIDE THEBES. RED-FIGURED KYLIX TONDO. ATTRIBUTED TO THE OEDIPUS PAINTER. DIAMETER 10 3/8 INCHES. ATTICA, C. 470 BCE. THE VATICAN COLLECTIONS: MUSEO GREGORIANO ETRUSCO, INV. NO. 16541.
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Post by Senbecc on Jun 8, 2007 19:08:20 GMT -5
I'll say one thing for the Greeks, they liked their art. Is Purdy.
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Post by Lady Anastasia on Jun 8, 2007 20:00:22 GMT -5
I'll say one thing for the Greeks, they liked their art. Is Purdy. yep!! and.. now this thread is too!! It's no longer an example of false advertisement... lol
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Post by Senbecc on Jun 8, 2007 20:22:52 GMT -5
I'll say one thing for the Greeks, they liked their art. Is Purdy. yep!! and.. now this thread is too!! It's no longer an example of false advertisement... lol LoL, It wasn't false advertisement, I gave links... We have one of these somewhere on the Celtic boards too, Marcus started it I think. I'll find it and we'll work on it some too.
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Post by Lady Anastasia on Jun 8, 2007 20:25:49 GMT -5
yep!! and.. now this thread is too!! It's no longer an example of false advertisement... lol LoL, It wasn't false advertisement, I gave links... We have one of these somewhere on the Celtic boards too, Marcus started it I think. I'll find it and we'll work on it some too. links aren't pretty... now, the thread is pretty
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