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Greek Art


"...a small Greek city on the dusty plains of Attica...


9 Greek sculptures | 38 Greek architecture images


Ancient Art


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Greek Art and Architecture

"First, there was the vision. In the fifth century before Christ, an unprecedented idea rose from a small Greek city on the dusty plains of Attica and exploded over the Western Hemisphere like the birth of a new sun. Its light has warmed and illuminated us ever since; sometimes obscured by shadows, then bursting forth anew as it did when our own nation was created on the model of the Greek original. The vision the classical Greek idea was that society functions best if all citizens are equal and free to shape their lives and share in running their state: in a word, democracy.

"With this new day came an explosion of the creative spirit in Greece, producing the architecture, the art, the drama, and the philosophy that have shaped Western civilization ever since. Jason's harvest of armed soldiers, grown in a day from dragon's teeth, seems no more miraculous. "What was then produced in art and thought has never been surpassed and very rarely equalled," wrote the classicist Edith Hamilton, "and the stamp of it is on all the art and all the thought of the Western world."

"The concept of individual freedom is now so much a part of our spiritual and intellectual heritage that it is hard today to realize exactly how radical an idea it was. No society before the Greeks had thought that equality and freedom of the individual could lead to anything but disaster.

"The revolutionary notion that ordinary man could rule himself took root 2,500 years ago in the late sixth century B.C. after the Athenian lawgiver, Solon, extended power sharing beyond the aristocracy. It crystallized in the last decade of the century with the reforms of the statesman Kleisthenes, reforms that distributed political rights to all free citizens and established equality before the law.

"Long before the Greeks, mankind realized that order was necessary for society to function, but it was always believed that order was impossible without autocratic rule. The great empires of the ancient world Egypt, Mesopotamia, Persia were all tyrannies. It took the small and unimpressive city state of Athens to produce the idea that individual freedom and order are not incompatible.

"The Greeks did not come up with that concept because they were naive optimists. They were, in fact, realists who understood very well that unlimited freedom can produce chaos. The principles they most revered were moderation, balance, self control, all summarized by the words attributed to Solon carved in the stones of their holiest shrine, Delphi: "Nothing in Excess." The Greeks embraced this golden mean because they were a passionate, individualistic people, quick to vent their emotions, and they realized how difficult moderation is to achieve. Every Greek considered himself a battlefield where Apollo's reason and Dionysos' passions struggled for control.

"The fact that the Greeks knew the extremes of passion so well was precisely why they placed such a high value on self control. Knowing the dangers of excess, they struggled to restrain the impulses for unrestricted freedom that can make life in a community intolerable. Perikles said: "We are a free democracy, but we obey the laws, more especially those which protect the oppressed and the unwritten laws whose transgression brings shame." The faith of Greeks in every person's unique capacity to reason and to impose self control from within was a major force in creating that peculiar Athenian experiment, the world's first democracy, which involved every farmer, shepherd, and tradesman in the government. "The individual can be trusted," Perikles said. "Let him alone."

"Mortal man became the standard by which things were judged and measured. Buildings were built to accommodate the body and please the eye of a man, not a giant. Gods were portrayed as resembling human beings, not fantastic creatures. And the ruler the lawmaker and judgewas for the first time the ordinary citizen. As Sophokles wrote in Antigone: "Wonders are there many none more wonderful than man."

"The ancient Greeks believed there is a divine spark to be found within every mortal. Their gods looked and acted like humans, complete with human foibles and weaknesses. This is an essential difference between the Greeks and all previous societies, which stressed that good behavior must be enforced upon men by the threat of retribution from outside, superhuman forces. It was no coincidence that the Greek discovery of individual worth and freedom produced the most profound advances in art and sculpture. If the spark of divinity is to be found in man, then the form and appearance of man would inevitably be the proper subject matter of the artist. The truth could be found in the natural world, including man's body and mind, not in some mystical, incorporeal world. While the artists and religious leaders of the East tried to find truth by distancing themselves from the physical world, the Greeks studied the real, the physical, the natural in their search for truth and wisdom.

"Before the Greek miracle, the great civilizations of the world produced art that was rigid, formal, symbolic rather than realistic. In Egypt life was ruled by overwhelming forces of nature: rain, wind, sun, drought. Egyptian sculpture and architecture, such as the sphinx and the pyramids, were equally colossal, beyond the ken of mere mortals who were tiny as ants in comparison. The Eastern artist was taught to consider the outside world merely an illusion and to withdraw from it through solitude, meditation, and chanting until he lost all consciousness of self and beheld the image of a god that would have no human shape. By banishing the flesh, the art of the East became mystical and supernatural; fantastic figures with multiple hands, arms, and breasts, whirling in ecstasy, were symbols of spiritual truth. in contrast, an artist who believes that man holds the spark of divinity, that there is "none more wonderful than man," will make the human form his object of study.

