Greek Archaic Style - Essay Example

The Archaic Greek Period The period from circa 660 to 480 BC. in Greece is knows as the Archaic Period of artistic expression. In this emerging from of art there were less geometrical representations as in the previous age and more a blend of nature and formal expression. While still developing, the Archaic style evolved from earlier more primitive representations in the Geometric period, resembling hieroglyphs, as well as often incorporating a somewhat Oriental or Middle Eastern influence in its presentation. ("Greek Art") Although it was christened the Archaic style one must remember that in reality it is an expression of the fundamental presence of Greek culture and lifestyle, and not just representations of a developing art, but of a developing culture as well. The Archaic sytle embodies the most faithful account of what the Greeks of this period, thought to be the fundamental features of their life and their world. (Bernstein 87) It is Archaic only in retrospect. This era was a tremendous time of change in the then city-states of Greece. Ruled by tyrants whose firm control of governance was also usually characterized by restoring order and good government as well as a resurgence in the patronage of the government towards the arts. However, before the end of the sixth century some forms of more democratic governments mostly replaced the tyrants. The Archaic period, therefore, was a time of great advances in all fields -- in carving stone and casting bronze, in modeling clay, in engraving gems and dies for coins, and in painting. In no field was complete accuracy in the rendering of human and animal figures attained, if we judge by modern standards of anatomical naturalism, but accuracy and directness within the developing terms of Greek perfection characterized work in the Archaic period. (Chase 46) Initially the Archaic period had several rigid rules of representation to be adhered to, and although they changed over time during that period, the beginnings were strict. In the sculpture of standing figures what has been termed the “law of frontality” was enforced till almost the end of the sixth century. This placement consisted of the figures being posed looking straight ahead, standing straight, the eyes often appeared more bulbous, never truly sunken in and the ears were usually placed for esthetic purpose and not for anatomical correctness, usually being placed too high on the head. Even the hair was arranged in an almost geometrical pattern like style. (Chase 46) The long locks of hair which fall over the back and shoulders present in life a great complexity of disappearing and reappearing lines and surfaces; but the archaic sculptor devises a flowing zig-zag groove to suggest the general look of these long locks, and repeats this in parallel succession over the surface of stone which he has blocked out for the hair. Neatness of execution and sharpness of line become the obvious criteria of success. (Carpenter 76-77) During this period there are several common characteristics for male figures as well. The left foot would be slightly ahead of the right, which may have a common root in the Egyptian portrayals of man and movement. There were also the characteristically somewhat exaggerated upturned corners of the mouth, creating what has become known as the “Archaic Smile.” (Chase 47) It is a rather too happy sort of smile that one might not expect from the more stoic aspects of this period. Many feel that is simply an attempt by the artist of the time to add some personality or expression to the face. The counterpart Archaic female figures during this period also held her left foot forward, interestingly her right forearm, was usually created separately and then later attached. It also often held some form of offering in the hand. She was usually portrayed fully clothed in a long robe called a chiton, similar to a toga and topped with a cloak or himation, falling in straight folds with zigzagged edges. (Chase 48) This is also suggestive of certain Middle Eastern and Oriental influences. (“Greek Art”) Much later in the period the human form of the female was more represented as some nudes appeared in many household decorations such as handheld mirrors representational of Aphrodite or Athena. Color also began to become an important part of the overall dimensions of the figures in the Archaic period in an attempt to perhaps create material illusions to provide more depth to the creation. “Where the hair of the head and the beard could be painted blue or clear bright red, we need scarcely raise the question of the ulterior purpose of such decoration.” (Carpenter 56) Although Carpenter does also warns that it is unwise to insist that this is the only or primary reason, certainly color would have been used artistically for the sake of color as well. This is especially true as we watch the progression during the age to a more naturalistic tendency in the fifth and fourth centuries, using color to mirror reality and not merely enhance it. (Carpenter 56-57) Several types of pottery styles are associated with the latter part of the Archaic Period. They are termed the black-figure pottery, originating in Corinth during the 7th century BC and later the red-figure style, which was primarily developed by the Andokides around 530 BC. (“Greek Art”) The funerary art of the time also revealed a great deal of Archaic style as well, both in the form of reverence as well as offerings for the dead. There were four distinct styles of monuments: Large painted pots, Chest-like boxes made of sun dried brick, stone statues of youths, maidens, etc. and stone shafts called stelai. (Richter 4) The development of archaic Attic gravestones is indicative of the Greek attitude of mind. The early Greek artists, after they had once developed a suitable form, were satisfied to retain it for a considerable time, changing it only in detail. And when a fresh start was made the new type evolved in the same consistent and gradual manner. As in a musical composition, the theme remained constant but was developed and transformed by infinite variations. We found also that historical happenings were reflected in the evolution of the gravestones. (Richter 131) Sphinxes as well as lions were also set up over graves as protecting entities over the dead. It is also interesting to note that the lion statues were rarely portrayed very realistically since they had been extinct in mainland Greece for quite some time. “In spite of the open jaws, the lions expression has been well characterized as bland, almost friendly. Its most interesting features are the decorative treatment of the hair and the careful arrangement of the overlong tail.” (Chase 49) Prior to the Archaic period was the Geometric Period, circa 900 to 700 BC. The forms during this period were highly stylized and although technically flawless, seemed more mechanical than natural. The lines were rigid and not naturalistic by any means. Straight, almost sticklike figures were representational of human beings and other animals, similar to primitive art found on cave walls or of Egyptian hieroglyphs. As the ages blended the natural figure became more dominant in the Archaic period, while still retaining some geometric significance, but the bent was certainly more towards more naturalistic representative art. After the Archaic period came the Classic Greek period from circa 400 to 300 BC. Here more formal representation took over and an almost a neo-geometric revival took place. Yet the more streamlined facial features that we have come to view as traditionally representing Greek art came into creation here. The style of what Art historians have called “Wet drapery” also came into use. Similar to the Archaic use of fabric adorning women, yet these robes were more revealing and shown more of the figure beneath. (“Greek Art”) Works Cited Bernstein, Richard J. Beyond Objectivism and Relativism: Science, Hermeneutics, and Praxis. Philadelphia: University of Pennsylvania Press, 1983 Carpenter, Rhys. The Esthetic Basis of Greek Art of the Fifth and Fourth Centuries B. C. Revised ed. Bloomington, IN: Indiana University Press, 1959. "Greek Art." The Columbia Encyclopedia. 6th ed. 2007. "Greek Art in the Archaic Period." Metropolitan Museum of Art. 2008. Metropolitan Museum of Art. 9 Apr 2008 . Chase, Geroge H. Ed. Greek, Etruscan & Roman Art: The Classical Collections of the Museum of Fine Arts, Boston. Boston: 1963. Richter, Gisela M. A. Archaic Attic Gravestones ?. Cambridge, MA: Harvard University Press, 1944. Read More