Art in Ancient Greece

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ART IN ANCIENTART IN ANCIENTGREECEGREECE

BY: PIYUSHBY: PIYUSH

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INTRODUCTIONINTRODUCTION

TheThe arts of ancient Greecearts of ancient Greece have exercised anhave exercised anenormous influence on the culture of many countries,enormous influence on the culture of many countries,particularly in the areas ofparticularly in the areas ofsculpturesculpture andand architecturearchitecture. In. Inthe West, the art of thethe West, the art of the Roman EmpireRoman Empire was largelywas largelyderived from Greek models. In the East,derived from Greek models. In the East, Alexander theAlexander the

GreatGreat's conquests initiated several centuries of's conquests initiated several centuries ofexchange between Greek, Central Asian andexchange between Greek, Central Asian and IndianIndiancultures, resulting incultures, resulting in Greco-Buddhist artGreco-Buddhist art, with, withramifications as far asramifications as far as JapanJapan. Following the. Following the RenaissanceRenaissancein Europe, thein Europe, the humanisthumanist aesthetic and the high technicalaesthetic and the high technical

standards of Greek art inspired generations of Europeanstandards of Greek art inspired generations of Europeanartists. Well into the 19th century, the classical traditionartists. Well into the 19th century, the classical traditionderived from Greece dominated the art of the westernderived from Greece dominated the art of the westernworld.world.

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The art of Ancient Greece is usually divided stylisticallyThe art of Ancient Greece is usually divided stylisticallyinto four periods: the Geometric, Archaic, Classical, andinto four periods: the Geometric, Archaic, Classical, andHellenistic. As noted above, the Geometric age is usuallyHellenistic. As noted above, the Geometric age is usuallydated from aboutdated from about 1000 BC1000 BC, although in reality little is, although in reality little isknown about art in Greece during the preceding 200known about art in Greece during the preceding 200years (traditionally known as theyears (traditionally known as the Dark AgesDark Ages), the period), the periodof the 7th century BC witnessed the slow development ofof the 7th century BC witnessed the slow development ofthe Archaic style as exemplified by thethe Archaic style as exemplified by the black-figureblack-figure stylestyleof vase painting. The onset of theof vase painting. The onset of the Persian WarsPersian Wars ((480 BC480 BCtoto 448 BC448 BC) is usually taken as the dividing line between) is usually taken as the dividing line between

the Archaic and the Classical periods, and the reign ofthe Archaic and the Classical periods, and the reign ofAlexander the GreatAlexander the Great ((336 BC336 BC toto 323 BC323 BC) is taken as) is taken asseparating the Classical from the Hellenistic periods.separating the Classical from the Hellenistic periods.

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PotteryPottery

The Ancient Greeks made pottery for everyday use, notThe Ancient Greeks made pottery for everyday use, not

for display; the trophies won at games, such as thefor display; the trophies won at games, such as thePanathenaicPanathenaicAmphoraeAmphorae (wine decanters), are the(wine decanters), are theexception. Most surviving pottery consists of drinkingexception. Most surviving pottery consists of drinkingvessels such asvessels such as amphoraeamphorae,, kraterskraters (bowls for mixing(bowls for mixingwine and water),wine and water), hydriahydria (water jars), libation bowls, jugs(water jars), libation bowls, jugsand cups. Painted funeral urns have also been found.and cups. Painted funeral urns have also been found.

Miniatures were also produced in large numbers, mainlyMiniatures were also produced in large numbers, mainlyfor use as offerings at temples. In the Hellenistic period afor use as offerings at temples. In the Hellenistic period awider range of pottery was produced, but most of it is ofwider range of pottery was produced, but most of it is oflittle artistic importance.little artistic importance.

At the end of the Geometric phased, the OrientalizingAt the end of the Geometric phased, the Orientalizingphase of vase painting, saw the abstract geometricphase of vase painting, saw the abstract geometricdesigns replaced by the more rounded, realistic forms ofdesigns replaced by the more rounded, realistic forms ofEastern motifs, such as the lotus, palmette, lion, andEastern motifs, such as the lotus, palmette, lion, andsphinx. Ornament increased in amount and intricacy.sphinx. Ornament increased in amount and intricacy.