"When reason and spirit fuse, as they did in the time of Perikles, the natural goal of the artist is to portray beauty in the image of man, but idealized. Like the philosopher and the scientist, the artist sought the essence of the thing, trying to strip away confusing details and variations to uncover the purest ideal of the human body, the perfect balance between flesh, spirit, and intellect. This, for him, was the best rendition of a god and of spiritual perfection. No symbols or special trappings of divinity were required beyond the figure's physical harmony. The most perfect beauty, to the Greek of the fifth century, was the pure and unadorned.

"This miracle did not happen instantly. By studying the development of the human figure in Greek sculpture, we can see the perfection of naturalistic art emerging from the chrysalis of what went before. Archaic kouroi are stiff, stylized, portrayed frontally with their mystical smile. Like figures in the art of earlier civilizations, they are rigid as the stones from which they are carved. In the Kritios Boy of the early classical period the human form takes a revolutionary step out of the block of marble, turning his head and escaping the restraints of centuries. He is a synthesis of ethos (noble character) and pathos (emotion) never before achieved. Within a stunningly brief period of time, the representation of the human figure achieved its finest expression, idealized yet completely natural, in a bronze masterpiece called the Zeus of Artemiseion, frozen in perfect balance in the instant before he hurls a thunderbolt. The Greek miracle was complete.

"Why did this miracle spring from the soil of Attica rather than a mightier, richer, or more ancient civilization? No one can say for certain, but one reason may be the nature of the landscape of Greece. It is not a place of extremes. Greece is a land of unceasing variety, austere but beautiful, where everything can be taken in by the human eye and understanding. Ancient Greeks believed Mount Olympus touched the sky, yet it is only 9,750 feet high. Nature built Greece on a human scale and the Greeks followed suit, creating their gods and designing their temples to the measure of man. This idea of human proportion as the basic unit pervades Greek thought.

"Another reason for the Greeks' unique vision may be that they lived at the crossroads of three continents, venturing from their land all over the Mediaterranean world to trade and establish colonies. This gave them, with the explorer's boldness and the philosopher's yearning for basic truths, the opportunity to examine the ideas of other civilizations and compare them to their own. Ultimately their experiences and instincts led to the creation of the Greek miracle that astonished the world. Such greatness of art, literature, philosophy, and government set a standard for the civilizations that came after. For nearly a century, on the austere plain of Attica, men reached a level of excellence that has remained an inspiration for mankind, the mind and spirit in equilibrium as never before or since."


- From Nicholas Gage, Introduction to The Greek Miracle: Classical Sculpture from the Dawn of Democracy, the Fifth Century B.C.

Greek Sculpture

The "Agamemnon" Mask
Athena
Belvedere Apollo
Discobolos (Discus Thrower)
Head of a Blond Youth
Laocoon and his sons
Man with Helmet
Venus de Milo
Winged Victory of Samothrace

Greek Architecture

Acragas: Temple of Castor and Pollux
Acragas: Temple of Concord
Acragas: Temple of Juno Lacinia
The Acropolis at Athens
Acropolis, Athens: The Erechtheum
Acropolis, Athens: Temple of Athena Nike
Acropolis, Athens: Temple of Athena Nike (2)
Acropolis, Athens: Parthenon, East facade
Aegina: Temple of Aphaia
Aegina: Temple of Aphaia (Detail of the interior double-colonnade)
Agrigentum, Sicily: Temple of Concord
Corinth: Temple of Apollo
Corinth: Temple of Apollo (2)
Delphi: Marmaria, Sanctuary of Athena
Didyma: Temple of Apollo
Eleusis: Telesterion
Epidaurus: interior corridors in foundation of Tholos
Epidaurus: theater
Greek column: Corinthian capital
Greek column: Doric capital
Greek column: Ionic capital
Hagia Triada: staircase from agora to upper courtyard
Knossos: palace
Lindos (Rhodes): staircase to acropolis
Mycenae: Lion Gate
Olympia: Temple of Hera
Olympia: Temple of Hera (2)
Olympia: palaestra, Doric colonnade
Paestum: Temple of Hera III
Paestum: Temple of Hera I (Basilica)
Paestum: Temple of Poseidon
Priene: theater
Sardis: Temple of Artemis Cybele
Segesta: Temple
Segesta: Doric temple
Selinus: Temple E
Sunium: Temple of Poseidon
Staatliche Museum, Pergamonmuseum, Berlin: The Great Altar of Zeus






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