A CLASH OF VALUESA CLASH OF VALUES

THE CHANUKAH STORY THE CHANUKAH STORY AND THE HISTORY OF AND THE HISTORY OF

GREEK ARTGREEK ART

THE DIFFERENT PERIODS OF THE DIFFERENT PERIODS OF GREEK HISTORY AND ARTGREEK HISTORY AND ART

600-480 BCE: THE ARCHAIC PERIOD600-480 BCE: THE ARCHAIC PERIOD 480-450 BCE: THE EARLY 480-450 BCE: THE EARLY

CLASSICAL PERIODCLASSICAL PERIOD 450-400 BCE: THE CLASSICAL 450-400 BCE: THE CLASSICAL

PERIODPERIOD 400-323 BCE: THE LATE CLASSICAL 400-323 BCE: THE LATE CLASSICAL

PERIODPERIOD 323-31 BCE: THE HELLENISTIC 323-31 BCE: THE HELLENISTIC

PERIODPERIOD

THE CHANUKAH STORY TAKES THE CHANUKAH STORY TAKES PLACE IN PLACE IN

APPROXIMATELYAPPROXIMATELY 164 BCE, 164 BCE, PLACING THE HOLIDAY FIRMLY PLACING THE HOLIDAY FIRMLY

WITHIN THE HELLENISTIC WITHIN THE HELLENISTIC PERIODPERIOD

THE ARCHAIC PERIOD:THE ARCHAIC PERIOD:KOUROS, CA. 600 BCEKOUROS, CA. 600 BCE

MARBLEMARBLE APPROX. 6’ HIGHAPPROX. 6’ HIGH RIGID AND FRONTALRIGID AND FRONTAL ONE FOOT FORWARD ONE FOOT FORWARD

AND FIST CLENCHEDAND FIST CLENCHED HAIR AND ARMS HAIR AND ARMS

ATTACHED TO BODYATTACHED TO BODY ELEMENTS OF ELEMENTS OF

EGYPTIAN ARTEGYPTIAN ART

ARCHAIC TO CLASSICAL: DYING WARRIORS, ARCHAIC TO CLASSICAL: DYING WARRIORS, CA. 500-490 BCE AND CA. 490-480 BCECA. 500-490 BCE AND CA. 490-480 BCE

MARBLEMARBLE BOTH FROM THE BOTH FROM THE

TEMPLE OF TEMPLE OF APHAIA, AEGINA, APHAIA, AEGINA, GREECEGREECE

LOOK HOW ART LOOK HOW ART CHANGES IN TEN CHANGES IN TEN YEARS!YEARS!

WHAT IS THE WHAT IS THE ARCHAIC SMILE?ARCHAIC SMILE?

EARLY CLASSICAL ART AND EARLY CLASSICAL ART AND KRITIOS BOYKRITIOS BOY, CA. 480 BCE, CA. 480 BCE

MARBLEMARBLE FROM THE ACROPOLIS, FROM THE ACROPOLIS,

ATHENS, GREECEATHENS, GREECE INTRODUCES THE WORLD INTRODUCES THE WORLD

TO THE TO THE CONTRAPPOSTO CONTRAPPOSTO POSE!POSE!

HUMANS SHIFT THEIR HUMANS SHIFT THEIR WEIGHT AND THE WEIGHT AND THE POSITION OF THE MAIN POSITION OF THE MAIN BODY PARTS AROUND BODY PARTS AROUND THE VERTICAL, BUT THE VERTICAL, BUT FLEXIBLE, AXIS OF THE FLEXIBLE, AXIS OF THE SPINESPINE

EARLY CLASSICAL: WARRIOR, EARLY CLASSICAL: WARRIOR, CA. 460-450 BCECA. 460-450 BCE

FOUND IN THE SEA FOUND IN THE SEA OFF RIACE, ITALYOFF RIACE, ITALY

BRONZEBRONZE THE THE

CONTRAPPOSTO CONTRAPPOSTO POSE IN FULL VIEWPOSE IN FULL VIEW

EARLY CLASSICAL: EARLY CLASSICAL: DISKOBOLOSDISKOBOLOS, 450 BCE, 450 BCE

AN ARTIST: MYRONAN ARTIST: MYRON MARBLEMARBLE FREED FROM FREED FROM

FRONTAL, RIGID FRONTAL, RIGID POSEPOSE

GOING FURTHER IN HIGH GOING FURTHER IN HIGH CLASSICAL ART: CLASSICAL ART: DORYPHOROSDORYPHOROS, ,

CA. 450-440 BCECA. 450-440 BCE POLYKLEITOS POLYKLEITOS

ESTABLISHES A ESTABLISHES A CANONCANON

AIM IS TO IMPOSE AIM IS TO IMPOSE ORDER ON HUMAN ORDER ON HUMAN MOVEMENT, TO MAKE MOVEMENT, TO MAKE IT “BEAUTIFUL,” TO IT “BEAUTIFUL,” TO “PERFECT” IT“PERFECT” IT

