Which Is the Term to Describe the Emotional Response That Hellenistic Art Elicits From the Viewer?

Architecture in the Hellenistic Period

Compages during the Hellenistic flow focused on theatricality and drama; the period also saw an increased popularity of the Corinthian social club.

Learning Objectives

Describe the characteristics of Hellenistic architecture, including stoas, the Corinthian society, and the use of theatricality

Central Takeaways

Key Points

• Hellenistic architecture, in a manner like to Hellenistic sculpture, focuses on theatricality, drama, and the experience of the viewer . Public spaces and temples were created with the people in mind, and then were built on a new, monumental scale.
• Stoas are colonnaded porticos used to define public infinite and protect patrons from the elements. Stoas are often establish around a city'southward agora , and turn the city's central place for civic, administrative, and market elements into a m space.
• The Temple of Apollo at Didyma was an oracle site with an ambitious building plan that was never completed. Its plan consisted of a double colonnade of massively alpine columns that engulfed the viewer in night corridors before opening into a brilliant courtyard and the shrine to the god.
• The Corinthian order, developed during the Classical period, witnessed increased popularity during the Hellenistic period. The columnar style of the order is similar in many ways to the Ionic order except for the column's capital , which is vegetal and lush. A double layer of acanthus leaves line the basket from which stylized tendrils and volutes emerge.

Key Terms

• abacus: A flat slab that forms the uppermost member or division of the majuscule of a column.
• volute: The spiral curve on an Ionic capital.
• acanthus: An ornament that resembles the leaf or leaves of Acanthus spinosus that is used in the capitals of the Corinthian and blended orders.
• orthogonal: In linear perspective cartoon, the diagonal line pointing to the vanishing betoken; sometimes referred to as vanishing or convergence line.
• stoa: In Ancient Greece, a walkway with a roof supported by colonnades, often with a wall on one side; a portico.
• dipteral: Having a double row of columns on each flank, too every bit in the front and rear; often said of a temple.
• colonnade: A series of columns at regular intervals.

Architecture in the Greek world during the Hellenistic period adult theatrical tendencies, equally had Hellenistic sculpture. The conquests of Alexander the Peachy acquired power to shift from the urban center-states of Hellenic republic to the ruling dynasties . Dynastic families patronized large complexes and dramatic urban plans within their cities. These urban plans often focused on the natural setting, and were intended to enhance views and create dramatic civic, judicial, and market spaces that differed from the orthogonal plans of the houses that surrounded them.

Compages in the Hellenistic period is near commonly associated with the growing popularity of the Corinthian order. Nonetheless, the Doric and Ionic orders underwent notable changes. Examples include the slender and unfluted Doric columns and the iv-fronted capitals on Ionic columns, the latter of which helped to solve design problems concerning symmetry on the temple porticos.

Stoa

A stoa, or a covered walkway or portico, was used to bind agorae and other public spaces. Highlighting the edge of open up areas with such decorative architecture created a theatrical effect for the public space and also provided citizens with a basic daily grade of protection from the elements. Both the stoa and the agora were used by merchants, artists, religious festivals, judicial courts, and civic administrations.

The Stoa of Attalos (c. 150 BCE) in Athens was built in the Agora, under the patronage of King Attalos 2 of Pergamon. This portico consists of a double colonnade. It was two stories tall, and had a row of rooms on the ground flooring. The exterior pillar on the basis level was built in the Doric order, and the interior was Ionic. On the second level, Ionic columns lined the exterior, and columns with a unproblematic, stylized majuscule lined the interior.

The restored Stoa of Attalos: This is a view of the ground-level marble colonnades in the Agora in Athens, Greece.

Temple of Apollo at Didyma

Other examples of grand and monumental architecture can be establish in Ionia , modern day Turkey in Pergamon, and Didyma. The Temple of Apollo at Didyma was both a temple and an oracle site.

Temple of Apollo: Begun around 313 BCE, this was both a temple and an oracle site in Didyma, Turkey.

The temple was designed by the architects Paionios of Ephesus and Daphnis of Miletus. Its structure began in 313 BCE only was never completed, although work connected until the second century CE. This temple'due south site is vast.

