SB, notice that CS takes his top-of-the-page post placement with pride - perhaps I should, as well? I'm beginning to realize that it is a position of honor when the post is at the expense of JG...which I can certainly manage.

Gina, I think that we should all try to emulate DS. He's smart, funny, he's paying attention to his new wife, he knows how to make jokes at JG's expense....A role model for sure!!

Only problem is his taste in obsessions. For some reason, he can't get over this Jessica girl - whoever she is - and has yet to realize the value of a Willy. I fear I can't follow his lead in this particular subject.

Oh... Jessica is SO pre-August 19th.

The value of Willy? Girls always like guys with abs...

Man, there is no way to trick you - you're too good.

Btw, we were learning about extrapolation here recently in Stats - I was a little annoyed with the whole topic because our teacher decided to introduce it to us after we'd turned in an assignment with a problem regarding it...meaning that I got it wrong. Anyway, I was looking through some old posts in one of the fantasy game threads, and I saw one of yours mentioning extrapolation - I can't even remember what it was about, but the first thing that came to mind...God, what a nerd!

But, of course, you know that's a compliment coming from me.

I wouldn't take it any other way.

Aw man I knew I forgot to pack it when I moved to Ohio.

Incoming. A doozy of a load.

Gods, Heroes, and Athletes
The Art of Ancient Greece

Greek Humanism
Dorians: Believed to have brought an end to Mycenaean civilization, settled in the Peloponnesos, they were one of the many Indo-European groups that invaded Greece.
Ionians: They settled the western coast of Asia Minor (modern Turkey). Their origins are disputed.
Olympiad: The Olympic games, it was the first time where Greeks started calculating their chronology.
Aphrodite (Venus): Goddess of love and beauty.
Apollo (Apollo): God of light and music and great archer. Sometimes identified with the sun.
Artemis (Diana): Goddess of the hunt and of wild animals. Apollo’s twin often regarded as the moon.
Athena (Minerva): Goddess of wisdom and warfare, her city was Athens and greatest temple was the Parthenon.
Demeter (Ceres): Goddess of grain and agriculture, she taught humans how to plow and how to sow.
Dionysos (Bacchus): God of wine.
Gorgons: Vicious female monsters with sharp fangs and hair of living, venomous snakes.
Hera (Juno): Goddess of marriage and wife of Zeus. His many love affairs often angered her.
Herakles (Hercules): Greek hero, son of Zeus and a mortal woman, Hera hated him and caused him to go crazy. After completing the 12 great labors he became immortal.
Hermes (Mercury): Fleet footed messenger of the gods and possessed winged sandals. He was the guide of travelers.
Laocoon: Priest of Apollo who warned the Trojans not to touch the wooden horse made by the Greeks during the Trojan War.
Lapith: Twin brother with the centaur, their father was Apollo. Also, one of a Thessalian tribe who at the disastrous wedding of their king defeated the drunken centaurs.
Medusa: Chief of the Gorgons, Medusa was the serpent-headed monster of Greek mythology whose hideous appearance turned men into stone. Originally a fair maiden, she was violated by Poseidon in a temple of the goddess Athena, who then punished her by transforming her into an ugly monster with snakes for hair.
Nike (Victoria): Greek goddess of victory.
Zeus (Jupiter): King of the gods ruled the sky, his weapon was the thunderbolt, and with it he led the other gods to victory over the Giants.

1. Two goups that were excluded from participating in Greek democracy were:
A. Women
B. Slaves

The Geometric and Orientalizing Periods

Define-
Centaur- The mythological beast that is part man , part horse. It is represented in the work of Harkeles and Nessos.
Herakles- Is the hero that is combating Nessos (the centaur), after Nessos assaults the hero’s bride after he helps her cross the river.
Kore-(korai)- She is a the goddess or maiden known as Lady of Auxerre , the figure was dedicated by Mantiklos , the young women is not known if she is a mortal or a goddess.
Siren- these were the woman who lived on an island, they attracted sailors who passed by with their enchanting singing .

1. The three characteristics that are typical of a vase during the Geometric period are .A, Dark colors are used to paint the vase . B, The vase starts from top to bottom ( narrow at the bottom to an open wide top), and finally C, the designs seem to always have a design that is representational like be it funerary , or the animal world.

