Reference no: EM131220056

Question 1:

Briefly summarize the "classical" style in sculpture. What do you think is the most important aspect of the classical moment? View the below video:

https://academic.cengaga.com/art/book_content/0155050907_kleiner/0495573558_premium/podcasts/AncientGreece/ClassicalMoment/index.html

Compare and contrast the West and East Pediments of the Temple of Aphaia, Aegina. Then look at the East and West Pediments of the Temple of Zeus, Olympia.

Describe specifically the changes in form and content that show the development of sculpture from Archaic to Classical.

Question 2:

Our discussion of Egyptian art stressed its timelessness, and the Egyptian desire for permanence. On the other hand, the review of Greek art found near constant change. What social or cultural forces discussed in the textbook led one culture to seek permanence and the other change? Which do you consider to be the more effective strategy? In what areas did these two cultures share common ground?

Question 3:
In 1801, Lord Elgin began taking sculptures from the Parthenon ruins to his home in England. He later sold the sculptures, known as the Elgin Marbles, to the British Museum where they remain. The Greek government wants the Elgin Marbles back. There are three major positions: to keep the sculpture in England, return the sculpture to Greece, and to develop a compromise solution. Discuss the three positions and choose one:

Question 4:
Erotic images of nude woman in public sculpture did not appear until the Late Classical period in Greek Art, yet the Venus de Milo and the Aphrodite of Knidos become standards for the eroticization of female form in Western Art. Search and find "Marble Group of Aphrodite with Pan and Eros" at the National Archeological Museum. Discuss it in terms of its form and content paying attention to the period, placing it within a context of what you have learned in this chapter. Specifically, is it representative of Helenistic art? Why or why not?

Question 5:

Discuss Greek beliefs about the human being and the human body. What changes do they introduce and which ones do we retain today? How is this also reflected in the funerary markers?

Question 6:

Watch the below video before answering the questions.

https://academic.cengaga.com/art/book_content/0155050907_kleiner/0495573558_premium/podcasts/AncientGreeceNasePainting/index.html

What are the advantages of each method of vase painting in terms of depicting human form? For instance, what formal elements are emphasized with the use of the black figure style that no longer seem practical in the red and white? Conversely, what advantages does the white figure have over its predecessors? Which is your eye attracted to and why?

Question 7:
Is there a contradiction between perfect mathematical proportions and the liberties the Greek architects took to account for perception of the human eye? What does it tell us about the classical Greeks that they were willing to emphasize perfection in perception as opposed to mathematical perfection? Do you think this is an extension of Protagoras statement that man is the measure of all things to include the perception of man as most important?

https://academic.cengage.com/art/book_content/0155050907_kleiner/0495573558_premium/podcasts/AncientGreece/Parthenon/index.html

Question 8:
Classical Greek architecture was in existence for only a short time while elements of its form have been exported all over the world. First, by the Macedonians and Alexander the Great, and then the Roman empire later. In the mid 1800's Greek revival architecture became popular in the United States and Northern Europe. In Regensburg, Germany, Leo von Klenze's designed Walhalla, a monumental Greek styled temple named after the mythical home of the Norse gods and depicting the history of the German peoples. Why do you think the Greek style continued to be reinvented for to promote different cultures and values: