Greek Art Archives - Teacher Curator

Head of Nemesis

November 14, 2024

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**Head of Nemesis, the personification of attribution of Justice,** 2^nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

Of Nemesis we sing, undying goddess, stern Victory with spreading wings, infallible, seated by the throne of Justice; of thee that resentest man’s arrogance and sweepest it down to Tartarus… wrote Mesomedes of Crete, the Greek lyric poet and musician of the 2nd century AD, who served at the court of Emperor Hadrian. Standing before the Head of Nemesis from the Museum of ancient Agora in Athens I can almost feel the weight of divine retribution she carries, much like in Mesomedes’ Hymn to Nemesis, where she is invoked as the ever-watchful enforcer of balance, striking down human arrogance. https://laudatortemporisacti.blogspot.com/2008/07/mesomedes-hymn-to-nemesis.html

Goddess Nemesis in ancient Greek mythology was the personification of divine retribution and justice, often associated with the punishment of hubris (excessive pride or arrogance, in Greek Ύβρις). She was believed to maintain balance by ensuring that no individual, mortal or divine, grew too proud or overstepped moral boundaries. Nemesis was depicted as a stern and impartial force who imposed punishment on those who defied the natural order, often by bringing misfortune to those who had gained undeserved success or wealth.

Nemesis was traditionally viewed as a daughter of Nyx (Night), though her parentage varies in different accounts. She was also sometimes seen as an agent of fate, aligning her with themes of destiny and the unavoidable consequences of one’s actions. The goddess was often portrayed as a winged figure holding a sword, scales, or a wheel, symbolizing the cyclical nature of fortune and justice. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D207

Worship of Nemesis was widespread, and she had a notable cult center at Rhamnous in Attica, where she was honored as a protector of justice. The temple at Rhamnous housed a large statue of the goddess, created by the sculptor Agorakritos, a student of Phidias, and was considered one of the finest representations of the goddess. Located near the fortress of Rhamnous, the temple symbolized her role as a guardian of law and order, watching over the region and its people, ensuring that justice was upheld in both mortal and divine realms.

**Roman Copy of the statue of Nemesis of Agorakritos** in the Ny Carisberg Glyptothek, Copenhagen https://www.worldtravelimages.net/Copenhagen_Glyptotek.php
**Agorakritos of Paros,** 5^th century BC
**Head of Nemesis, the personification of attribution of Justice,** 430-420 BC, Marble, Height: 41.91 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1820-0513-2
**Head of Nemesis, the personification of attribution of Justice,** 2^nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

The Statue of Nemesis by Agorakritos, a celebrated pupil of the renowned sculptor Phidias, was a masterpiece of classical Greek art housed in the temple of Rhamnous in Attica. Crafted in the 5th century BC, this statue depicted Nemesis as a stern, majestic figure embodying divine retribution and justice. Made from Parian marble, the statue was renowned for its exquisite detail and symbolic attributes, including a wreath, rein, and a branch, symbolizing punishment, control, and the restoration of balance.

After three years of meticulous research, Professor of Archaeology at Thessaloniki University, George Despinis, has made a significant breakthrough by assembling around 340 fragments of the Nemesis statue, supplementing the previously known head fragment held at the British Museum. While about one-fifth of the statue has been recovered, Despinis’ work goes beyond merely reconstructing this admired masterpiece. His analysis of the fragments has, for the first time, precisely revealed the unique style of Agorakritos, allowing him to identify parts of the Parthenon pediments and friezes created under the direction of Pheidias. https://www.penn.museum/sites/expedition/nemesis/

According to Pausanias and other sources, the Nemesis statue originated from a large marble slab that Datis, the Persian general under Darius, intended to use for a victory monument after defeating the Athenians during his campaign. However, following the Persian defeat at the Battle of Marathon, the Athenians discovered the massive slab abandoned on the battlefield. Based on Professor George Despinis’ calculations, the stone must have been nearly half the height of a Stonehenge monolith. Though the exact method of transporting the stone from Marathon to the Rhamnous sanctuary remains a mystery, it is widely believed that Agorakritos, a pupil of Pheidias, sculpted the statue, completing it by the onset of the Peloponnesian War, with its intricate pedestal and frieze finalized during the Peace of Nikias. https://www.the-athenian.com/site/1989/04/01/the-temples-of-rhamnous/