2. The reason why it is considered a the Orientalization Period is because this was the time that Greek artists were being exposed to eastern art work from places like Syria, these “orientals” had a great influence on Greek art work.
A. Ivory
B. Black-figure painting
3. The effect it had was great. The reason it is great is because all of a sudden the Greeks began to see and socialize with new cultures that brought with them new forms of arts . In the long run it greatly influenced Greek art work
4. The earliest known Greek temple does not have a name in the book is referred to as Temple A , located in Prinias, Greece.
5. List 3 characteristics of the Daedalic Style:
a. great Egyptian influence in his work
b. almost all great architectural work was from him (according to historians)
c. seem to have been very well , and diligently built, being capable to with stand the test of time.


Archaic Period

1. Define or identify the following:

contrapposto- disposition of the human figure in which one part is turned in oppoosition to another part creating a counterpositioning of the body about its central axis.

entasis- heavy closely spaced columns with a pronounced swelling in the middle of the shafts.

Euphronius - young and adventurous painter of the time; master in red figure technique

Exekias -master of black figure techinque; amphara is his greatest work.

foreshortening - things drawn in a three-quarter view

Kouros - young as portrayed and depicted on greek marble stones and sculpture.

1. What characteristics do sixth century kouros figures share with Egyptian statues? Both the Greek and Egyptian statues had a similar canonical stance with hands clenched and left foot forward. They both served as funerary pieces.

In what respects do they differ from them? Greek statues were liberated from their original stone block. Secondly, kouros were nude.

2. Describe the different visual effects created by the garments worn by the Peplos Kore and Ionian Kore? The Ionian kore gives us a more realistic effect because of the way the gown is work. She is lifting the dress so as to walk and it also has much more texture.

3. Drawing on page 116.

4. Doric a. No Base b. No Volute c. Metope d. Triglyph
Ionic a. Column has base b. Has volte c. No metope d. No triglyph

5. Drawing on 117

6. What feature of the facade of the Treasury of the Siphnian at Delphi identify it as an Ionic buildup? The frieze of the building is of ionic design with no triglyph or metope in the design.

7. How does the black figure technique of pottery decoration differ from the red-figure? The black figure techniques uses much more intricate designs of the soldiers, while the red-figure technique used a more general portrayal of the soldiers.

Name a painter who worked in each

Black Figure - : Exekias
Red Figure -: Euphronios\

8. Amphora pg 110
Krater pg 123

9. What features of the warrior from the west pediment of the temple of Aphaia at Aegina mark it as archaisc? His torso is rigidly frontal and looks at the spectator with the archaic smile.

What features of the warrior from the east pediment of the temple of Aphaia at Aegina illustrate the new Classical mode? Posture is more natual and complex with torso placed at an angle to the viewer.

The Early and High Classical Periods

Define:

Perecles: Conqueror. Beat the Persians. Built the Acropolis.

Lord Elgin: Took the statues and metopes back to England to preserve in the British Museum. Elgin’s Marble.

1.
• The Chariot Race between Pelps and King Oinomaos
• Herakles holds up the sky with the aid of Athena and a cushion while Atlas is away gathering the golden apples of Heripedes for the hero.
• In both attitude and dress, all the Olympia figures display a severity that contrasts sharply with the smiling and elaborately clad figures of the late period.

2.
• A figure is modled in wax and covered with clay the whole is fired, melting away the wax and hardening the clay, which then becomes a mold for molten metal.

3.
• Polykleitos

4.
• A temple to Athena.
• Dorian?
• Back room with four tall and slender columns as support for all the superstructure. & The frieze inside that ran around the top of the cella wall was ionic.
• A. The stylobate curves upward at centar on both sides.
B. The peristyle columns lean inward slightly.
C. The columns on the corners are about two inches thicker than the rest.
• He said they were made to compensate for optical illusions.
• Gold and Ivory statue to which the Parthenon was designed around. 38 ft tall. Armed with spear, shield and helmet.

5.
• A monumental entrance for the Acropolis. Wide ramps. The central pair of columns on each side enlarged.