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The history of Ancient Greek pottery is divided stylistically intoThe history of Ancient Greek pottery is divided stylistically into

periods:periods:

thethe ProtogeometricProtogeometric from aboutfrom about 1050 BC1050 BC;;thethe GeometricGeometric from aboutfrom about 900 BC900 BC;;

thethe Late GeometricLate Geometric ororArchaicArchaic from aboutfrom about 750 BC750 BC;;

thethe Black FigureBlack Figure from the earlyfrom the early 7th century BC7th century BC;;

and theand the Red FigureRed Figure from aboutfrom about 530 BC530 BC..

The range of colours which could be used on pots wasThe range of colours which could be used on pots was

restricted by the technology of firing: black, white, red,restricted by the technology of firing: black, white, red,

and yellow were the most common. In the three earlierand yellow were the most common. In the three earlier

periods, the pots were left their natural light colour, andperiods, the pots were left their natural light colour, and

were decorated with slip that turned black in the kilnwere decorated with slip that turned black in the kiln..

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Late GeometricLate Geometric pyxispyxis,,

British MuseumBritish Museum..

CorinthianCorinthian

orientalising jug,orientalising jug,

circacirca620 BC,620 BC,AntikensammlungenAntikensammlungen

MunichMunich..

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LEFT MOST: Corinthian orientalising jug,LEFT MOST: Corinthian orientalising jug, circacirca 620 BC,620 BC,MIDDLE: Interior (MIDDLE: Interior (tondotondo) of a red figure) of a red figure kylixkylix, depicting, depicting HeraklesHerakles andand AthenaAthena, by, by

Phoinix (potter) andPhoinix (potter) and DourisDouris (painter),(painter), circacirca 480-470480-470RIGHT MOST: 7th century BC plate withRIGHT MOST: 7th century BC plate with sphinxsphinx fromfrom RhodesRhodes,, LouvreLouvre ..

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FigurinesFigurines

Terracotta figurinesTerracotta figurines

Clay is a material frequently used for the making of votiveClay is a material frequently used for the making of votivestatuettes or idols, since well before Minoan civilization untilstatuettes or idols, since well before Minoan civilization untilthe Hellenistic era and beyond. During the 8th century BC.,the Hellenistic era and beyond. During the 8th century BC.,

in Boeotia, one finds manufactured "Bell Idols", femalein Boeotia, one finds manufactured "Bell Idols", femalestatuettes with mobile legs: the head, small compared to thestatuettes with mobile legs: the head, small compared to theremainder of the body, is perched at the end of a long neck,remainder of the body, is perched at the end of a long neck,while the body is very full, in the shape of bell. At thewhile the body is very full, in the shape of bell. At thebeginning of 8th century BC., tombs known as "hero's"beginning of 8th century BC., tombs known as "hero's"receive hundreds, even thousands of small figurines, withreceive hundreds, even thousands of small figurines, with

rudimentary figuration, generally representing charactersrudimentary figuration, generally representing characterswith the raised arms, i.e. gods in apotheosis.with the raised arms, i.e. gods in apotheosis.

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In later periods theIn later periods the

terracotta figurines loseterracotta figurines losetheir religious nature,their religious nature,

representing from then onrepresenting from then on

characters from everydaycharacters from everyday

life. With 4th and 3rdlife. With 4th and 3rdcenturies BC., a typecenturies BC., a type

known asknown as TanagraTanagra

figurinesfigurines shows a refinedshows a refined

art. Tanagra figurinesart. Tanagra figurines

often preserve extensiveoften preserve extensivetraces of surface paint.traces of surface paint.

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Metal figurinesMetal figurines

Figurines made of metal,Figurines made of metal,primarily bronze, are anprimarily bronze, are anextremely common find atextremely common find atearly Greek sanctuariesearly Greek sanctuarieslikelike OlympiaOlympia, where, wherethousands of suchthousands of such

objects, mostly depictingobjects, mostly depictinganimals, have beenanimals, have beenfound. They are usuallyfound. They are usuallyproduced in theproduced in the lost waxlost waxtechnique and can betechnique and can be

considered the initialsconsidered the initialsstage in the developmentstage in the developmentof Greek bronzeof Greek bronzesculpture.sculpture.