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending the exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition formed a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transformed into ‘ΝΗΜΑ’ (‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. Among the exhibition artworks that impressed me most was the 2nd-century AD marble Head of Nemesis, the personification of justice, displayed, currently, at the Museum of Ancient Agora in Athens, Greece. According to museum experts, this Head is one of many Roman copies of the original 5th-century statue by Agorakritos from Rhamnous, whose masterful work combined idealized beauty with the imposing presence of a goddess who embodied the consequences of human arrogance and excess.

For a Student Activity, please… Check HERE!

Saint Demetrios in prayer position with Patrons

October 25, 2024

by admin Archaeology Art Byzantine Art Byzantine Mosaics Byzantium Early Christian Art Greek Art Student Activities Worksheets

**Wall mosaic with Saint Demetrios in prayer position and patrons,** 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

On the 26^th of October, the Feast Day of Saint Demetrios… Let us honor with hymns the great soldier and athlete, the crowned victor, and the one who is marvelous among the martyrs, who was pierced by a spear in his side like the Master, the divine Demetrios… On the same day, let us remember a magnificent Wall Μosaic from the North Inner Aisle of his great Basilica in Thessaloniki, depicting Saint Demetrios in prayer position with Patrons, exhibited today in the city’s Museum of Byzantine Culture! https://www.imlagada.gr/default.aspx?catid=185

The year 1907 marked a pivotal moment for both Thessaloniki and Byzantine art. On August 1st, while the city was still under Ottoman rule, authorities began extensive renovations on Casimir Camii, originally the city’s Byzantine Church of Saint Demetrios. During the repairs, a remarkable and unexpected discovery was made: magnificent, well-preserved mosaics were uncovered on the wall of the North Inner Aisle of the nearly dilapidated church. The quality and preservation of these mosaics astounded scholars and Byzantinologists worldwide, prompting many to rush to Thessaloniki to study and document these extraordinary artworks.

Then, disaster struck on the 5th of August 1917… a great fire swept through the thriving city of Thessaloniki destroying two-thirds of the city’s center and leaving more than 70,000 homeless. The Great Fire of 1917 was a devastating event that ravaged many of the city’s historic and religious landmarks. Among the most significant losses was the Church of Saint Demetrios, the revered basilica dedicated to the city’s patron saint. The beautiful Mosaics of the Church’s North Inner Aisle discovered in 1907 were gone forever! Few photographs and even fewer paintings, created with care and sensitivity by artists, is all that remains… except a fragment of the mosaic over spandrel H depicting Saint Demetrios in prayer position with Patrons.

Originally built in the 5th century, this iconic structure was a center of worship and pilgrimage for centuries. The fire, which spread rapidly through the city’s wooden buildings, engulfed the church, causing extensive damage to its structure and the destruction of many of its priceless mosaics and artefacts. The loss of the church was deeply felt by the residents of Thessaloniki, as it symbolized not just a religious focal point, but also a vital part of the city’s cultural and spiritual heritage. The basilica was later meticulously restored, but the destruction marked a significant chapter in the history of Thessaloniki, highlighting the vulnerability of its treasured monuments to such catastrophes.

**Wall mosaic with Saint Demetrios in prayer position and patrons (details),** 5th-6th cent., Detached Mosaic from the North Inner Aisle of Saint Demetrius Church in Thessaloniki, Glass tiles in Mortar, 98×83 cm, Museum of Byzantine Culture, Thessaloniki, Greece https://helenmilesmosaics.org/ancient-mosaics/st-dimitrios-of-thessaloniki/

The mosaics in the North Inner Aisle of the Church of Saint Demetrios in Thessaloniki were among the most exquisite examples of Byzantine art. Their discovery, after having been concealed for centuries, was hailed as a major archaeological find, offering insight into the religious and artistic heritage of the city. These mosaics, dating back to various periods, depicted a range of sacred themes, including scenes of his miracles, and figures of saints and angels in prayerful poses. They were celebrated for their vibrant colours, detailed craftsmanship, and the way they illuminated the spiritual atmosphere of the basilica. The loss of these mosaics, in the Great Fire of 1917, represented a significant cultural and artistic tragedy, as they were irreplaceable treasures that connected the faithful to the early Christian and Byzantine heritage of the city. The destruction of the North Inner Aisle mosaics not only diminished the church’s aesthetic splendour but also erased a vital link to the city’s rich historical and religious narrative.

