paragraph on greek art

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Ancient Mediterranean + Europe

Course: ancient mediterranean + europe   >   unit 6.

• Ancient Greece, an introduction

Introduction to ancient Greek art

• Contrapposto explained
• Classic, classical, and classicism explained
• Introduction to Greek architecture
• The classical orders
• Greek architectural orders
• Black Figures in Classical Greek Art
• Greek sanctuaries as artistic hubs
• Olympic games
• Victorious athlete: The Vaison Daidoumenos
• Prize amphora showing a chariot race
• A competitor in the long jump
• Sprinter on a vase from Rhodes and a bronze running girl

A shared language, religion, and culture

The dark ages (c. 1100–c. 800 b.c.e.) to the orientalizing period (c. 700–600 b.c.e.), the archaic period (c. 600–480/479 b.c.e.), the classical period (480/479–323 b.c.e.), the hellenistic period and beyond (323 b.c.e.–31 b.c.e.), want to join the conversation.

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Heilbrunn Timeline of Art History Essays

The art of classical greece (ca. 480–323 b.c.).

Terracotta amphora (jar)

Attributed to the Berlin Painter

Terracotta pyxis (box)

Attributed to the Penthesilea Painter

Bronze mirror with a support in the form of a draped woman

Terracotta volute-krater (bowl for mixing wine and water)

Attributed to the Painter of the Woolly Satyrs (namepiece)

Marble grave stele of a little girl

Terracotta column-krater (bowl for mixing wine and water)

Attributed to the Marlay Painter

Marble head of a woman wearing diadem and veil

Terracotta calyx-krater (mixing bowl)

Attributed to the Dolon Painter

Marble grave stele with a family group

Gold box ring surmounted by a scarab

Gold finger ring engraved with an image of Hermes

Gold stater

Terracotta statuette of the Diadoumenos (youth tying a fillet around his head)

Marble relief with a dancing maenad

Adaptation of work attributed to Kallimachos

Marble statue of Eirene (the personification of peace)

Roman copy of Greek original by Kephisodotos

Marble head from a statue of Harmodios

Original attributed to Kritios and Nesiotes

Colette Hemingway Independent Scholar

Seán Hemingway Department of Greek and Roman Art, The Metropolitan Museum of Art

January 2008

After the defeat of the Persians in 479 B.C., Athens dominated Greece politically, economically, and culturally. The Athenians organized a confederacy of allies to ensure the freedom of the Greek cities in the Aegean islands and on the coast of Asia Minor. Members of the so-called Delian League provided either ships or a fixed sum of money that was kept in a treasury on the island of Delos, sacred to Apollo. With control of the funds and a strong fleet, Athens gradually transformed the originally voluntary members of the League into subjects. By 454/453 B.C., when the treasury was moved from Delos to the Athenian Akropolis , the city had become a wealthy imperial power. It had also developed into the first democracy. All adult male citizens participated in the elections and meetings of the assembly, which served as both the seat of government and a court of law.

Perikles (r. ca. 461–429 B.C.), the most creative and adroit statesman of the third quarter of the fifth century B.C., transformed the Akropolis into a lasting monument to Athen’s newfound political and economic power. Dedicated to Athena, the city’s patron goddess, the Parthenon epitomizes the architectural and sculptural grandeur of Perikles’ building program. Inside the magnificent Doric temple stood the colossal gold-and-ivory statue of Athena made by the Greek sculptor Pheidias. The building itself was constructed entirely of marble and richly embellished with sculpture, some of the finest examples of the high Classical style of the mid-fifth century B.C. Its sculptural decoration has had a major impact on other works of art, from its own day to the present ( 27.45 ).

Greek artists of the fifth and fourth centuries B.C. attained a manner of representation that conveys a vitality of life as well as a sense of permanence, clarity, and harmony. Polykleitos of Argos was particularly famous for formulating a system of proportions that achieved this artistic effect and allowed others to reproduce it. His treatise, the Canon , is now lost, but one of his most important sculptural works, the Diadoumenos, survives in numerous ancient marble copies of the bronze original ( 32.11.2 ). Bronze , valued for its tensile strength and lustrous beauty, became the preferred medium for freestanding statuary , although very few bronze originals of the fifth century B.C. survive. What we know of these famous sculptures comes primarily from ancient literature and later Roman copies in marble ( 14.130.9 ).