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The most common motifs during the Geometric periodThe most common motifs during the Geometric period

were horses and deer, but dogs, cattle and other animalswere horses and deer, but dogs, cattle and other animalsare also depicted. Human figures occur occasionally.are also depicted. Human figures occur occasionally.

The production of small metal votives continuedThe production of small metal votives continued

throughout Greek antiquity. In the Classical andthroughout Greek antiquity. In the Classical and

Hellenistic periods, more elaborate bronze statuettes,Hellenistic periods, more elaborate bronze statuettes,closely connected withclosely connected with monumental sculpturemonumental sculpture, also, also

became common.became common.

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Monumental SculptureMonumental Sculpture

ArchaicArchaic

Inspired by the monumental stone sculpture ofInspired by the monumental stone sculpture ofEgyptEgypt andandMesopotamiaMesopotamia, during the Archaic period the Greeks began, during the Archaic period the Greeks beganagain to carve in stone. Free-standing figures share theagain to carve in stone. Free-standing figures share thesolidity and frontal stance characteristic of Eastern models,solidity and frontal stance characteristic of Eastern models,

but their forms are more dynamic than those of Egyptianbut their forms are more dynamic than those of Egyptiansculpture, as for example thesculpture, as for example the Lady ofLady ofAuxerreAuxerre and Torso ofand Torso ofHera (Early Archaic period, c. 660-580 bc, both in theHera (Early Archaic period, c. 660-580 bc, both in theLouvre, Paris). After about 575 BC, figures, such as these,Louvre, Paris). After about 575 BC, figures, such as these,both male and female, wore the so-called archaic smile.both male and female, wore the so-called archaic smile.This expression, which has no specific appropriateness toThis expression, which has no specific appropriateness tothe person or situation depicted, may have been a device tothe person or situation depicted, may have been a device togive the figures a distinctive human characteristic.give the figures a distinctive human characteristic.

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Three types of figuresThree types of figures

prevailedthe standingprevailedthe standing

nude youth (kouros), thenude youth (kouros), thestanding draped girlstanding draped girl

(kore), and the seated(kore), and the seated

woman.woman.

KleobisKleobisandandBitonBiton,, kouroikouroi

of the Archaic period,of the Archaic period, c.c.

580 B.C. Held at the580 B.C. Held at the

Delphi Archaeological MuseumDelphi Archaeological Museum

..

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As with pottery, the Greeks did not produce sculptureAs with pottery, the Greeks did not produce sculpturemerely for artistic display. Statues were commissionedmerely for artistic display. Statues were commissionedeither by aristocratic individuals or by the state, and usedeither by aristocratic individuals or by the state, and used

for public memorials, as offerings to temples,for public memorials, as offerings to temples, oraclesoraclesand sanctuaries (as is frequently shown by inscriptionsand sanctuaries (as is frequently shown by inscriptionson the statues), or as markers for graves. Statues in theon the statues), or as markers for graves. Statues in theArchaic period were not all intended to represent specificArchaic period were not all intended to represent specificindividuals. They were depictions of an ideal beauty,individuals. They were depictions of an ideal beauty,

piety, honor or sacrifice. These were always depictionspiety, honor or sacrifice. These were always depictionsof young men, ranging in age from adolescence to earlyof young men, ranging in age from adolescence to earlymaturity, even when placed on the graves ofmaturity, even when placed on the graves of(presumably) elderly citizens.(presumably) elderly citizens. KouroiKouroi were all stylisticallywere all stylisticallysimilar. Graduations in the social stature of the personsimilar. Graduations in the social stature of the personcommissioning the statue were indicated by size rathercommissioning the statue were indicated by size ratherthan artistic innovations.than artistic innovations.

