Ancient Greece: Archaic Period

Ancient Greece: Archaic Period

I.

Archaic (meaning old) period

A. When: 640-490 BCE or put another way 7th-6th centuries BCE
B. Archaic sculpture
1. Introduction
a. Sculpture of life-sized human figures began in Greece
during what is called the Archaic period from 640-490
BCE
b. It is not known why Greeks began making such works
when they did
c. The early Archaic artists were influenced by Egyptian
techniques and conventions such as working from 4
views on a block
2. Kouros or Kouroi (plural)
a. Youthful male figures that are depicted in the nude
b. They had funerary purposes usually marking the grave
of a young Greek
c. They replaced the Geometric style vases
d. Could also be used as votive offerings to the gods
3. Kore or Korai (plural)
a. Female figures depicted with clothes
4. Examples: New York Kouros (because the statue is in the
MET), Slides 3 - 5
a. Compare it to the statue of Menkaure and
Khamerernebty, Slide 6
b. Similarities:
i.
It is depicted in a rigid upright posture
ii.
Left leg is striding forward and hands are
clenched
c. Differences But there are TWO crucial differences
i.
The Greek kouros is NUDE
ii.
The kouros is totally in the round, notice the
spaces between the limbs
d. Style:
i.
Notice the head of the New York Kouros is
slightly too large for the body (6.6 head lengths
tall vs. 7.5 for realism)
ii.
It is very angular (hard edges).

Ancient Greece: Archaic Period

iii.

Flat face and geometric pattern of ribs and

hips - like Lady of Auxerre

5. Moschophoros (Calf Bearer), Slides 7 -8

a. Found on the Acropolis in Athens
b. Dedicated by Rhonbos
c. Holding a calf to sacrifice to Athena, patron goddess of
Athens (votive purpose)
d. He is bearded (so not as youthful as the New York
Kouros and is partially nude. The sculptor depicted him
partially covered by a cloak. In this way, the sculptor
maintains the convention of nudity found in kouroi
statues but wears clothing, which is appropriate for
someone bringing a statue to a goddess.
e. Notice the X-composition of the calfs legs and his arms
What does that do visually for the statue? Unites the
bodies of the calf and man physically and formally.
f. Why is he smiling? From this point on, most Archaic
statues will have a smile. Sometimes, Archaic statues are
shown smiling even while they are dying! Slides 9 - 10
g. Maybe the smile was a way to show life and vitality in
the statue.
6. Kroisos Slides 11 &12
a. A kouros with traces of paint on it
i.
Greek stone statues were colored using
ENCAUSTIC paint when an artist mixes
pigment with hot wax and paints with it
b. Found by his grave
c. Inscription at the base of the statue describe how he was
a warrior who died in battle
d. What elements classify it as a kouros?
e. How does it differ from the New York Kouros? Slides 13
& 14
i.
Less schematic/geometric
ii.
Head correct proportion
iii.
Softer definition of forms (not as hard edged).
iv. Waist less slim
v. Shoulders broader: 3.5 shoulder widths high
vs. 3.75 shoulder widths high
7. Why are Greek male statues shown in the nude?
a. Anthropomorphic gods
i.
Greek gods took human form
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Ancient Greece: Archaic Period

ii.
Therefore, humans have god-like qualities
b. Attitude toward the human body
i.
Something of which to be proud
ii.
Should be kept in good shape
iii.
Greek males and, in some locations females,
worked out gymnos or in the nude
c. Belief in ideal forms based on Platos philosophy
i.
Everything including the human body has an
ideal form
ii.
The Greeks believed in ideal beauty
d. The relationship between the human form and
mathematics
i.
Greeks believed that ideal beauty could be
expressed in measurable proportions
ii.
Greek statues and temples are based upon a
belief that harmonious proportions could be
found and given artistic form
e. Pattern of Perfection
i.
As you will see, the Greeks furnished Western
Civilization with a pattern of perfection from
the Renaissance to the present century
f. Striving for Excellence
i.
The Greek statue is nude. From the 8th
century BCE onward, the Greeks represented
male figures in the nude. No other
contemporary culture had this custom. Greek
youths trained and competed in athletic
contests in the nude. But nudity also had a
connotation of heroic excellence. The beauty of
the perfectly proportioned, well-trained body
was considered an outward manifestation of
the striving for excellence that marked a hero.
MET audio guide
C. Archaic women Kore or maiden Slides 15 - 16
1. Peplos Kore Slide 17 - 22
a. She wears a peplos, a simple woolen, belted garment
i.
Columnar
ii.
Traces of paint
b. What attributes does she have that make her a kore? Or
is she Athena herself?