The interior courtroom was 71 feet wide past 175 feet long and contained a small shrine. The courtroom was also dipteral in form, edged with a double row of 108 columns, each 65 feet tall, that surrounded the temple. The structure creates a serial of imposing spaces, from the exterior colonnade to the oracle rooms, and the interior courtyard inside of which the shrine to Apollo stood.

The building plan also played with theatricality and drama, forcing its visitors through a nighttime interior and and so opening up into a brilliant and open courtyard that did not have a roof. The building is dramatically different from the perfected Classical programme of temples. Instead of focusing on symmetry and harmony, the building focuses on the experience of the viewer.

Plan and elevation of the Temple of Apollo: Construction began c. 313 BCE, in Didyma, Turkey. The building plan also played with theatricality and drama, forcing its visitors through a dark interior and then opening up into a bright and open courtyard that did not have a roof.

Corinthian Gild

The Corinthian order is considered the third guild of Classical architecture. The club's columns are slender and fluted and sit atop a base . The capital consists of a double layer of acanthus leaves and stylized establish tendrils that roll upwards towards the abacus in the shape of a coil or volute.

The decorative Corinthian club was not widely adopted in Hellenic republic, although it was pop in tholoi. It was, however, used substantially throughout the Roman period.

Corinthian uppercase: A corinthian capital letter at the Odeon of Agrippa, c. 14 BCE, in the Agora inAthens, Greece.

The ruined Temple of Olympian Zeus in Athens (also known every bit the Olympieion) contains one of the best-known examples of the Corinthian column in Hellenistic compages. Originally designed in the Doric order in the 6th century BCE, the temple was redesigned in the second century BCE in the Corinthian society on a colossal platform measuring 134.five feet past 353.5 anxiety.

Information technology was to be flanked by a double pillar of 8 columns across the forepart and back and twenty-ane on the flanks, surrounding the cella . The blueprint was somewhen inverse to accept three rows of eight columns across the front and back of the temple and a double row of twenty on the flanks, for a full of 104 columns. The columns stand up 55.five anxiety high and vi.5 feet in diameter. In 164 BCE, the death of Antiochus Four (who had presented himself as the earthly embodiment of Zeus) brought the project to a halt, and the temple would remain incomplete.

Temple of Olympian Zeus: Annotation the corinthian colonnades and Pentelic marble.

Pergamon

Pergamon rose equally a power nether the Attalids and provides examples of the drama and theatrics found in Hellenistic art and compages.

Learning Objectives

Illustrate the dramatic and theatrical nature of the Pergamon, every bit seen in the Chantry of Zeus, the Gigantomachy, and the Dying Gauls

Fundamental Takeaways

Primal Points

• Pergamon was the capital letter urban center of the Kingdom of Pergamon, which was ruled past the Attalids in the centuries following the decease of Alexander the Cracking .
• The Acropolis of Pergamon is famous for its monumental architecture. Nigh of the buildings control a great view of the surrounding countryside and together create a dramatic public infinite .
• The Chantry of Zeus at Pergamon was a awe-inspiring u-shaped Ionic building that stood on a high platform and was accessed past a broad set up of stairs. Besides its dramatic architecture, the altar is known for its Gigantomachy frieze and sculptures of defeated Gauls .
• The Gigantomachy frieze represents the full blossoming of Hellenistic sculpture. The figures are dramatic, and the scenes are total of tension. They are carved in loftier relief with deep drilling that allows for a play of light and shadows that increases the naturalism of the figures.
• The statue group of the Dying Gauls depicts a defeated trumpeter and a Gallic chief killing himself and his wife. The figures, while enemies of Pergamon, are depicted with incredible pathos and heroics to demonstrate their worthiness as adversaries and empower the Attalid victors.

Key Terms

• chiastic: Referring to a figure that repeats concepts in contrary lodge, in the same or modified form.
• Gaul: An ancient person from the region that roughly corresponds to modern French republic and Kingdom of belgium.
• torc: A large, rigid—or at least stiff—neck band in metal, made either as a unmarried piece or from strands twisted together.