MARBLEMARBLE ROMAN MARBLE COPY ROMAN MARBLE COPY

AFTER BRONZE AFTER BRONZE ORIGINALORIGINAL

WHERE ARE THE WOMEN? HIGH WHERE ARE THE WOMEN? HIGH CLASSICAL ART AND THE GODDESSES CLASSICAL ART AND THE GODDESSES OF THE ACROPOLIS, CA. 438-432 BCEOF THE ACROPOLIS, CA. 438-432 BCE

THREE GODDESSES THREE GODDESSES (HESTIA, DIONE, AND (HESTIA, DIONE, AND APHRODITE?)APHRODITE?)

FROM THE EAST FROM THE EAST PEDIMENT OF THE PEDIMENT OF THE PARTHENONPARTHENON

GODDESSES ARE GODDESSES ARE SHOWN CLOTHEDSHOWN CLOTHED

GARMENTS SEEM WET GARMENTS SEEM WET AS THEY CLING TO AS THEY CLING TO BODY AND SHOW BODY AND SHOW CLEAR PARTS OF THE CLEAR PARTS OF THE BODY UNDERNEATHBODY UNDERNEATH

LATE CLASSICAL: FROM THE DIVINE LATE CLASSICAL: FROM THE DIVINE IDEAL TO THE EARTHLY SENSUALIDEAL TO THE EARTHLY SENSUAL

PRAXITELES, PRAXITELES, APHRODITE OF APHRODITE OF KNIDOSKNIDOS, CA. 350-340 , CA. 350-340 BCEBCE

GODDESSES ARE GODDESSES ARE UNCLOTHED FOR THE UNCLOTHED FOR THE FIRST TIMEFIRST TIME

SHOWN DOING SHOWN DOING HUMAN TASKS HUMAN TASKS (TAKING A BATH)(TAKING A BATH)

NO LONGER IN IDEAL, NO LONGER IN IDEAL, DIVINE REALMDIVINE REALM

LATE CLASSICAL: MORE LATE CLASSICAL: MORE PSYCHOLOGICALPSYCHOLOGICAL

LYSIPPOS, LYSIPPOS, APOXYOMENOS APOXYOMENOS (SCRAPER)(SCRAPER), ROMAN , ROMAN MARBLE COPY, CA. MARBLE COPY, CA. 330 BCE330 BCE

ARM THRUSTS ARM THRUSTS FORWARDFORWARD

ENCOURAGES ENCOURAGES VIEWING VIEWING SCULPTURE FROM SCULPTURE FROM MULTIPLE ANGLESMULTIPLE ANGLES

WITHIN THE EARTHLY, INTENSELY WITHIN THE EARTHLY, INTENSELY PSYCHOLOGICAL REALM OF PSYCHOLOGICAL REALM OF

HELLENISMHELLENISM EPIGONOS(?), EPIGONOS(?),

DYING GAUL, DYING GAUL, ROMAN MARBLE ROMAN MARBLE CPY, TURKEY, CA. CPY, TURKEY, CA. 230-220 BCE230-220 BCE

TOTALLY LOST IN TOTALLY LOST IN PAIN AND ANGUISHPAIN AND ANGUISH

NO RECTANGULAR NO RECTANGULAR BOX OF BODYBOX OF BODY

TWO FAMOUS FEMALE FORMS:TWO FAMOUS FEMALE FORMS:THE NIKE OF SAMOTRHACE, CA. 190 AND THE THE NIKE OF SAMOTRHACE, CA. 190 AND THE

VENUS DE MILO, VENUS DE MILO, CA. 150-125 BCECA. 150-125 BCE

SEE HOW FAR WE’VE COMESEE HOW FAR WE’VE COME

SEATED BOXER, SEATED BOXER, BRONZE, CA. 100-BRONZE, CA. 100-50 BCE50 BCE

FATIGUED AND FATIGUED AND WEARY, BOXER WEARY, BOXER SITS DOWN AFTER SITS DOWN AFTER THE FIGHT, THE FIGHT, AWAITING JUDGES’ AWAITING JUDGES’ VERDICTVERDICT