ANTIKO SLIKARSTVO

GRKA: KERAMIKA
MOZAIK

RIM: FRESKE (POMPEJANSKO

SLIKARSTVO)

MOZAIK

Dionysus Cylix, Exekias

The kylix alica za vino, koritena za stolom
uz svaki obrok.Mnogi bili obilno ukraeni.
Kylix of Dionysos Crossing the Sea was
painted by the famous 6th century artist,

Exekias, and the original is found in the

Museum Antiker Kleinkunst, in Munich.
The scene depicts a Homeric hymn of
Dionysos first appearance in Greece. On
Na svom putovanju, Dionis je bio uhvaen
od gusara, prestraqio ih je vinom koje je
teklo iz broda. Gusari su pobjegli u more i
pretvorili se u delfine.
The composition of this kylix is what
makes it so attractive. The circle of dolphins
on the lower half mirrors the curvature of the
grape vines on the top half, and all circle
around the mast, the only non-curved
feature in the composition. The boat and
sail are also curved nicely to fit in with the
overall rounded scheme. There is attention
to detail in the decoration of the gods robe,
and the lines of his head band and beard.
More attention to detail is apparent in the
rudders on the back of the boat, and the
boat designed, fore and aft with fish
features.
Exekias, by not differentiating between the
sea and sky, adds to the other-wordly tone
of the piece by making the boat appear to
float in time. The eyes on the side are a
characteristic that have shown up in other
works of the artist. Ancient Greeks painted
eyes on the front of their boats for good
luck. They believed that a protecting god
could see ahead through the eyes.
Exekias signed this vase around the red rim
of the foot. Eksekias epoiese means
Exekias made this.

Kiliks,
Eksekias,
oko 540. pne

Slici pridrui pojmove:

STILIZACIJA
POZITIV / NEGATIV
GEOMETRIZACIJA

GEOMETRIJSKI
UZORAK

FIGURA / POZADINA
ORNAMENT

PLONOST
LINEARNOST

TON

MEANDAR

PRIVID MASE

Ajant i Ahil igraju igru s kockicama. U

Troji su, pod atorom, obojica
spremni na bitku, iako usredotoeni
na igru pred sobom. Paralela- borba
u igri i bitka koja se vani odvija.
Uzorak.
Stil crnih figura na crvenoj podlozi:
amphora, clay, painted by Exekias, vessel: c.
24" h, c. 540-530 B.C

Terracotta
Greek, Attic, redfigure
ca. 460 B.C.
Attributed to
Hermonax
Hermonax was a
pupil of the Berlin
Painter (named by
English Classical
scholar Sir John
Beazley for an
amphora in the
Antikensammlung
Berlin). His vitality is
abundantly evident
on this vase. The
maenad (female
follower of Dionysus)
purposefully
brandishes her
thyrsus (staff of
giant fennel topped
with a pine cone)
and snake. She is
beautifully dressed
in a pleated chiton
and a nebris (fawn's
skin).

circa 340-330 BC
This red-figure bell-krater
depicts figures from Aeschylus'
Orestia, in which Orestes seeks
sanctuary at Delphi after killing
his mother and her lover. The
painting depicts principle
characters from the play, rather
than a specific scene: Orestes
kneels in the centre and is
addressed by Athena (left),
which alludes to his
forthcoming trial in Athens.
Apollo (right) turns to a Fury
holding a large serpent while
another Fury is depicted above,
wielding live snakes. The busts
at the upper left and right
probably represent
Clytemnestra (Orestes'
mother) and Pylades (his
friend). The tripod cauldron
represents Delphi, where a
golden tripod stood before the
temple. The krater was made in
a Greek colony of southern
Italy, possibly Paestum, where
scenes from the Orestia were
especially popular in the
fourth century BC

Euphronius, 'Hercules wrestling Antaeus'

Euphronius
and his
successors
were the first
to take full
advantage of
the Redfigure
technique.
Their pottery
realistically
depicts the
human body
and they
experimente
d in
foreshortenin
g and
suggestion
of
perspective
or receding
space. His
calyx-krater
of Hercules
wrestling
Antaeus is
exemplary of
these
innovations.

Ajax Contemplates Suicide,

Exekias, around 540 BCE.

Les ncropoles rvlent ainsi l'mergence de familles dominantes. La rapparition de

l'inhumation, ct de l'incinration, dans la premire moiti du VIIIe sicle, n'est que l'un
des signes d'une diversification accrue des pratiques funraires entre les diffrents groupes
familiaux.
Ds le 2e quart du VIIIe sicle, les vases funraires - pour la plupart cratres
et amphores - atteignent souvent une taille monumentale. Les motifs figuratifs, qui
commencent rapparatre partir du IXe sicle, jouent un rle toujours plus important. Il
s'agit de scnes reprsentant l'exposition du mort ou son transport vers la tombe, des
dfils de chars ou des scnes de bataille voquant peut-tre le rang social du dfunt, mais
aussi l'origine de ses richesses (voyages, piraterie ...). Ces scnes restent pourtant
nettement subordonnes aux motifs gomtriques. Le cadre que ces derniers forment ne
sera pas bris avant la fin du VIIIe sicle qui marque le dbut d'une nouvelle re.