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ClassicalClassical

In the Classical period there was a revolution in Greek statuary,In the Classical period there was a revolution in Greek statuary,usually associated with the introduction ofusually associated with the introduction ofdemocracydemocracy and the endand the end

of the aristocratic culture associated with theof the aristocratic culture associated with the kouroikouroi. The Classical. The Classicalperiod saw changes in the style and function of sculpture. Posesperiod saw changes in the style and function of sculpture. Posesbecame more naturalistic (see thebecame more naturalistic (see the Charioteer of DelphiCharioteer of Delphi for anfor anexample of the transition to more naturalistic sculpture), and theexample of the transition to more naturalistic sculpture), and thetechnical skill of Greek sculptors in depicting the human form in atechnical skill of Greek sculptors in depicting the human form in avariety of poses greatly increased. From aboutvariety of poses greatly increased. From about 500 BC500 BC statuesstatuesbegan to depict real people. The statues ofbegan to depict real people. The statues ofHarmodiusHarmodiusandandAristogeitonAristogeiton set up in Athens to mark the overthrow of theset up in Athens to mark the overthrow of the tyrannytyrannywere said to be the first public monuments to actual people.were said to be the first public monuments to actual people.

At the same time sculpture and statues were put to wider uses. TheAt the same time sculpture and statues were put to wider uses. Thegreat temples of the Classical era such as thegreat temples of the Classical era such as the ParthenonParthenon in Athens,in Athens,

and theand the Temple of ZeusTemple of Zeus at Olympia, required relief sculpture forat Olympia, required relief sculpture fordecorativedecorative friezesfriezes, and sculpture in the round to fill the triangular, and sculpture in the round to fill the triangularfields of thefields of the pedimentspediments. The difficult aesthetic and technical. The difficult aesthetic and technicalchallenge stimulated much in the way of sculptural innovation.challenge stimulated much in the way of sculptural innovation.Unfortunately these works survive only in fragments, the mostUnfortunately these works survive only in fragments, the mostfamous of which are thefamous of which are the Parthenon MarblesParthenon Marbles, half of which are in the, half of which are in theBritish MuseumBritish Museum..

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The Marathon Youth,

4th century BC bronze

statue, possibly by

Praxiteles,

National Archaeological Museum

, Athens.

Copy ofPolyclitus'

Diadumenos,

National Archaeological Mu

, Athens.

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Funeral statuary evolved during this period from the rigid andFuneral statuary evolved during this period from the rigid andimpersonal kouros of the Archaic period to the highly personalimpersonal kouros of the Archaic period to the highly personalfamily groups of the Classical period. These monuments arefamily groups of the Classical period. These monuments are

commonly found in the suburbs of Athens, which in ancient timescommonly found in the suburbs of Athens, which in ancient timeswere cemeteries on the outskirts of the city. Although some of themwere cemeteries on the outskirts of the city. Although some of themdepict "ideal" types the mourning mother, the dutiful son theydepict "ideal" types the mourning mother, the dutiful son theyincreasingly depicted real people, typically showing the departedincreasingly depicted real people, typically showing the departedtaking his dignified leave from his family. They are among the mosttaking his dignified leave from his family. They are among the mostintimate and affecting remains of the Ancient Greeks.intimate and affecting remains of the Ancient Greeks.

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HellenisticHellenistic

The transition from the Classical toThe transition from the Classical tothe Hellenistic period occurredthe Hellenistic period occurredduring the 4th century BC.during the 4th century BC.Following the conquests ofFollowing the conquests ofAlexander the GreatAlexander the Great ((336 BC336 BC toto323 BC323 BC), Greek culture spread as), Greek culture spread as

far asfar as IndiaIndia, as revealed by the, as revealed by theexcavations ofexcavations ofAi-Ai-KhanoumKhanoum inineasterneastern AfghanistanAfghanistan, and the, and thecivilization of thecivilization of the Greco-Greco-BactriansBactriansand theand the Indo-GreeksIndo-Greeks..Greco-Buddhist artGreco-Buddhist art represented arepresented asyncretism between Greek art andsyncretism between Greek art andthe visual expression of Buddhism.the visual expression of Buddhism.