The ancient urban center of Pergamon, now modern mean solar day Bergama in Turkey, was the capital of the Kingdom of Pergamon following the decease of Alexander the Smashing and was ruled under the Attalid dynasty . The Acropolis of Pergamon is a prime example of Hellenistic architecture and the convergence of nature and architectural design to create dramatic and theatrical sites.

The acropolis was built into and on top a steep hill that commands neat views of the surrounding countryside. Both the upper and lower portions of the acropolis were home to many important structures of urban life, including gymnasiums, agorae, baths, libraries, a theater, shrines, temples, and altars.

Scale model of Pergamon as information technology might have looked in artifact: Centre left: Theatre of Pergamon. Center correct: Altar of Zeus. Pergamon Museum, Berlin.

The theater at Pergamon could seat 10,000 people and was 1 of the steepest theaters in the aboriginal globe. Like all Hellenic theaters, it was built into the hillside, which supported the construction and provided stadium seating that would have overlooked the ancient city and its surrounding countryside. The theater is one case of the creation and utilise of dramatic and theatrical architecture.

Theater of Pergamon: The theater at Pergamon could seat 10,000 people and was 1 of the steepest theaters in the ancient world.

Altar of Zeus

Some other element institute at Pergamon is the swell Chantry of Zeus (now housed in Germany). The chantry was deputed in the outset half of the second century BCE during the reign of King Eumenes II to commemorate his victory over the Gauls, who were migrating into Asia Minor.

The altar is a U-shaped Ionic edifice built on a high platform with primal steps leading to the top. Information technology faced east, was located virtually the theater of Pergamon, and commanded an outstanding view of the region. The chantry is known for its 1000 pattern and for its frieze depicting the Gigantomachy—it wraps 370 feet around the base of the altar.

Program of the Altar of Zeus: The chantry is a U-shaped Ionic building congenital on a high platform with cardinal steps leading to the top, c. 175 BCE, in Bergama, Turkey.

Altar of Zeus: Originally from Bergama, Turkey, the altar is now in Berlin, Germany.

The Gigantomachy

The Gigantomachy depicts the Olympian gods fighting confronting their predecessors the Giants (Titans), the children of the goddess Gaia. The frieze is known for its incredibly high relief, in which the figures are barely restrained past the wall, and for its deep drilling of lines with details to create dramatic shadows.

The loftier relief and deep drilling of the figures too increases the liveliness and naturalism of the scene. The figures are rendered with high plasticity. The texture of their skin, drapery, and scales add another level of naturalism. Furthermore, as the frieze follows the stairs, the limbs of the figures begin to spill out of their frame and onto the stairs, physically breaking into the space of the viewer . The style and loftier drama of the scenes is often referred to as the Hellenistic Baroque for its exaggerated motion, emphasis on details, and the liveliness of the characters.

Nereus, Doris, a Giant, and Oceanus: Located on the north frieze of the Chantry of Zeus, Bergama, Turkey, e. c. 175 BCE. The loftier relief and deep drilling of the figures besides increases the liveliness and naturalism of the scene.

The most famous scene on the frieze depicts Athena fighting the behemothic Alkyoneus. She grabs his head and pulls information technology back while Gaia emerges from the ground to plead for her son'due south life and a winged Nike reaches over to crown Athena.

Athena's drapery swirls around her with deep folds and her whole body is nearly removed from the frieze. The figures are depicted with the heightened emotion unremarkably found on Hellenistic statues. Alkyoneus'south confront strains in hurting and Gaia's optics, which are all that remain of her face up, are full of terror and sorrow at the expiry of her son.

The entire composition is depicted in a chiastic shape. Athena stretches out to grasps Alkoyneus's head, the ii figures pull at each other in opposite directions. Meanwhile, the figure of Nike moves diagonally towards Athena, showing their convergence in a moment of victory. The diagonal line created by Gaia mimics the shape of her son, connecting the two figures through line and pathos. The scene is filled with the tension and emotion that are central features in Hellenistic sculpture.