Ancient Greece: Archaic Period

c. She was discovered at the Acropolis of Athens,
fragmented and buried along with statues like the Calf
Bearer
d. When the Persians sacked Athens, they knocked over
the kouroi and kourai on the Acropolis, which were
votive figures to Athenas Parthenon (no wonder they
eventually lost to the Greeks!)
2. Kore, from the Acropolis, Slide 23
a. Later kore wore linen chiton and heavier himation
(mantle). Gave sculptors more folds and textures to
work with.
b. Less stiff and frontal, viewers eye travels along
diagonal folds and around to sides.
c. More life-like with hands holding cloth
d. Still same basic pose.
D. Archaic Architecture
Change from Daedalic style (Geometric) of Temple A at Prinias. Temple A
was still modeled on Mycenaean megaron Slide 25
After exposure to Egyptian temple architecture (e.g. Temple of Amen-Re at
Karnak) Greeks started to build columnar stone temples with gabled roofs.
Most influential design in western architecture in history. Why did the
Greeks add gabled roofs? What is different about climate of Egypt and
Greece?
1. Functionality of Greek Temple
a. Temples were not places of congregation. Temple was home of god.
Religious ceremonies were held in the open air in front of the temples.
Temples usually faced east so the god/statue could see the rising sun.
b. Temple Vocabulary: Naos (cella) Pronaos, Stylobate, Antae (extended
walls), Opsithodomos. Peristyle, Periptal, Dipteral, Slide 26
c. Slide 27: Compare Doric and Ionic orders.
d. Early Greek temples were made of wood. Did not survive to present
day. As wood decayed members were swapped out with stone
(marble) replacements. As stone became building material of choice
the wood designs were translated to stone: e.g. metope and triglyph in
Doric design. Marble was plentiful for most Greek territories. Had
already started using stone in Geometric period (Prinias)
2. Structure of Temples
a. Repetition of basic elements based on simple proportions
i. Symmetric, compact, orderly
ii. Regular numerical relationships
iii. Proportions changed over time from about 1:3 to about 1:2
iv. Search for the perfect form.

Ancient Greece: Archaic Period

b. Greek temple still had elements of megaron: Idea of the cult statue in
a throne room entered through a vestibule with a columnar faade.
c. Greeks were keen on symmetry. Thus the opisthodomos, really just
there to balance the pronaos.
d. Steps all around stylobate: can enter temple from any side.
e. Placed on elevated site to be seen and inspire (like ANE/Ziggurats).
f. Lines and elements needed to be kept clean. Did not use surfaces for
cluttered ornamentation or inscriptions. Color was used on temple
sculptures. But clarity and balance were main concerns.
3. Ornamentation
a. Figurative sculpture was always an important element on temples
i. To tell story
ii. As votive offering
iii. Building itself was seen as an abstract sculpture that should
evoke human response.
1. Steps all around stylobate: can enter temple from any
side.
iv. Placed on elevated site to be seen and inspire (like
ANE/Ziggurats).
v. Sometimes columns were replaced by female figures
(CARYATIDS) (male figures = atlantids but not in Greek art)
b. Lines and elements needed to be kept clean. Did not use surfaces for
cluttered ornamentation or inscriptions.
4. Role of Sculpture in Greek Temples:
a. Cult Statue
b. Narrative related on friezes and pediments
c. Votive offerings (kouroi).
5. Temple of Hera I (Bascilica), Paestum, Italy, ca. 550 BCE Slides 28 & 29
a. 1:2 ratio, 9 columns x 18 columns
b. Central row of columns in naos (thus mistaken for Roman basilica
plan).
c. Central row of columns under ridgepole divides cella into two sides:
Only in Archaic temples
i. Disadvantage: split cella into 2, no place for cult statue
ii. Couldnt see cult statue from outside: blocked by odd-number
of columns in front of pronaos (prostyle).
d. Unsure if it would work
i. Very fat, closely spaced columns
ii. Entasis is overdone
iii. Capitals looked squished under weight.
iv. Thick, cigar shaped columns