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During this period sculpture became more and moreDuring this period sculpture became more and morenaturalistic. Common people, women, children, animalsnaturalistic. Common people, women, children, animals

and domestic scenes became acceptable subjects forand domestic scenes became acceptable subjects forsculpture, which was commissioned by wealthy familiessculpture, which was commissioned by wealthy familiesfor the adornment of their homes and gardens. Realisticfor the adornment of their homes and gardens. Realisticportraits of men and women of all ages were produced,portraits of men and women of all ages were produced,and sculptors no longer felt obliged to depict people asand sculptors no longer felt obliged to depict people as

ideals of beauty or physical perfection. At the same time,ideals of beauty or physical perfection. At the same time,the new Hellenistic cities springing up all overthe new Hellenistic cities springing up all overEgyptEgypt,,SyriaSyria, and, and AnatoliaAnatolia required statues depicting the godsrequired statues depicting the godsand heroes of Greece for their temples and publicand heroes of Greece for their temples and publicplaces. This made sculpture, like pottery, an industry,places. This made sculpture, like pottery, an industry,

with the consequent standardisation and some loweringwith the consequent standardisation and some loweringof quality. For these reasons many more Hellenisticof quality. For these reasons many more Hellenisticstatues have survived than is the case with the Classicalstatues have survived than is the case with the Classicalperiod.period.

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Laoconand His Sons (Late

Hellenistic),

Vatican Museum

Antinous (Roman

Hellenistic), Delphi

Archaeological

Museum

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Discoveries made since the end of the 19th centuryDiscoveries made since the end of the 19th centurysurrounding the (now submerged)surrounding the (now submerged) ancient Egyptianancient Egyptian citycityofofHeracleumHeracleum include ainclude a 4th century BC4th century BC, unusually, unusually

sensual, detailed and feministic (as opposed to deified)sensual, detailed and feministic (as opposed to deified)depiction ofdepiction ofIsisIsis, marking a combination of Egyptian and, marking a combination of Egyptian andHellenistic forms beginning around the time of Egypt'sHellenistic forms beginning around the time of Egypt'sconquest byconquest by Alexander the GreatAlexander the Great..

Hellenistic sculpture was also marked by an increase inHellenistic sculpture was also marked by an increase inscale, which culminated in thescale, which culminated in the Colossus of RhodesColossus of Rhodes (late(late3rd century), which was the same size as the3rd century), which was the same size as theStatue of LibertyStatue of Liberty. The combined effect of earthquakes. The combined effect of earthquakesand looting have destroyed this as well as other veryand looting have destroyed this as well as other very

large works of this period.large works of this period.

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ArchitectureArchitecture

Architecture (building executed to an aestheticallyArchitecture (building executed to an aesthetically

considered design) was extinct in Greece from the end ofconsidered design) was extinct in Greece from the end ofthethe MycenaeanMycenaean period (aboutperiod (about 1200 BC1200 BC) until the 7th) until the 7thcentury, when urban life and prosperity recovered to a pointcentury, when urban life and prosperity recovered to a pointwhere public building could be undertaken. But since mostwhere public building could be undertaken. But since mostGreek buildings in the Archaic and Early Classical periodsGreek buildings in the Archaic and Early Classical periodswere made of wood or mud-brick, nothing remains of themwere made of wood or mud-brick, nothing remains of themexcept a few ground-plans, and there are almost no writtenexcept a few ground-plans, and there are almost no writtensources on early architecture or descriptions of buildings.sources on early architecture or descriptions of buildings.Most of our knowledge of Greek architecture comes fromMost of our knowledge of Greek architecture comes fromthe few surviving buildings of the Classical, Hellenistic andthe few surviving buildings of the Classical, Hellenistic andRoman periods (since Roman architecture heavily copiedRoman periods (since Roman architecture heavily copied

Greek), and from late written sources such asGreek), and from late written sources such as VitruviusVitruvius (1st(1stcentury AD). This means that there is a strong bias towardscentury AD). This means that there is a strong bias towardstemples, the only buildings which survive in any number.temples, the only buildings which survive in any number.

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The restored Stoa of Attalus,The restored Stoa of Attalus,

AthensAthens

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The theatre of

Epidauros, 4th

century BC.

The walls of

Messene:

Hellenistic

defensive

architecture.