Athena and Alkyoneos: Located on the east frieze of the Chantry of Zeus, Bargama, Turkey, c. 175 BCE. The unabridged composition is depicted in a chiastic shape, and the scene is filled with the tension and emotion that are cardinal features in Hellenistic sculpture.

The Dying Gauls

A grouping of statues depicting dying Gauls, the defeated enemies of the Attalids, were situated inside the Altar of Zeus. The original set of statues is believed to accept been cast in statuary by the courtroom sculptor Epigonus in 230–220 BCE. Now only marble Roman copies of the figures remain.

Like the figures on the frieze and other Hellenistic sculptures, the figures are depicted with lifelike details and a high level of naturalism. They are also depicted in the common motif of barbarians. The men are nude and article of clothing Celtic torcs . Their hair is shaggy and disheveled. The figures are positioned in dramatic compositions and are shown dying heroically, which turns them into worthy adversaries, increasing the perception of power of the Attalid dynasty. All 3 figures in the group are depicted in a Hellenistic manner. To fully appreciate the statues, information technology is best to walk around them. Their pain, nobility, and expiry are evident from all angles.

One Gaul is depicted lying down, supporting himself over his shield and a discarded trumpet. He furrows his brow every bit he looks down at his haemorrhage chest wound as he prepares himself for death. His muscles are large and stiff, signifying his strength every bit a warrior and implying the force of the one who struck him downward.

Dying Gaul: This is a Roman marble re-create of the Greek statuary original by Epigonos,  c. 230–220 BCE, in Pergamon, Turkey.

Two other figures complete the grouping. 1 figure depicts a Gallic chief committing suicide after he has killed his own wife. Also known every bit the Ludovisi Gaul, this sculpture group displays another heroic and noble human action of the foes, for typically women and children of the defeated would be murdered to avert them from beingness captured and sold every bit slaves by the victors. The chief holds his fallen wife by the arm as he plunges his sword into his breast, where blood is already exiting the wound.

Ludovisi Gaul: This is a Roman marble copy of the Greek statuary original by Epigonos, c. 230–220 BCE, in Pergamon, Turkey.

Sculpture in the Hellenistic Period

A key component of Hellenistic sculpture is the expression of a sculpture'southward face and body to elicit an emotional response from the viewer.

Learning Objectives

Contrast the new Hellenistic style of sculpture from the previous Classical era, and hash out the significance of Roman patronage in the second century BCE

Primal Takeaways

Key Points

• Hellenistic sculpture takes the naturalism of the body'due south class and expression to level of hyper-realism where the expression of the sculpture's face and body arm-twist an emotional response.
• Drama and desolation are new factors in Hellenistic sculpture. The manner of the sculpting is no longer idealized. Rather, they are often exaggerated, and details are emphasized to add a new, heightened level of movement and pathos.
• New compositions and states of listen are explored in Hellenistic sculptures including old historic period, drunkenness, sleep, agony, and despair.
• Portraiture became pop in this period. The subjects are depicted with a sense of naturalism that displays their imperfections.
• Hellenistic sculpture was in specially high demand later the Greek peninsula brutal to the Romans in 146 BCE. Notable sculptures produced for Roman patrons include
  Laocoön and His Sons and the Farnese Bull.

Key Terms

• satyr: A male companion of Pan or Dionysus with the tail of a equus caballus and a perpetual erection. Likewise known as a faun.
• patrician: An blueblood or other elite member of society; information technology may likewise be used equally an describing word.
• desolation: That quality or belongings of anything that touches the feelings or excites emotions and passions, especially that which awakens tender emotions, such as pity, sorrow, and the like; a contagious warmth of feeling, activeness, or expression; a pathetic quality.

Hellenistic sculpture continues the trend of increasing naturalism seen in the stylistic development of Greek art. During this time, the rules of Classical art were pushed and abased in favor of new themes, genres , drama, and desolation that were never explored by previous Greek artists.

Furthermore, the Greek artists added a new level of naturalism to their figures by adding an elasticity to their form and expressions, both facial and physical. These figures interact with their audience in a new theatrical manner past eliciting an emotional reaction from their view—this is known as pathos.