One such vase from the Dipylon cemetery in

Athens, dating to 750-735 B.C., is decorated in
the geometric style. Unlike the more organic,
curvilinear, free-floating designs seen on Minoan
vases, geometric-style vases have more
rectilinear and programmatic decoration,
organized in bands. The torsos of the figures
making up the funeral procession in the second
register from the top - the deceased himself can
be seen laid out on his bier at the far right consist of triangles, while their arms are
composed of long, very thin rectangles. The
humanity of these abstracted figures is
subordinated to their role as decorative
elements in the overall patterned design. The
geometrically conceived human figures and
patterns alternate and mix together on the
surface of this vase, creating a two-dimensional
rhythm.

Lov na jelena,
Pella, 4. st p.n.
e.

Pella, Makedonija

Dionis, Pella,
4.st. Pr. Krista

opus lapilli - mosaic consisting of small

pebbles of many natural colors, one of the
first types of paving. ex. Hunting a lion
pebble floor, 4th century BC, Pella
(Macedonia) Pella Museum
In Pella (Macedonia - Greece) during
the 4th century B.C. we find floors
made with pieces of glass

ETIRI STILA
POMPEJANSKOG
SLIKARSVA
1. HELENISTIKI

PRVI STIL - POMPEJI

(STIL INKRUSTACIJA)

150 80. pne

Od 150 B.C. Do 80.

B.C. tuko dekoracijaimitira mramor

First
First style
style painting
painting from
from the
the House
House of
of Sallust
Sallust in
in Pompeii
Pompeii

DRUGI STIL, POMPEJI

(arhitektonski stil)

80 pne 14. n.e

Iluzija otvaranja zida prema otvorenom

vanjskom prostoru.

SLIKANJEM ARHITEKTURE
KORISTEI PERSPEKTIVU
STVARA SE NEKOLIKO
SLOJEVA DUBINE (nekoliko
prostornih planova- 2 ili vie).
Stupovi i kolonade, vrata
kombinirani sa slikama
religijskih, mitolokih tema

wall painting
(Second
Style), 1st
century B.C.,
Fresco, Villa
of Mysteries,
Pompeii, Italy

In the second style

Roman wall
painting, called the
"architectural
style," space
extends beyond
the room with
various perspective
("illusion of threedimensional space
on a flat twodimensional
surface) devices.
Roman artists
came close to
developing a true
linear perspective.

Iluzija otvaranja zida prema otvorenom

vanjskom prostoru.

SLIKANJEM ARHITEKTURE
KORISTEI PERSPEKTIVU
STVARA SE NEKOLIKO
SLOJEVA DUBINE (nekoliko
prostornih planova- 2 ili vie).
Stupovi i kolonade, vrata
kombinirani sa slikama
religijskih, mitolokih tema

The two images here are from the "Garden Scene" below, a fresco in the Second Style.

Villa of Mysteries Second style Wall paintings

ETVRTI
POMPEJANSKI
STIL
MONOKROMNE PLOHE BOJE
KOMBINIRANE S MINIJATURAMA I
DISKRETNIM ORMANENTOM
ESTI EGIPATSKI MOTIVI

ETVRTI POMPEJANSKI STIL

KOMBINACIJA
DRUGOG I TREEG

Fourth style painting in Pompeii, from the Hous of Fabius Rufus

Casa dei Vetii, IV stil

RIMSKI MOZAICI

Alexander
the Great
fighting
the
Persian
king
Darius III
in the
battle of
Issus 333
BC. Detail
from
mosaic
from the
House of
the Faun,
Pompeii.

Naples, National Archaeological Museum, Alexander Mosaic, 100. BC

head of medusa,
which in Greek
mythology was a
monster (Gorgon),
generally
described as
having the face of
a hideous human
female with living
venomous snakes
in place of hair.
Medusa was
beheaded by the
hero Perseus, who
thereafter used her
head as a weapon,
until he gave it to
the goddess
Athena to place on
her shield. Head of
Gorgona was PanHellenic symbol,
also used by
ancient

AKVADUKT
TERME

ATRIJ

BAZILIKA

PERIS
TIL
ULAZ
TRICLINIUM
Natkriti trijem
sa etnicom
Vila del Casale u Piazza Armerina

Vila del Casale u Piazza Armerina