The Kritios Boy

Date: The Period of transition

480-450 BCE

Material: Marble

Original Location: Acropolis at Athens

Significance: The composed expression, rolled up hair, and heavy chin all are the trademarks of the "severe style"- which possibly developed because of the surgence of Greek confidence that followed their victories over the Persians. The statue is free standing, and much more natural than the New York Kouros, with the addition of inlaid eyes and shifting weight, but and the lack of an archaic smile and excess muscle: the new ideal of youthful male beauty

Temple of Zeus at Olympia:

Period: Period of Transition

Date: 480-450 BCE

Material: Limestone, covered in stucco

Original Location: Olympia

Significance: A model Doric order temple, housing one of the seven wonders of the ancient world: A great chryselephantine statue of Zeus. 70 yards long, and columns arranged with familiar 2x+1 model. (Pediments were decribed by Roman travel-writer Pausanius later in the 2nd century before they were destroyed). The pediments show a mythical battle between Lapiths and centaurs, and a scene of Greek legend about how Pelops decieves Oinomaos and has his ancestry cursed. Metopes depict mythical scenes of Herakles. Contrast abounds in the transitional period, and mythical scenes were used metaphorically to compare "barbarians" to Greeks and Gods in a percieved hierarchy. Architect was Libon of Elis.

Name: Temple of Zeus, east pediment

Period: Period of Transition

Date: 480-450 BCE

Material: Limestone covered in stucco

Original Location: Olympia

Significance: Depicts the peaceful but tense moment before a mythical race, after which the ancestors of Pelops will be cursed. Significant because the seer Iamos is the first instance of emotion, age, and flaws expressed in Greek art. Before this, there was only idealized, perfect youth shown. Possibly reflects changing views about age in Greek society and foreshadows the coming fascination of pain and misery in the Hellenistic age?

Name: Temple of Zeus at Olympia, west pediment

Period: Period of Transition

Date: 480-450 BCE

Material: Limestone covered in stucco

Significance: Depicts a battle between the people of Lapith and centaurs.  The scene is a metaphor for the Greeks triumphing over the Persian armies, who they viewed as babarians. This scene relies heavily on contrast: the women of Lapith, even as they are being grabbed by the centaurs, are depicted as having calm, beautiful faces- unemotional, while the centaurs are shown as unkept, extremely emotional, and naturalistic. This demostrates the Greek views on a hierarchy of order- Gods in the center, appearing divine and untouchable as they overlook the event. People of Lapith, representing Greeks, are ideal and unemotional. Centaurs, representing barbarian Persians, are naturalistically depicted; out of control. Also, the fabric of the Lapithians is "pie crust drapery", which, along with their rolled up hair and lack of emotion, shows this is the severe style.

Name: Chryselephantine Statue (by Phidias)

Period: Period of Transition

Date: 480-450 BCE

Material: Wood, with ivory skin, Gold clothing

Original location: Temple of zeus at Olympia

Significance: Massive, added 20 years after creation of temple, and called one of the 7 wonders of the ancient world. Sculpted by Phidias, it was said to "add something to religion" in its monumental glory.

Name: Artemesian Zeus? or Poseidon?

Period: Period of Transition

Date: 480-450 BCE

Material: Bronze

Original Location: From Greece, found at bottom of the sea

Significance:: severe style

Name: Diskobolos

Period: Period of Transition

Date: 480-450 BCE

Material: Original was bronze, marble roman copies

Location: many locations, original was never found

Significance: Roman sources tell us the original sculptor and description; Pliny said that Myron made a statue of a discus thrower, while Pausanius gave a description of all art sculptures he saw. This sculpture makes use of the body's positioning to play with voids- giving the body a sense of balance by creating balancing triangles with limbs and empty spaces. The sculpture appears to be completely naturalistic, reflecting increasing view that motion can be ideal, but is only realistic when viewed from on direction, and the nude state of the discus thrower, along with his severe-style passive face during a physically demanding task, is stylistic

Name: Niobid Painter Krater

Period: Period of Transition

Date: 480-450 BCE

Material: Painted clay

Original Location: Athens

Significance: This krater is named after the woman it features: Niobe, who is shown in a symbolic warning against hubris (bragging)- on it, Artemis and Apollo are shown mowing down Niobe's children because she claimed to be a better mother than their own. Significant because it is painted like wall paintings at the time, with multiple ground lines and figures blocked by unseen objects and landscapes. It is a break from traditional vase painting

480-450

Persian War ends with greek victories, leading to Greeks believing they are the superior, noble people, which they express through their art. Severe style is popularized- with heavy jaws and chins, rolled up hair, nudity or pie crust drapery in fabrics, and passive, emotionless faces. Art expresses Greek views through symbolism, with Greeks represented by mythical figures and people and foreign "barbarians" through centaurs, amazons, giants ect. Greeks are always portrayed as ideal, youthful and emotionless, contrasting with the naturalistic portrayal of those they battle. Statues from this era are the first to be later copied by Romans. vase paintings may have been copies of wall paintings of the time.