Ancient Mediterranean (Greek and Etruscan)

Ancient Greek Art

Period: 900 BCE to 323 BCE

Repetitive geometric patterns and stick-like human representations of the Geometric Period (c. 900-700 BCE), developed into more nuanced representations throughout the Orientalizing Period (c. 700-600 BCE) and Archaic Period (c. 700-480 BCE) featuring naturalistic sculpture with harmonious proportion and the archaic smile. The Classical Period (c. 480-323 BCE) introduced the cannon of proportions and idealized human form promoting balance. We see greater emotion and the female nude introduced.

Etruscan Art

Period: 800 BCE to 100 BCE

Etruscan's took an incredibly individualistic approach to art. Humans were depicted as lively and animated, with an added focus on equality particularly as it pertained to women. They had a deep connection and belief in a joyful and active afterlife with continuity between life and death, demonstrated by the domestic style of their Necropolises. While influenced by Greek culture, their indigenous principles and practices remained central to their lives and influenced the style of their art.

Ancient Greece, Man and centaur, c. 750 B.C.E., bronze, 11.10 cm high (The Metropolitan Museum of Art, New York), Geometric Period

750 BCE

This piece is an exceptional example of Geometric style. The forms are abstract and rigid, with geometrical shapes creating the composition of the forms. For the viewer the shapes create a representation that is easily understood. This sculpture as well represents the emergence of Greek mythology. The centaur comes to represent the uncivilized, and in this piece portraying a battle between the civilized and uncivilized. Here we see the "hero" or human form overtaking the monster. (Bulger, 2024)

Ancient Greece, Eleusis Amphora (Proto-Attic neck amphora), 675–650 B.C.E., terracotta, 142.3 cm high (Eleusis Archeological Museum), Orientalizing Period

675 BCE

Stylistically represents the change out of the Geometric Period. This work depicts larger figures and artistic experimentation (ie. figure work of multiple styles), sans the repetitive geometric motifs. It as well features orientalizing motifs that appeared after the geometric period and were influenced by the East. The vase depicts two stories of Greek mythology, but most important is the less rigid depictions of these stories comparatively to that of the geometric period. (ZuckerHarris, 2016)

Etruscan, Large Parade Fibula, Cerveteri, Regolini-Galassi Tomb, from the main tomb in the lower chamber, 675–650 B.C.E., gold: embossed, punched, cut, and granulated (Museo Gregoriano Etrusco, Musei Vaticani)

675 BCE

The Parade Fibula speaks to the need of Etruscan Elites to communicate their socio-economic status, even in death. This pieces displays exceptional craftsmanship and intricacies that suggest increased influence from the Near East and the possibility of imported funerary objects. This would have added another layer of status with the appeal of owning an exotic item. The motifs depicted offer further insight into the Egyptian influence and a world growing increasingly connected. (Becker, 2021)

Ancient Greece, Marble Statue of a kouros (New York Kouros), c. 600–580 B.C.E., Attic, Naxian marble, 194.6 x 51.6 cm (The Metropolitan Museum of Art, New York), Archaic Period

600 BCE

During the Archaic Period Kouros and Kore statues emerge. These statues served as grave markers for those of nobility and wealth, representing their status and not a depiction of the deceased themselves. As displayed by the New York Kouros, they represented idealized beauty and harmonious proportions although maintaining a degree of rigidity. The pose with one foot forward is reminiscent of Egyptian sculpture. Representative of the warrior mentality of the period and focus on athletic physique.

Ancient Greece, Artemision Zeus or Poseidon, c. 460 B.C.E., bronze, 2.09 m high, recovered from a shipwreck off Cape Artemision, Greece in 1928 (National Archaeological Museum, Athens), Early Classical Period (Severe Style)

460 BCE

Here the human form develops through the Archaic period and into the severe style of the Early Classical Period. While not completely individualistic, form becomes more natural. Compared to the Kouros we see a less rigid block form in sculpture. The strength of Bronze in this sculpture allowed the artist to open up the form, offering more vitality and movement to the representation. (Harris Zucker, 2015) In this period the archaic smile is lost for expressionless generic features.

Ancient Greece, Iktinos and Kallikrates, Parthenon, Marble Architecture, Acropolis, Athens, 447–432 B.C.E., High Classical Period

440 BCE

Monumental temple dedicated to and housing a colossus of the Goddess Athena. Reflects the characteristics intrinsic to Greek life and art; beauty, order, harmony. Doric order temple, that boasts exceptional qualities of optical refinement to please the eye. Ornately decorated triglyphs, metopes and pediments tell stories of Athena. Architecturally situated and rendered to require viewers to constantly view the temple in its full magnitude and function in celebration of the Goddess Athena.

Ancient Greece, Capitoline Venus, 2nd century C.E., marble, 193 cm (Capitoline Museums, Rome) (Roman copy of the Aphrodite of Knidos, a 4th century B.C.E. Greek original by Praxiteles), Late Classical Period

350 BCE

Important to note that this is a Roman copy of the Aphrodite of Knidos (c. 350 BCE). In context of the original this sculpture is incredibly important as it is believed to be the first female nude of Greek art. Kouroi had depicted male nudity since the archaic period in a dignified and non-sexual way. The false modesty presented by this sculpture however does offer a sexualized depiction. (Zucker Harris, 2016). Introduction of the pudica pose and displaying an elongated body of the period.

Hellenistic Greek Art

Period: 323 BCE to 31

Influenced by the conquests of Alexander the Great, the Hellenistic Period (c. 323 BCE-31 CE) was what we may recognize as worldly. The idealized form was partially abandoned in favor of portraying motion, emotion and above all drama. There is a rise in humanism and an increased fascination and interpretation of Eastern cultures. In many ways Hellenistic art often involved the appropriation of Near Eastern art, exampled by the floral motifs of the Corinthian order and that of Egyptian columns.

Etruscan, Tomb of the Reliefs, late 4th or early 3rd century B.C.E., Necropolis of Banditaccia (Cerveteri), Italy

300 BCE

This tomb depicts characteristics of Etruscan funeral practices specific to their culture. The elaborated decorated tombs speak to the status and accomplishments of those entombed. The banquet hall style of the room depicts the continuity between life and death. It symbolizes the Etruscan views of vitality in death over those of mourning. There is a warmth and celebratory nature of life and the transition to the afterlife. It as well reminded the living of ties to status. (Becker, 2015)

Ancient Greece, Dying Gaul, Roman marble copy (1st or 2nd century C.E.) of a Greek sculpture (c. 220 B.C.E), found in Rome in the early 1600s, 93 x 89 x 186.5 cm (Musei Capitolini, Rome), Hellenistic Period

220 BCE

The Dying Gaul is important as it portrays an array of representation encapsulated in Hellenistic Greek Style. While the original context of the sculpture mocked and insulted the Celts it also had a degree of Humanism that developed in the Hellenistic Period. There is a level of admiration present for the dying warrior that can be seen fighting and courageous to the very end. The form is exceptionally detailed, naturalistic and conveys emotion through posture. (Cassibry, 2023)

Ancient Greece, The Pergamon Altar, c. 200-150 B.C.E., 35.64 x 33.4 meters,(Pergamon Museum, Berlin), Hellenistic Period

200 BCE

The sculptures on the Frieze of the Pergamon depict a transition in Greek sculpture that still focus attention on the body, but have an added focus on movement, expression and drama that are characteristic of the Hellenistic Period. There is much less restraint exercised in the depictions of Hellenistic sculpture. Sculptures are incredibly naturalistic while still idealized and offer great detail in facial features compared to earlier Greek sculptures, creating dramatic depictions and stories.