Ancient Greece: Archaic Period

v. Seems heavy with elements in entablature and capitals
compressed.
vi. Because they were unsure what could be supported with
columns?
1. Later designs had thinner columns more widely spaced.
6. West Pediment, Temple of Artemis, Corfu, ca. 600 580 BCE. Slide 30
a. East and West pediments identical
b. Working on compositional solutions to fill a triangular space.
i. How do you deal with the small ends?
ii. Change scale? Hierarchy of scale
iii. Figures get smaller as they get closer to the corners.
iv. Another solution is to mix standing and reclining figures.
v. Central figure is the Gorgon Medusa (hideous with snake hair:
anyone who looked at her turned to stone).
1. Pinwheel posture: implies running or flying
vi. Left and right of her are guardian lions (panthers in Prinias,
Geometric period).
1. Basically a heraldic composition, orientalized from
Mesopotamian human/animal heraldic compositions.
vii. Identification of subjects was more important than narrative.
1. Narrative confused: Shows Medusas children (small
figures next to her) who were born when she was
beheaded as alive when she was alive
viii. In one corner is the narrative of the GIGANTOMACY (battle
between the gods and the giants), which is a metaphor for the
triumph of reason and order over chaos.
ix. In other corner shows events of Trojan war. Not a very
coherent overall narrative composition. Seems like people are
trying to figure out how to use the space.
c. Questions
i. Why Medusa in pediment? not part of Artemis story
ii. Hideous monster to protect temple like lamassu?
iii. Orientalizing influence?
iv. Why couldnt Artemis protect her own temple?
Temples vs. Treasuries
Treasuries were where votive figures were kept. Why do you think the Greeks
would create a separate building for the votive figures (e.g. kouroi)? Temples were
nonperipteral.

7. Siphnian Treasury, Delphi, ca. 530 BCE, Slides 31 & 32

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Ancient Greece: Archaic Period

a. Treasury: Small, nonperipteral containing votive offerings.
b. Ionic order with caryatids (rare)
c. Gigantomacy on northern frieze: continuous on all four sides. Painted
labels and metal weapons.
i. Coherent story with more detail overlapping figures. All
people are same scale gods bigger.
ii. Caryatids not Ionic columns (not done with Doric order too
severe)
8. Temple of Aphaia at Aegina (ca. 500 490 BCE) and the TRANSITION TO
THE CLASSICAL PERIOD Slides 34 - 40
Compare and contrast the design of the Temple of Aphaia at Aegina
(500 490 BCE) to the Temple of Hera I at Paestum.
Notice the refinement of form of the Temple of Aphaia.
Compare and contrast the pediment sculpture of the Temple of
Aphaia to the Temple of Artemis of Corfu.
Notice that the pediment of Temple of Aphaia utilized sculpture in the
round, similarly sized figures throughout, and a unified narrative.
Technical issues overcome
Thinner Doric columns
More widely spaced
Entasis is more subtle
Echinuses of capitals not squished
Central line of columns replaced with double colonnade of 2 stories. Can
see cult statue from outside between the even number of columns in front.
Artistic issues overcome
All figures in pediment same scale (except for central Athena in center).
Subject was war with Trojans all people are same scale. Solve triangle
problem by different positions.
East and west pediment the same. East ped. Sculptures were damaged
and needed to be replaced. Compare and contrast the dying warrior
from west pediment (older, 500 490 BCE) with east pediment
replacement (490 480 BCE). Beginning of Classical period.
More natural position of body
Trying to resist death, continue fighting.
No archaic smile
Torso twisted, not frontal
Not looking out. Looking inward in pain, aware of his imminent
death.
Doesnt have pose, patterns, and smile imposed from outside.
Sculpture appears to be self-aware, conscious.

Ancient Greece: Archaic Period

E. Archaic painting --- Pottery

1. Athenians frowned on pretentious displays of wealth. People
were expected to adorn their city-state, not themselves. Yet,
every society has its objects of beauty and value.
2. Beginning around 600 BCE, the Greeks prized above all else
the pottery created in the shops of Athens. Made out of
common clay, they were relatively cheap.
3. Two major types of vases that we will study:
a. Black-figure Came first, the figures have black bodies
with details such as muscle, hair, clothing, and weapons
incised by a STYLUS (sharp pointed tool) in the pottery
revealing lighter colors
b. Red-figure Came later, the figures have red bodies, the
details are the darker parts, details added with a paint
brush
c. How to remember which came first? B for Black comes
before R for Red in the alphabet. And there you go.
4. The themes of most vases relate to mythology, heroic deeds,
and athletics (although there are exceptions)
5. Chigi Vase, ca. 640 BCE: Transitional vase between Geometric
period and Archaic. Slides 44 - 50
a. Had registers to convey a specific story
b. Polychrome
c. Shows hoplite military formation, valuable info.
Black Figure Vases
6. Francois Vase, ca. 570 BCE. Slides 52 - 53
a. Mostly narrative, only one band given to sphinx and
animal motifs.
b. Over 200 characters with many stories of Greek myths
including centauromachy (centaur war)
i.
Centaurs now man on top, horse on bottom
c. Characters and objects named
d. Spaces between characters are not filled with geometric
design.
7. Achilles and Ajax playing a dice game. Slides 54 & 55
a. What type of vase would this be?