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There were two main styles (or "orders") of Greek architecture, theThere were two main styles (or "orders") of Greek architecture, theDoricDoric and theand the IonicIonic. These names were used by the Greeks. These names were used by the Greeksthemselves, and reflected their belief that the styles descended fromthemselves, and reflected their belief that the styles descended fromthe Dorian and Ionian Greeks of the Dark Ages, but this is unlikelythe Dorian and Ionian Greeks of the Dark Ages, but this is unlikelyto be true. The Doric style was used in mainland Greece and spreadto be true. The Doric style was used in mainland Greece and spreadfrom there to the Greek colonies infrom there to the Greek colonies in ItalyItaly. The Ionic style was used in. The Ionic style was used inthe cities of Ionia (now the west coast ofthe cities of Ionia (now the west coast ofTurkeyTurkey) and some of the) and some of theAegean islands. The Doric style was more formal and austere, theAegean islands. The Doric style was more formal and austere, theIonic more relaxed and decorative. The more ornateIonic more relaxed and decorative. The more ornate CorinthianCorinthian stylestylewas a later development of the Ionic. These styles are best knownwas a later development of the Ionic. These styles are best known

through the three orders of column capitals, but there arethrough the three orders of column capitals, but there aredifferences in most points of design and decoration between thedifferences in most points of design and decoration between theorders. See the separate article onorders. See the separate article on Classical ordersClassical orders..

Most of the best known surviving Greek buildings, such as theMost of the best known surviving Greek buildings, such as theParthenonParthenon and theand the Temple of HephaestusTemple of Hephaestus in Athens, are Doric. Thein Athens, are Doric. The

ErechtheumErechtheum, next to the Parthenon, however, is Ionic. The Ionic, next to the Parthenon, however, is Ionic. The Ionicorder became dominant in the Hellenistic period, since its moreorder became dominant in the Hellenistic period, since its moredecorative style suited the aesthetic of the period better than thedecorative style suited the aesthetic of the period better than themore restrained Doric. Some of the best surviving Hellenisticmore restrained Doric. Some of the best surviving Hellenisticbuildings, such as thebuildings, such as the Library ofLibrary ofCelsusCelsus, can be seen in, can be seen in TurkeyTurkey, at, atcities such ascities such as EphesusEphesus andand PergamumPergamum. But in the greatest of. But in the greatest ofHellenistic cities,Hellenistic cities, AlexandriaAlexandria inin EgyptEgypt, almost nothing survives., almost nothing survives.

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The Erechtheion on the

Acropolis ofAthens,

late 5th century BC.

The Temple of

Hephaistos atAthens, late 5th

century BC.

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Coin designCoin design

Coins were invented inCoins were invented in LydiaLydia in the 7th century BC, butin the 7th century BC, but

they were first extensively used by the Greeks, and thethey were first extensively used by the Greeks, and theGreeks set the canon of coin design which has beenGreeks set the canon of coin design which has beenfollowed ever since. Coin design today still recognisablyfollowed ever since. Coin design today still recognisablyfollows patterns descended from Ancient Greece. Thefollows patterns descended from Ancient Greece. TheGreeks did not see coin design as a major art form,Greeks did not see coin design as a major art form,

although some, especially outside Greece itself, amongalthough some, especially outside Greece itself, amongthe Central Asian kingdoms and in Sicilian cities keen tothe Central Asian kingdoms and in Sicilian cities keen topromote themselves, were expensively designed bypromote themselves, were expensively designed byleading goldsmiths, but the durability and abundance ofleading goldsmiths, but the durability and abundance ofcoins have made them one of the most importantcoins have made them one of the most importantsources of knowledge about Greek aesthetics.sources of knowledge about Greek aesthetics.

Greek coinsGreek coins are, incidentally, the only art form from theare, incidentally, the only art form from theancient Greek world which can still be bought and ownedancient Greek world which can still be bought and ownedby private collectors of modest means.by private collectors of modest means.

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Athenian

tetradrachm with

head ofAthena

and owl, after 449BC.

Drachm of

Aegina with

tortoise andstamp, after 404

BC.