6.
Nothing.


7.
• A. Garments cling tightly to body as if transperant
B. The drapery folds form intricate linear paterns unrelated to the bodies anatomical structre and have life of their own.
C. Deep carving Produced shadows to contrast with Polished Marble.

8.
• Phale Painter.


The Late Classical Period
Cavae: Hollow place or cavity. The seating area in ancient Greek and Roman theaters and amphitheaters.
Orchestra: Greek dancing place. In ancient Greek theaters, the circular piece of earth with a hard and level surface on which the performance took place.
Skene: The scene building of a Greek theater.
Tholos: A temple with a circular plan.

1. The Peloponnesian War had the following effects on Greek art: In the fifth century Greeks believed in the creation of “perfect” statues and the discovery of the “correct” mathematical formulas for constructing temples. The Peloponnesian War however, brought and end to the serene idealism of the fifth century. Greek art began to focus more on the individual and on the real world of appearances rather than on the community and the ideal world of perfect beings and buildings.
2.
-Praxiteles: His Olympian gods and goddesses retained their superhuman beauty, but in his hands they lost some of their solemn grandeur and took on a worldly sensuousness.
-Scopas: His works reflect the general trend toward the humanization of the Greek gods and goddesses, his hallmark however, is intense emotionalism.
-Lysippos: He introduced anew canon of proportions in which the bodies were more slender than those of Polykleitos- and theheads only 1/8 the height of the body rather than 1/7 as in the previous century.
They all strived to humanize the great gods and heroes of the Greeks.
3. Alexander was an inspired leader who succeeded his father as king of Macedon who conquered Greece. He led a powerful army on an extraordinary campaign that overthrew the Persian Empire, wrested control of Egypt, and even reached India. He was important to the study of Greek art because he is the idea behind many of the great works of that era. For example, the Alexander Mosaic demonstrates great skill from the artist who shows off his technical mastery in the depiction of its characters. Also, another mosaic demonstrates the Macedonian Opulence, and all the costly objects found in Macedonian graves attest to that fact. Alexander’s head from Pella demonstrates how influential Praxiteles, Scopas, and Lysippos, styles became and how they came into one.
4. The pebble mosaics are floors that are formed of small stones of various colors collected from beaches and riverbanks and set into a thick coat of cement. AN example of it is Gnosis’ Stag Hunt.
5. The main advantage of a Corinthian capital over an Ionic capital was: That corner Corinthian capitals do not have to be modified as do corner Ionic capitals. And because the Ionic frieze is used for the Corinthian “order” architects do not have to contend with metopes or triglyphs.

The Hellenistic Period
Define-
Agora- The Agora was the heart of ancient Athens, the focus of political, commercial, administrative and social activity, the religious and cultural centre, and the seat of justice.
Portico- The circled colonnades , which often housed shops and civic offices , were ideal vehicles for shaping of urban spaces, and they were the staple of Hellenistic cities.
Stoa- in Greek architecture this was the covered walkways , it was lined with pillars and was mainly two stories high. These were commonly used for market places .
1.
A. In High Classical Period the columns on the buildings were more refined then the blocky one on fig 5-74.
B. It seems that Fig 5-74 was built at a time that the Greeks expanded to the east seeing as it was built on Turkey , and the ones from the High Classical Period was built (for example Fig 5-29) were built on Italy .
C. Fig 5-74 the structure has no roof because that is the way it was built , but during the High Classical Period (for example Fig 5-29) it was built with a roof .
D. On Fig 5-74 there is no pediment on the structure, unlike Fig 5-29 which does have a pediment.
2.
A. In Fig 5-82 the sculpture is a mix between man and nature (water, and woman).
B. It is one of the few sculptures that represents a deity or god .
C. It gives the aura of a living breathing person , because of the illusion of water and wind on the sculpture.
D. It consist of a two layer base which gives the statue an enormous height , giving it a grander appearance .
3.
A. Fig 5-79 (Athena battling Alkyoneos) because it is very complex in the creation of it , it has great detail in it . It also shows the great advance that the Greeks have made in their work.
B. Fig 5-80 I like this one because the emotion of the man killing himself and his wife is somewhat tangible , also it represents the male human musculature very accurately , with the male with broad shoulders, lean mid-section , muscular thighs, and flaring calves.
C. Fig 5-82 , this one really represents the Hellenistic style because it is the most complex and intricate sculptor of this period . It has the element of nature and human all in one statue. It also gives the viewer an aura of the supernatural.
4. The subject that Fig 5-89 depicts is the death of Lacoon and his son after Poseidon sends sea serpents to silence them after he tells the Trojans to beware of the Greeks gift of the wooden horse.


