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Ancient Greek art
Ancient Greek art is the visual and applied arts, as well as the architecture, produced by the Hellenes or Greek peoples from the start of the Iron Age to the Hellenistic period, ending with Roman conquest of Greece at the Battle of Corinth in 146 BCE. It stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
Greek architecture, technically very simple, established a harmonious style with numerous detailed conventions that were largely adopted by Roman architecture and are still followed in some modern buildings. It used a vocabulary of ornament that was shared with pottery, metalwork and other media, and had an enormous influence on Eurasian art, especially after Buddhism carried it beyond the expanded Greek world created by Alexander the Great. The social context of Greek art included radical political developments and a great increase in prosperity; the equally impressive Greek achievements in philosophy, literature and other fields are well known.
The earliest art by Greeks is generally excluded from "ancient Greek art", and instead known as Greek Neolithic art followed by Aegean art; the latter includes Cycladic art and the art of the Minoan and Mycenaean cultures from the Greek Bronze Age. The art of ancient Greece is usually divided stylistically into four periods: the Geometric, Archaic, Classical, and Hellenistic. The Geometric age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years, traditionally known as the Greek Dark Ages. The 7th century BC witnessed the slow development of the Archaic style as exemplified by the black-figure style of vase painting. Around 500 BC, shortly before the onset of the Persian Wars (480 BC to 448 BC), is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods. From some point in the 1st century BC onwards "Greco-Roman" is used, or more local terms for the Eastern Greek world.
In reality, there was no sharp transition from one period to another. Forms of art developed at different speeds in different parts of the Greek world, and as in any age some artists worked in more innovative styles than others. Strong local traditions, and the requirements of local cults, enable historians to locate the origins even of works of art found far from their place of origin. Greek art of various kinds was widely exported. The whole period saw a generally steady increase in prosperity and trading links within the Greek world and with neighbouring cultures.
The survival rate of Greek art differs starkly between media. Huge quantities of pottery and coins survive, along with much stone sculpture (though even more Roman copies), and a few large bronze sculptures. Almost entirely missing are painting, fine metal vessels, and anything in perishable materials including wood. The stone shell of a number of temples and theatres has survived, but little of their extensive decoration.
By convention, finely painted vessels of all shapes are called "vases", and there are over 100,000 significantly complete surviving pieces, giving (with the inscriptions that many carry) unparalleled insights into many aspects of Greek life. Sculptural or architectural pottery, also very often painted, are referred to as terracottas, and also survive in large quantities. In much of the literature, "pottery" means only painted vessels, or "vases". Pottery was the main form of grave goods deposited in tombs, often as "funerary urns" containing the cremated ashes, and was widely exported.
The famous and distinctive style of Greek vase-painting with figures depicted with strong outlines, with thin lines within the outlines, reached its peak from about 600 to 350 BC, and divides into the two main styles, almost reversals of each other, of black-figure and red-figure painting, the other colour forming the background in each case. Other colours were very limited, normally to small areas of white and larger ones of a different purplish-red. Within the restrictions of these techniques and other strong conventions, vase-painters achieved remarkable results, combining refinement and powerful expression. White ground technique allowed more freedom in depiction, but did not wear well and was mostly made for burial.
Conventionally, the ancient Greeks are said to have made most pottery vessels for everyday use, not for display. Exceptions are the large Archaic monumental vases made as grave-markers, trophies won at games, such as the Panathenaic Amphorae filled with olive oil, and pieces made specifically to be left in graves; some perfume bottles have a money-saving bottom just below the mouth, so a small quantity makes them appear full. In recent decades many scholars have questioned this, seeing much more production than was formerly thought as made to be placed in graves, as a cheaper substitute for metalware in both Greece and Etruria.
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Ancient Greek art
Ancient Greek art is the visual and applied arts, as well as the architecture, produced by the Hellenes or Greek peoples from the start of the Iron Age to the Hellenistic period, ending with Roman conquest of Greece at the Battle of Corinth in 146 BCE. It stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery.
Greek architecture, technically very simple, established a harmonious style with numerous detailed conventions that were largely adopted by Roman architecture and are still followed in some modern buildings. It used a vocabulary of ornament that was shared with pottery, metalwork and other media, and had an enormous influence on Eurasian art, especially after Buddhism carried it beyond the expanded Greek world created by Alexander the Great. The social context of Greek art included radical political developments and a great increase in prosperity; the equally impressive Greek achievements in philosophy, literature and other fields are well known.
The earliest art by Greeks is generally excluded from "ancient Greek art", and instead known as Greek Neolithic art followed by Aegean art; the latter includes Cycladic art and the art of the Minoan and Mycenaean cultures from the Greek Bronze Age. The art of ancient Greece is usually divided stylistically into four periods: the Geometric, Archaic, Classical, and Hellenistic. The Geometric age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years, traditionally known as the Greek Dark Ages. The 7th century BC witnessed the slow development of the Archaic style as exemplified by the black-figure style of vase painting. Around 500 BC, shortly before the onset of the Persian Wars (480 BC to 448 BC), is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods. From some point in the 1st century BC onwards "Greco-Roman" is used, or more local terms for the Eastern Greek world.
In reality, there was no sharp transition from one period to another. Forms of art developed at different speeds in different parts of the Greek world, and as in any age some artists worked in more innovative styles than others. Strong local traditions, and the requirements of local cults, enable historians to locate the origins even of works of art found far from their place of origin. Greek art of various kinds was widely exported. The whole period saw a generally steady increase in prosperity and trading links within the Greek world and with neighbouring cultures.
The survival rate of Greek art differs starkly between media. Huge quantities of pottery and coins survive, along with much stone sculpture (though even more Roman copies), and a few large bronze sculptures. Almost entirely missing are painting, fine metal vessels, and anything in perishable materials including wood. The stone shell of a number of temples and theatres has survived, but little of their extensive decoration.
By convention, finely painted vessels of all shapes are called "vases", and there are over 100,000 significantly complete surviving pieces, giving (with the inscriptions that many carry) unparalleled insights into many aspects of Greek life. Sculptural or architectural pottery, also very often painted, are referred to as terracottas, and also survive in large quantities. In much of the literature, "pottery" means only painted vessels, or "vases". Pottery was the main form of grave goods deposited in tombs, often as "funerary urns" containing the cremated ashes, and was widely exported.
The famous and distinctive style of Greek vase-painting with figures depicted with strong outlines, with thin lines within the outlines, reached its peak from about 600 to 350 BC, and divides into the two main styles, almost reversals of each other, of black-figure and red-figure painting, the other colour forming the background in each case. Other colours were very limited, normally to small areas of white and larger ones of a different purplish-red. Within the restrictions of these techniques and other strong conventions, vase-painters achieved remarkable results, combining refinement and powerful expression. White ground technique allowed more freedom in depiction, but did not wear well and was mostly made for burial.
Conventionally, the ancient Greeks are said to have made most pottery vessels for everyday use, not for display. Exceptions are the large Archaic monumental vases made as grave-markers, trophies won at games, such as the Panathenaic Amphorae filled with olive oil, and pieces made specifically to be left in graves; some perfume bottles have a money-saving bottom just below the mouth, so a small quantity makes them appear full. In recent decades many scholars have questioned this, seeing much more production than was formerly thought as made to be placed in graves, as a cheaper substitute for metalware in both Greece and Etruria.