The middle of the fifth century B.C. is often referred to as the Golden Age of Greece, particularly of Athens. Significant achievements were made in Attic vase painting . Most notably, the red-figure technique superseded the black-figure technique, and with that, great strides were made in portraying the human body, clothed or naked, at rest or in motion. The work of vase painters, such as Douris, Makron, Kleophrades, and the Berlin Painter ( 56.171.38 ), exhibit exquisitely rendered details.

Although the high point of Classical expression was short-lived, it is important to note that it was forged during the Persian Wars (490–479 B.C.) and continued after the Peloponnesian War (431–404 B.C.) between Athens and a league of allied city-states led by Sparta . The conflict continued intermittently for nearly thirty years. Athens suffered irreparable damage during the war and a devastating plague that lasted over four years. Although the city lost its primacy, its artistic importance continued unabated during the fourth century B.C. The elegant, calligraphic style of late fifth-century sculpture ( 35.11.3 ) was followed by a sober grandeur in both freestanding statues ( 06.311 ) and many grave monuments ( 11.100.2 ). One of the far-reaching innovations in sculpture at this time, and one of the most celebrated statues of antiquity, was the nude Aphrodite of Knidos, by the Athenian sculptor Praxiteles. Praxiteles’ creation broke one of the most tenacious conventions in Greek art in which the female figure had previously been shown draped. Its slender proportions and distinctive contrapposto stance became hallmarks of fourth-century B.C. Greek sculpture. In architecture, the Corinthian—characterized by ornate, vegetal column capitals—first came into vogue. And for the first time, artistic schools were established as institutions of learning. Among the most famous was the school at Sikyon in the Peloponnesos, which emphasized a cumulative knowledge of art, the foundation of art history. Greek artists also traveled more extensively than in previous centuries. The sculptor Skopas of Paros traveled throughout the eastern Mediterranean for his commissions, among them the Mausoleum at Halicarnassos, one of the seven wonders of the ancient world.

While Athens began to decline during the fourth century B.C., the influence of Greek cities in southern Italy and Sicily spread to indigenous cultures that readily adopted Greek styles and employed Greek artists. Depictions of Athenian drama, which flourished in the fifth century with the work of Aeschylus, Sophokles, and Euripides, was an especially popular subject for locally produced pottery ( 24.97.104 ).

During the mid-fourth century B.C., Macedonia (in northern Greece) became a formidable power under Philip II (r. 360/359–336 B.C.), and the Macedonian royal court became the leading center of Greek culture. Philip’s military and political achievements ably served the conquests of his son, Alexander the Great (r. 336–323 B.C.). Within eleven years, Alexander subdued the Persian empire of western Asia and Egypt, continuing into Central Asia as far as the Indus River Valley. During his reign, Alexander cultivated the arts as no patron had done before him. Among his retinue of artists was the court sculptor Lysippos, arguably one of the most important artists of the fourth century B.C. His works, most notably his portraits of Alexander (and the work they influenced), inaugurated many features of Hellenistic sculpture, such as the heroic ruler portrait ( 52.127.4 ). When Alexander died in 323 B.C., his successors, many of whom adopted this portrait type, divided up the vast empire into smaller kingdoms that transformed the political and cultural world during the Hellenistic period (ca. 323–31 B.C.).

Hemingway, Colette, and Seán Hemingway. “The Art of Classical Greece (ca. 480–323 B.C.) .” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/tacg/hd_tacg.htm (January 2008)

Further Reading

Boardman, John. Greek Sculpture: The Classical Period: A Handbook . London: Thames & Hudson, 1985.

Boardman, John. Greek Sculpture: The Late Classical Period and Sculpture in Colonies and Overseas . London: Thames & Hudson, 1995.

Picón, Carlos A., Seán Hemingway, Christopher S. Lightfoot, Joan R. Mertens, and Elizabeth J. Milleker, with contributions by Richard De Puma. man The Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome . New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2007. See on MetPublications

Pollitt, Jerome J. Art and Experience in Classical Greece . Cambridge: Cambridge University Press, 1972.