Discussion questions
1. How were the different conception of the individual in the Greek and Sumerian civilization reflected in their art? Artwork, in both Greek and Sumerian civilizations, accurately reflected the individual through natural positions and human motion, which is best seen and depicted in the classical period of Greek art and during the Neo-Sumerian and Babylonian era in the Sumerian civilization.

2. Compare the Green and Geometric krater from the Dipylon Cemetery with the krater by the Niobid Painter. How does the decoration of each relate to the shape and surface of the vase, and what does the subject matter of each tell us about the people who made them? Both vases’ unique round shape allow the decorations on both to have sequential patterns that go all around the vase. The composition of both vases depict the Greeks unique belief in their mythical gods and goddesses that had many human characteristics and who took part in everyday human activities.

3. Who was responsible for the creation of the Egyptian Temple of Amen Re and who was responsible for the creation of the Greek Parthenon? How does the aesthetic effect produced by each reflect the political and religious systems of the two cultures? The temple of Amen Re was largely the work of Thutmose I and III and Hatshepsut. Iktinos and Kallikrates were the architects responsible for the Parthenon in Athens, Greece. The political influence and wealth of both nations were great when both of these magnificent buildings were created. Both were sanctuaries and places of worship, and depict the importance of both civilizations to worship and respect their Gods, by erecting such large and mathematically brilliant pieces of architecture.

4. Discuss the development of pedimental sculpture from the point of view of narrative and formal cohesiveness as seen in the pediments of Corfu, Aegina, Olympia, and the Parthenon. The development of pedimental sculpture is evident with a quick glance of the pieces on the pediment. The pediments of Corfu are simple, with little texture, detail, or actual human faces. The last of the pediments located in the Parthenon, we have much more detailed human faces, and actual texture found in the garments and clothing; the sizes of the pediment pieces also seem to enlarge as the times go on.

5. The depiction of human figures in Egypt underwent a change during the Amarna period of which it never fully recovered, even after going back to the conventional stylized depictions. The statue of Mentemhet is the earliest example of this. The double wig, characteristic of the New Kingdom, and the realism of the head, with its rough and almost brutal characterization, differentiate Mentemhet’s portrait from earlier works. But the rigidity of the stance, the frontality, and the spareness of the silhouette with arms at the side and left leg advanced still recall Old Kingdom statuary. In the Greek kouros, the Egyptian stylistic influence is evident: the figure is rigidly frontal with the left foot advanced, the arms held by the side of the body and the fists clenched with thumbs forward. But despite these similarities, the Greek kouros statue differs in that it was liberated from its original stone block. Greeks were preoccupied with finding ways to convey emotion rather than stability and permanence in their sculpted figures. Also, the kouroi are nude, they are made distinguishable from Greek images of deities with their perfect bodies exposed for all to see. In the case of the Warrior from Riace, the head turns forcefully to the right, his shoulders tilt, his hips swing markedly, and his arms have been freed from the body. There is also a weight shift, which is described as contrapposto (counterbalance), which separates Classical from Archaic Greek statuary. Natural motion in space replaced Archaic frontality and rigidity, making the depiction of men much more realistic and viable in terms of understanding human composition. The statue of Hermes and the infant Dionysos represent the Praxitelean manner; in which the deities of Mount Olympus posses a beauty mortals could aspire to achieve, but no longer do they seem awesome and remote. It is deliberately smooth and subtle, producing soft shadows that follow the planes as they flow almost imperceptibly one into another. The delicacy of the marble facial features throws into view that sensuous languor and an order of beauty that appeals more to the eye than to the mind replaced majestic strength and rationalization of design. In Lysippo’s Apoxymenos the new canon which the artist implanted is evident: the body is much more slender, and the head is roughly one-eight of the body instead of one-seventh. A nervous kind of energy runs through the features of the man, and his position is so that it is apparent that he will change his position at any minute, reversing the position of his legs and switching the scraper to his left arm. The statue breaks out of the shallow triangular box that defined the boundaries of earlier statues and this apparent due to the representation of Apoxymenos with his right arm boldly thrust forward.