Nike of Samothrace

One of the most iconic statues of the period, the Nike of Samothrace, also known as the Winged Victory (c. 190 BCE), commemorates a naval victory. This Parian marble statue depicts Nike, at present armless and headless, alighting onto the prow of the ship. The prow is visible beneath her feet, and the scene is filled with theatricality and naturalism as the statue reacts to her surroundings.

Nike'southward feet, legs, and body thrust forward in contradiction to her drapery and wings that stream backwards. Her article of clothing whips effectually her from the wind and her wings lift upwards. This delineation provides the impression that she has simply landed and that this is the precise moment that she is settling onto the send'south prow.

In improver to the sculpting, the figure was nearly likely gear up within a fountain, creating a theatrical setting where both the imagery and the auditory effect of the fountain would create a hitting prototype of action and triumph.

Nike of Samothrace: Also known as the Winged Victory (c. 190 BCE), this marble statue, in Samothrace, Greece, commemorates a naval victory.

Venus de Milo

Also known as the Aphrodite of Melos (c. 130–100 BCE), this sculpture past Alexandros of Antioch, is another well-known icon of the Hellenistic flow. Today the goddess's arms are missing. Information technology has been suggested that i arm clutched at her slipping curtain while the other arm held out an apple, an allusion to the Judgment of Paris and the abduction of Helen.

Originally, similar all Greek sculptures, the statue would have been painted and adorned with metal jewelry, which is evident from the attachment holes. This paradigm is in some ways similar to Praxitiles' Belatedly Classical sculpture Aphrodite of Knidos (quaternary century BCE), but it is considered to be more than erotic than its earlier counterpart.

For instance, while she is covered beneath the waist, Aphrodite makes little attempt to cover herself. She appears to be teasing and ignoring her viewer , instead of accosting him and making heart contact.

Venus de Milo: This marble statue, in Melos, Hellenic republic, was sculpted by Alexandros of Antioch, c. 130–100 BCE.

Contradistinct States

While the Nike of Samothrace exudes a sense of drama and the Venus de Milo a new level of feminine sexuality, other Greek sculptors explored new states of existence. Instead of reproducing images of the platonic Greek male or female, as was favored during the Classical menses, sculptors began to depict images of the one-time, tired, sleeping, and drunk—none of which are platonic representations of a man or woman.

The Barberini Faun

The Barberini Faun, also known equally the Sleeping Satyr (c. 220 BCE), depicts an effeminate figure, almost probable a satyr, drunk and passed out on a stone. His torso splays across the rock face up without regard to modesty.

He appears to have fallen to slumber in the midst of a drunken revelry and he sleeps restlessly, his brow is knotted, face worried, and his limbs are tense and stiff. Unlike earlier depicts of nude men, but in a like style to the Venus de Milo, the Barberini Faun seems to exude sexuality.

Barberini Faun: This is a Roman marble copy, in Rome, Italia, of the Greek statuary original, c. 220 BCE. Italy.

Drunken Erstwhile Woman

Images of drunkenness were besides created of women, which can be seen in a statue attributed to the Hellenistic artist Myron of a drunken ragamuffin adult female. This woman sits on the floor with her arms and legs wrapped around a large jug and a hand gripping the jug's neck.

Grape vines decorating the acme of the jug brand it clear that it holds wine. The woman'southward face up, instead of being expressionless, is turned upward and she appears to be calling out, maybe to passersby. Not but is she intoxicated, simply she is erstwhile: deep wrinkles line her confront, her eyes are sunken, and her bones stick out through her skin.

Drunken Sometime Woman: This is a Roman marble copy of the Greek bronze original by Myron, c. 200–180 BCE.

Seated Boxer

Some other image of the one-time and weary is a bronze statue of a seated boxer. While the epitome of an athlete is a mutual theme in Greek fine art, this bronze presents a Hellenistic twist.

He is old and tired, much like the Late Classical image of a Weary Herakles. However, unlike Herakles, the boxer is depicted beaten and exhausted from his pursuit. His face is swollen, lip spilt, and ears cauliflowered. This is non an epitome of a heroic, young athlete merely rather an one-time, defeated man many years past his prime.