**Museum of Byzantine Culture, Room 1 (where the Mosaic is exhibited), Thessaloniki, Greece**
https://pierrekosmidis.blogspot.com/2015/11/1941-nazi-invasion-of-greece-through.html

According to the Thessaloniki Museum of Byzantine Culture experts, the mosaic of Saint Demetrios in prayer position with Patrons depicts the Saint… standing, in front of a golden niche of a building or kiborium decorated with a blue clam. He is in a posture of supplication, prayer, with his hands raised to the sky. He wears the uniform of an official official with a luxurious gold-embroidered cloak and tunic, which closes at the neck with embroidery of precious stones. To the left, at the height of the saint’s waist, is depicted a child with rich clothes and with his hands in a prayer position. Next to the left palm of the saint, a male head can be seen, possibly of the donor. The composition was probably a thanksgiving or a plea for help to the saint, by a wealthy believer. https://www.mbp.gr/exhibit/entoichio-psifidoto-me-ton-agio-dimitri/

If interested in the North Inner Aisle Mosaics of Hagios Demetrios in Thessaloniki… check The Mosaic Decoration of S. Demetrios, Thessaloniki: A Re-Examination in the Light of the Drawings of W. S. George by Robin S. Cormack in The Annual of the British School at Athens,
Vol. 64 (1969), pp. 17-52 (51 pages), Published by: British School at Athens https://www.jstor.org/stable/30103330?read-now=1&refreqid=excelsior%3A63a6e304a6bc30610613803b3f259b31&seq=1#page_scan_tab_contents

For a Student Activity, please… Check HERE!

Talos the ancient Greek automaton

October 3, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Mythology Pottery Student Activities Worksheets

**The Death of Talos** by the **Talos Painter,** 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy – Photo Credit: Amalia Spiliakou, February 18, 2024, *‘Meanings’. Personifications and Allegories from Antiquity to Today* Exhibition, Acropolis Museum, Athens, Greece

[1638] And Talos, the man of bronze, as he broke off rocks from the hard cliff, stayed them from fastening hawsers to the shore, when they came to the roadstead of Dicte’s haven. He was of the stock of bronze, of the men sprung from ash-trees, the last left among the sons of the gods; and the son of Cronos gave him to Europa to be the warder of Crete and to stride round the island thrice a day with his feet of bronze. Now in all the rest of his body and limbs was he fashioned of bronze and invulnerable; but beneath the sinew by his ankle was a blood-red vein; and this, with its issues of life and death, was covered by a thin skin… This is how Apollonius of Rhodes, the 3rd century BC Greek poet and scholar known for his epic poem Argonauticα‘—which recounts Jason and the Argonauts’ quest for the Golden Fleece—describes Talos, the ancient Greek automaton. https://www.theoi.com/Text/ApolloniusRhodius4.html

The myth of Talos, the man of bronze, is effectively depicted in the Talos Vase, a notable ancient Greek Volute Krater renowned for its intricate portrayal of the mythical Minoan giant. Dating back to the late fifth century B.C., and created by the so-called Talos Painter, this remarkable artefact was discovered in the necropolis of Ruvo in Apulia, Italy. Today, this significant piece is housed in the Museo Jatta in Ruvo di Puglia, where it remains an important work for the study of ancient Greek art and mythology.