Additional Essays by Seán Hemingway

• Hemingway, Seán. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
• Hemingway, Seán. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
• Hemingway, Seán. “ Hellenistic Jewelry .” (April 2007)
• Hemingway, Seán. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
• Hemingway, Seán. “ Mycenaean Civilization .” (October 2003)
• Hemingway, Seán. “ Africans in Ancient Greek Art .” (January 2008)
• Hemingway, Seán. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
• Hemingway, Seán. “ Greek Gods and Religious Practices .” (October 2003)
• Hemingway, Seán. “ Athletics in Ancient Greece .” (October 2002)
• Hemingway, Seán. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
• Hemingway, Seán. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
• Hemingway, Seán. “ Cyprus—Island of Copper .” (October 2004)
• Hemingway, Seán. “ Music in Ancient Greece .” (October 2001)
• Hemingway, Seán. “ Etruscan Art .” (October 2004)
• Hemingway, Seán. “ Prehistoric Cypriot Art and Culture .” (October 2004)
• Hemingway, Seán. “ Minoan Crete .” (October 2002)

Additional Essays by Colette Hemingway

• Hemingway, Colette. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
• Hemingway, Colette. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
• Hemingway, Colette. “ Hellenistic Jewelry .” (April 2007)
• Hemingway, Colette. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
• Hemingway, Colette. “ Mycenaean Civilization .” (October 2003)
• Hemingway, Colette. “ Retrospective Styles in Greek and Roman Sculpture .” (July 2007)
• Hemingway, Colette. “ Africans in Ancient Greek Art .” (January 2008)
• Hemingway, Colette. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
• Hemingway, Colette. “ Architecture in Ancient Greece .” (October 2003)
• Hemingway, Colette. “ Greek Gods and Religious Practices .” (October 2003)
• Hemingway, Colette. “ The Labors of Herakles .” (January 2008)
• Hemingway, Colette. “ Athletics in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
• Hemingway, Colette. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
• Hemingway, Colette. “ Women in Classical Greece .” (October 2004)
• Hemingway, Colette. “ Cyprus—Island of Copper .” (October 2004)
• Hemingway, Colette. “ Music in Ancient Greece .” (October 2001)
• Hemingway, Colette. “ Ernest Hemingway (1899–1961) and Art .” (October 2004)
• Hemingway, Colette. “ Etruscan Art .” (October 2004)
• Hemingway, Colette. “ Prehistoric Cypriot Art and Culture .” (October 2004)
• Hemingway, Colette. “ Sardis .” (October 2004)
• Hemingway, Colette. “ Medicine in Classical Antiquity .” (October 2004)
• Hemingway, Colette. “ Southern Italian Vase Painting .” (October 2004)
• Hemingway, Colette. “ Theater in Ancient Greece .” (October 2004)
• Hemingway, Colette. “ The Kithara in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ Minoan Crete .” (October 2002)

Related Essays

• Athenian Vase Painting: Black- and Red-Figure Techniques
• The Rediscovery of Classical Antiquity
• The Rise of Macedon and the Conquests of Alexander the Great
• The Technique of Bronze Statuary in Ancient Greece
• Theater in Ancient Greece
• Africans in Ancient Greek Art
• Ancient Greek Colonization and Trade and their Influence on Greek Art
• Ancient Greek Dress
• Art and Craft in Archaic Sparta
• Art of the Hellenistic Age and the Hellenistic Tradition
• The Chiton, Peplos, and Himation in Modern Dress
• Classical Art and Modern Dress
• Classicism in Modern Dress
• Contexts for the Display of Statues in Classical Antiquity
• Death, Burial, and the Afterlife in Ancient Greece
• The Five Wares of South Italian Vase Painting
• Greek Gods and Religious Practices
• The Greek Key and Divine Attributes in Modern Dress
• The Kithara in Ancient Greece
• Medusa in Ancient Greek Art
• Music in Ancient Greece
• Neoclassicism
• Profane Love and Erotic Art in the Italian Renaissance
• Roman Copies of Greek Statues
• Still-Life Painting in Southern Europe, 1600–1800
• Women in Classical Greece
• Ancient Greece, 1000 B.C.–1 A.D.
• Ancient Greece, 1–500 A.D.
• 4th Century B.C.
• 5th Century B.C.
• Anatolia and the Caucasus
• Ancient Greek Art
• Ancient Roman Art
• Attic Style
• Balkan Peninsula
• Central and North Asia
• Classical Period
• Classical Ruins
• Greek and Roman Mythology
• Hellenistic Period
• Hermes / Mercury
• Iberian Peninsula
• Italian Literature / Poetry
• Numismatics
• Relief Sculpture
• Sculpture in the Round

Artist or Maker

• Achilles Painter
• Amykos Painter
• Berlin Painter
• Kallimachos
• Kephisodotos
• Kleophrades Painter
• Marlay Painter
• Painter of the Woolly Satyrs
• Penthesilea Painter
• Tarporley Painter

Online Features

• The Artist Project: “Adam Fuss on a marble grave stele of a little girl”
• Connections: “Hands” by Alice Schwarz