Seated Boxer: This bronze statue, c. 100–fifty BCE, is in Rome, Italy.

Portraiture

Individual portraits, instead of idealization, also became popular during the Hellenistic period. A portrait of Demosthenes by Polyeuktos (280 BCE) is not an idealization of the Athenian statesman and orator. Instead, the statue takes notes of Demosthenes's characteristic features, including his overbite, furrowed brow, stooped shoulders, and old, loose pare.

Even portrait busts, often copied from Polyeuktos' famed statue, draw the weariness and sorrow of a homo despairing the conquest of Philip II and end of Athenian democracy.

Demosthenes: This is a Roman re-create of the Greek, bronze, original portrait bosom by Polyeuktos.

Roman Patronage

The Greek peninsula cruel to Roman ability in 146 BCE. Greece was a key province of the Roman Empire, and the Roman'south interest in Greek culture helped to circulate Greek art around the empire, specially in Italy, during the Hellenistic menstruum and into the Purple period of Roman hegemony .

Greek sculptors were in high demand throughout the remaining territories of the Alexander'southward empire and then throughout the Roman Empire. Famous Greek statues were copied and replicated for wealthy Roman patricians and Greek artists were commissioned for large-scale sculptures in the Hellenistic manner.

Originally cast in bronze, many Greek sculptures that we have today survive only every bit marble Roman copies. Some of the most famous colossal marble groups were sculpted in the Hellenistic way for wealthy Roman patrons and for the imperial court. Despite their Roman audience, these were purposely created in the Greek manner and connected to brandish the drama, tension, and pathos of Hellenistic fine art.

Laocoön and His Sons

Laocoön was a Trojan priest of Poseidon who warned the Trojans, "Beware of Greeks bearing gifts," when the Greeks left a large wooden equus caballus at the gates of Troy. Athena or Poseidon (depending on the story's version), upset by his vain warning to his people, sent ii sea serpents to torture and kill the priest and his ii sons.

Laocoön and His Sons, a Hellenistic marble sculpture group (attributed by the Roman historian Pliny the Elder to the sculptors Agesander, Athenodoros, and Polydorus from the island of Rhodes) was created in the early on outset century CE to describe this scene from Virgil's epic, The Aeneid.

Laocoön and His Sons: This marble statue is attributed by the Roman historian Pliny the Elder to the sculptors Agesander, Athenodoros, and Polydorus from the island of Rhodes.

Similar to other examples of Hellenistic sculpture, Laocoön and His Sons depicts a chiastic scene filled with drama, tension, and pathos. The figures writhe every bit they are caught in the coils of the serpents. The faces of the three men are filled with agony and toil, which is reflected in the tension and strain of their muscles. Laocoön stretches out in a long diagonal from his correct arm to his left as he attempts to free himself.

His sons are as well entangled by the serpents, and their faces react to their doom with defoliation and despair. The etching and detail, the attention to the musculature of the body, and the deep drilling, seen in Laocoön'south pilus and beard, are all feature elements of the Hellenistic way.

Laocoön and His Sons: This particular of Laocoön's face shows the carving and particular, the attention to the musculature of the body, and the deep drilling that are all characteristic elements of the Hellenistic style.

Farnese Bull

The Farnese Bull (c. 200–180 BCE), named for the patrician Roman family who owned the statue in the Italian Renaissance , is believed to have been created for the drove of Asinius Pollio, a Roman patrician. Pliny the Elder attributes the statue to the artists and brothers Apolllonius and Tauriscus of Trallles, Rhodes.

The colossal marble statue, carved from a single cake of marble, depicts the myth of Dirce, the wife of the Male monarch of Thebes, who was tied to a balderdash by the sons of Antiope to punish her for mistreating their mother. The composition is big and dramatic, and demands the viewer to encircle information technology in order to view and appreciate the narrative and desolation from all angles. The various angles reveal different expressions, from the terror of Dirce, to the decision of Antiope's sons, to the savagery of the bull.

Farnese Bull: This marble statue, c. 200–180 BCE, was sculpted by Apollonius and Tauriscus of Tralles, Rhodes.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-hellenistic-period/

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