6. The frieze from the Siphnian treasury at Delphi represents the popular theme of gigantomachy, and it is a very detailed rendition of Apollo and Artemis pursuing a fleeing giant at her right, while behind them one of the lions pulling a goddess’s chariot attacks a giant and bites into his midsection. Paint originally enlivened the crowded composition, and painted labels identified the various protagonists. Some figures had metal weapons. This frieze embodies the characteristics of the Archaic period because it has not yet broken from the conventional stylization of the human body. Also, the Gods are represented according to hierarchy of scale and they appear awesome and worthy of the utmost respect and fear. In many ways the most remarkable part of the Parthenon’s sculptural program is the inner ionic frieze. Although debated, most scholars agree it represents the Panathenaic Festival procession. The frieze vividly communicates the procession’s acceleration and deceleration. The upper part of the relief is higher that the lower part so that the more distant and more shaded upper zone is as legible from the ground as the lower part. The figures are represented with richness and an attention to detail characteristic o the Classical period. But it is the Altar of Zeus from Pergamon that surpasses them all in beauty, richness, and detail. It is not merely a series of dry, borrowed motifs; on the contrary, its tumultuous narrative has an emotional intensity unparalleled in earlier monuments. Violent movement, swirling draperies, and vivid depictions of death and suffering are the norm. Wounded figures writhe in pain, and their faces reveal their anguish. The figures project from the background like bursts of light. One can hardly imagine a greater contrast that between the Pergamene gigantomachy frieze and that of the Archaic Siphnian Treasury at Delphi.

7. Although Hellenistic sculptors tackled an expanded range of subjects, they did not abandon such traditional themes as the Greek athlete. But they often rendered the old subjects in novel ways, and this is certainly very true of the bronze statue of the seating boxer. The boxer is not a victorious young athlete with a perfect face and body but a battered, defeated veteran whose upward gaze may have been directed at the man who has just defeated him. Too many punches have distorted his face: his nose is broken, as are his teeth; he has smashed “cauliflower” ears, and inlaid copper blood drips from cuts in the forehead, nose and cheeks. The Hellenistic sculptor appealed not to the intellect but to the emotions when striving to evoke compassion for the pounded hulk of a once-mighty fighter. Contrary to the Hellenistic period, the Classical era had a tendency to represent all forms in order for them to please the viewer: the bodies are perfect and beautiful and the forms and poses of the young, victorious athletes are enviable. The aim of artists such as those responsible for the Discus Thrower and Doryphoros was not to convey human emotion and realism, but rather the quest for the perfect human form; an idealized view of the human body, exalting its virtues, foregoing its defects or shortcomings and relishing in its beauty. Movement was made beautiful and perfect by the use of a system of chiastic and contrapposto.

8. The depiction of the female form developed a la par with that of the male form, and underwent as much stylistic changes as the latter. An example of the representation of women during the Archaic Period is the Lady of Auxerre. It is disputed to this day whether or not this figure is a goddess, but the fact of the matter is that it possess the characteristics of the period it was created in. Characteristic is the triangular flat-topped head framed by long stands oh hair that form complementary triangles to that of the face. Also typical are the small, belted waist and fondness for pattern. The treatment of the long skirt is almost geometric with its incised concentric squares, once brightly painted. And last but not least, is the presence of the smile which is widely known as one of the most recognizable characteristics of this period. The Classical period, on the other hand, was concerned with the depiction of an idealized human form: exalting its beauty and delicacy. This is apparent in the Head of a woman from Chios, in which the artist wielded his chisel in the Praxitelean manner, suggesting the softness of the young girl’s face and the “dewy” glaze of her eyes. Marble was transformed into smooth, rich flesh from forehead to chin, and to a very human sensuousness characteristic of the period it was produced in. Last, but not least, is the depiction of the female form during the Hellenistic period. During this period realism achieved its highest degree in Greek art; the beauty of the human form was not always sacrificed, but its real beauty now resided in its realistic depiction, with both virtues and defects. An example of the level of realism reached during this period is the statue of the Old Market Woman. Her face is wrinkled, her body bent with age, and her spirit broken by a lifetime of poverty. She carries on because she must, not because she derives any pleasure from life. Even if the purpose of such a statue is unknown, it attests to an interest in social realism absent in earlier Greek statuary.