Macedonian

tetradrachm with

image ofHeracles,

after 330 B

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PaintingPainting

Panel paintingPanel painting

The most respected form of art, according to authors likeThe most respected form of art, according to authors likePlinyPliny ororPausaniasPausanias, were individual, mobile paintings on, were individual, mobile paintings onwooden boards, technically described aswooden boards, technically described as panel paintingspanel paintings..

The techniques used wereThe techniques used were encausticencaustic (wax) painting and(wax) painting andtemperatempera. Such paintings normally depicted figural. Such paintings normally depicted figuralscenes, includingscenes, including portraitsportraits andand still-still-lifeslifes; we have; we havedescriptions of many compositions. They were collecteddescriptions of many compositions. They were collectedand often displayed in public spaces. Pausaniasand often displayed in public spaces. Pausanias

describes such exhibitions atdescribes such exhibitions at AthensAthens andand DelphiDelphi. We. Weknow the names of many famous painters, mainly of theknow the names of many famous painters, mainly of theClassical and Hellenistic periods, from literature (seeClassical and Hellenistic periods, from literature (see

expandable list to the right).expandable list to the right).

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One of the Pitsapanels, the only

surviving panel

paintings from Archaic

Greece.

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Wall paintingWall painting

The tradition of wall painting in Greece goes back at least toThe tradition of wall painting in Greece goes back at least tothethe MinoanMinoan andand MycenaeanMycenaeanBronze AgeBronze Age, with the lavish, with the lavishfresco decoration of sites likefresco decoration of sites like KnossosKnossos,, TirynsTiryns andand MycenaeMycenae. It is not clear, whether there is any continuity between. It is not clear, whether there is any continuity betweenthese antecedents and later Greek wall paintings.these antecedents and later Greek wall paintings.

Wall paintings are frequently described in Pausanias, andWall paintings are frequently described in Pausanias, and

many appear to have been produced in the Classical andmany appear to have been produced in the Classical andHellenistic periods. Due to the lack of architecture survivingHellenistic periods. Due to the lack of architecture survivingintact, not many are preserved. The most notable examplesintact, not many are preserved. The most notable examplesare a monumental Archaic 7th century BC scene ofare a monumental Archaic 7th century BC scene ofhoplitehoplitecombat from inside a temple at Kalapodi (nearcombat from inside a temple at Kalapodi (nearThebesThebes), and), andthe elaborate frescoes from the 4th century "Grave ofthe elaborate frescoes from the 4th century "Grave ofPhillipp" and the "Tomb of Persephone" atPhillipp" and the "Tomb of Persephone" at VerginaVergina ininMacedoniaMacedonia[1][1], sometimes suggested to be closely linked to, sometimes suggested to be closely linked tothe high-quality panel paintings mentioned above.the high-quality panel paintings mentioned above.

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Symposium scene in

the Tomb of the Diverat Paestum, circa 480

BC.

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Vase paintingVase painting

The most copious evidence of ancient Greek painting survivesThe most copious evidence of ancient Greek painting survives

in the form of vase paintings. These are described in the "in the form of vase paintings. These are described in the "

potterypottery" section above. They give at least some sense of the" section above. They give at least some sense of the

aestheticsaesthetics of Greek painting. The techniques involved,of Greek painting. The techniques involved,

however, were very different from those used in large-formathowever, were very different from those used in large-format

painting. The same probably applies to the subject matterspainting. The same probably applies to the subject mattersdepicted. It should be noted that strictly speaking, vasedepicted. It should be noted that strictly speaking, vase

painting was a separate skill or art from potting. It should alsopainting was a separate skill or art from potting. It should also

be kept in mind that vase painting, albeit by far the mostbe kept in mind that vase painting, albeit by far the most

conspicuous surviving source on ancient Greek painting, wasconspicuous surviving source on ancient Greek painting, was

not held in the highest ever regard in antiquity, and is nevernot held in the highest ever regard in antiquity, and is nevermentioned in Classical literature.mentioned in Classical literature.

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Reconstructed colour

scheme on a Trojan archer

from the Temple ofAphaia,

Aegina

Traces of paint depicting

embroidered patterns on

the a peplos of an Archaic

kore, Acropolis Museum.