Ancient Greece: Archaic Period

b. Painted by Exekias The most famous painter in this
style
c. Achilles was a character from the Iliad (Homers epic
poem about the Trojan War), almost immortal except
for his ________________.
d. Ajax Achilles main Achaen (Greek) rival, wanted
more glory than Achilles (As a true sport, Ajax carries
Achilles dead body off the field of battle, and then
commits suicide.
e. They are playing a dice game. Guess who roles the
higher number. The results are written on the vase as
the two heroes shout out their numbers. Who looks like
he is taller, and more commanding?
f. Notice they still hold their spears and shields are
upright and ready. This is like the calm before the
storm. Also, notice the beautiful patterns incised by
Exekias.
g. Compositionally the spears bring the viewers eyes into
the game; their shoulders mirror the shape of the
amphora; the negative space between Achilles and Ajax
echoes the shape of the amphora.
h. Exekias signed this work as both the potter and the
painter (they were actually separate jobs).
8. Panathenaic Vases: Slides 59 - 61
a. Panathenaic festival was celebrated in Athens to glorify
Athena
b. Games accompanied the festivities
c. As a prize, winning competitors were given an amphora
(taller vase with two handles) filled with olive oil from
the grove sacred to Athena
d. According to the tradition, Athena always appeared on
one side of the vase
e. On the other side, the painter depicted the event for
which the prize was one. In this case, it was a footrace.
9. BILINGUAL AMPHORA: Achilles and Ajax playing the dice
game, ca. 525 520 BCE. Slides 64 & 65
a. Bilingual vase Transitional phase. Has black figure on
one side, red figure on the other. This style of doing both
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Ancient Greece: Archaic Period

did not last long, but here is the emergence of the new
red figure style.
b. Painted by someone called the Andokides painter
(Andokides signed as the potter. Maybe, he was the
painter, too.)
c. Its the same subject as Exekias vase. Whose do you
like better? Why?
d. What is the artistic potential for the new red-figure
style?
i.
Greeks were Caucasian
ii.
Could show shades of brown to model forms.
iii.
More ability to create painterly images.

10. Red Figure Vases

a. Time 530-480 BCE
b. Design
i.
Figures have red colored bodies silhouetted
against black backgrounds
ii.
Use of a brush enabled artists to paint figures
with greater naturalism
c. Examples of red-figure vase:
i.
Euphronios, Herakles wrestling Antaios, ca.
510 BCE. Slide 69
1. Antaios was son of Earth. Herakles
needed to lift him off the ground to
strangle him.
2. Antaios shows pain.
3. Figures represented in space. No longer
have the composite pose.
ii.
Euphronios, Death of Sarpedon. Slide 70 - 72
1. Sarpedon was one of the sons of Zeus and
Europa (Minos was his brother)
2. Sarpedon was killed at Troy by Patroklos,
a friend of Achilles
3. Zeus was stricken by grief. To assure a
decent burial, Zeus ordered Sleep and
Death, the winged sons of Night, to carry
him to his homeland for a heros funeral
4. We see Sarpedon being gently lifted off
the ground as Hermes supervises the
proceedings
5. The figure conveys a physical and
emotional presence. For example, somber
facial expressions betray tragic loss. And
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Ancient Greece: Archaic Period

we can sense the physical strain required
to lift the body.
iii.
Euthymides, Three revelers, ca 510 BCE. Slide
73
1. Twisting pose
2. Foreshortening with pose
iv. Onesimos, Girl going to wash, ca 490 BCE.
Slide 74
1. Intimate scene, for private viewing due to
female nudity and genre subject.
d. Another example of a red-figure vase: A Lyre player
feels the music. Slide 76

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