9. The political conditions of Athens during the 5th century was of enthusiasm since everything was coming into being, everything was new and exciting after the difficult war to expulse the Persians form Greece. It was the time of looking for the ideal form where buildings and statues alike were supposed to be perfect. On the other hand, the Hellenistic period went through the division of Alexander’s far-flung empire among his Greek generals. An international culture was born uniting the Hellenistic world and the world of the small austere and heroic city state, that of the 5th century, passed away as did Athens, and a cosmopolitan civilization much like today’s replaced it. The figure of Dionysos reflects the 5th century ecstasy because it shows the quest for perfection in the body of Dionysos. The figure of the Dying Gaul reflects the humanizing of the sculptures that came after the fifth century and the end of the quest for the perfect form.
10. My argument- I believe that the British should keep the marbles of Lord Elgin. I take this stand because the British have a long track record of keeping good care of ancient art works, that is why they have one of the largest collections of art works that date back thousands of years in their museums . Also, England does not have the seismic activity that the Greeks have , meaning that geologically they are more stable then the Greece. So if the Greeks were to have it and an earthquake were to occur the art work might be destroyed , unlike England that has little seismic action.
Other argument- The other argument that since the marbles of Lord Elgin was found in Greece it should remain in Greece. They would argue that the British have no right to take a work of art that belongs to the country were it was found . They might argue that it is a form of robbery , and that the Greeks should be compensated monetarily and the piece of art should be return to them POST HASTE !

Great, more homework.

Here's an idea: Start your own thread and post all your homework to it! That way, you'll have a written record of it all semester, all together in one spot - and! - those who don't care don't need to see it!

I think Bonnano should give up registering under that name as he keeps getting banned maybe he should try another name

If he uses DE NIRO in his name he'll be banned anyway!

Haha What have i done for you to treat me this way

You took your husband?

You took your kids?

You forgot the still????

Mig, you REALLY gotta get your priorities straight!!

Mike, careful with your homework. If somebody happened to Google what you've written, they may just come across this place, and accuse you of plagiarism.

You took your husband?

You took your kids?

You forgot the still????

Mig, you REALLY gotta get your priorities straight!! </strong></font><hr /></blockquote><font size="2" face="Verdana, Arial, Helvetica, sans-serif"> I'm a bad girl

Why did the watermelon and grapefruit have a big, lavish wedding?

Because they cantalope.

Strange. Days. Have found us.

Strange. Days. Have tracked us down.

They're going

to

destroy

Our cas

u

al

joys

We shall go on playing

Or find

a new town!


YEAH!


Strange. Eyes. Fill strange rooms.

Voices. Will signal.

Their tired end

The hostess...

is grinning...

The GUESTS sleep...

from SINNING...

Hear me talk of sin

And you know...

this is it!


YEAH!


Strange. Days.

Have found us!

And through their

strange hours

we linger alone

Bod

ies

Confused

Mem

ories

MISUSED!

As we run from the day

To a strange

Night

OF STONE!


Da dum.

D'oh!!

In their vows did the watermelon ask, "Honeydew you love me"??

Turn up your volume and listen to this:

Frank Sinatra on Terrorist Hijackers

Don't look at me.

Can someone else see this image?

yes

Thank you thank you thank you svsg.

After years of trying, I have finally figured out, how to take DVD screenshots.

Hallelujah.

Thank you again svsg.

The Doors have officially replaced Radiohead as my favorite band of all time.

Mountains. Fucking mountains.

They're there.

Don't make mountains out of molehills.

Thats what breast implants are for.

I wouldn't know anything about that.

Yes, I suppose I do have a dumb sense of humor.