The Talos Painter, a prominent figure of the ‘Rich Style’ in ancient Greek vase painting, was active during the late fifth century BC and early fourth century BC. His conventional name was assigned by J.D. Beazley due to his depiction of the mythical bronze giant Talos on the main side of the volute krater found in the necropolis of Ruvo in Apulia. Scholars suggest that he may have been a pupil of the Meidias Painter and worked, for a while, alongside the Modica Painter in the same workshop. The artist preferred decorating large vases, particularly craters and loutrophoroi, as well as Panathenaic amphorae, nuptial lebes, hydriae, and pelikes. His artistic identity is distinguished by his extensive use of shading, bold contour lines, and white colour, which successfully conveyed, for example, the bronze body of Talos in the Ruvo Krater. The grandeur of his designs, the richly decorated garments of depicted figures, and the indication of landscape in his compositions are elements that demonstrate the artist’s awareness of the achievements of large-scale painting, and his enthusiasm to incorporate them in his own dynamic compositions.

What is the specific decoration of the Talos Vase?

The Krater is adorned with intricate mythological scenes across its entire surface. On its main side, the central focus is the death of Talos, the mythical bronze giant. Talos stands at the center in a dynamic pose, arms outstretched, and legs crossed, as he powerlessly collapses. Rendered in white and yellowish hues, Talos, his muscular, bronze body beautifully rendered, is the striking protagonist of the scene. Behind Talos stands a tree trunk with sparse leaves, likely the sacred plane tree of Crete associated with Zeus and Europa’s myth. Flanking Talos are the Tyndaridae, Castor and Pollux, identifiable by inscriptions. Castor is mounted on horseback, while Pollux stands nearby, both depicted as youthful, beardless, wreathed, and beautifully dressed figures.

At the rear of Pollux, the Greek painter presents a woman richly dressed in an oriental garment. She stands in a contrapposto stance, holding a sack, wreathed with ivy and wearing the Phrygian cap. She is identified as Medea, the sorceress, and she is placed in front of Argo, the boat of the Argonauts, out of which come Kalais and Zetes. At the far right, by Castor, Poseidon and his queen, Amphitrite, are presented observing the event, while on the lower right side of the composition a young girl, frightened and running away, is believed to be the personification of the island of Crete.

**The Death of Talos** by the **Talos Painter (Side B),** 425-400 BC, Attic Red-Figured Volute Krater, Τerracotta, Height: 75 cm, Archaeological Museum Jatta, Ruvo di Puglia, Italy https://www.mediastorehouse.com/fine-art-finder/artists/andrea-pisano/death-talos-greek-mythology-giant-back-38174716.html

Side B of the Talos Vase, not as well preserved as that of Side A (the Death of Talos), presents an unidentified scene of 7 figures, with the winged goddess Nike, two male figures believed to be the Dioscuri, a second, smaller in size representation of Nike, goddess Athena, and a badly preserved, identified by name couple. Finally, the neck of the Krater, on both sides, is decorated with the God Dionysos and his lifeful companions.

For a Student Activity, inspired by the Myth of Talos, the ancient Greek automaton, please… Check HERE!

Bibliography: https://ikee.lib.auth.gr/record/124395/files/than.pdf (in Greek)

The Rampin Rider

September 5, 2024

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**The Rampin Rider,** Archaic Period, around 550 BC, Marble from Paros, Height: 1.08 m, Length: 0.77 m, Width: 0.38 m, Acropolis Museum, Athens, Greece https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

…Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts, [20] when that horse ran swiftly beside the Alpheus, not needing to be spurred on in the race, and brought victory to his master, the king of Syracuse who delights in horses… writes Pindar in his Olympian Ode 1, and I think of The Rampin Rider in the Acropolis Museum!

The Rampin Rider is an ancient Greek marble Archaic statue dating back to around 550 BC. It depicts a young horseman in a dynamic pose and is believed to represent a victorious athlete or a noble youth. The statue is renowned for its detailed craftsmanship and is a prime example of early Greek sculpture, combining Archaic stylization with emerging naturalism. https://www.theacropolismuseum.gr/en/statue-rider-rampin-rider

Today, the Rampin Rider statue is unfortunately divided between two major museums. The larger portion, including the torso and horse, is housed in the Acropolis Museum in Athens, Greece, where it is displayed alongside a plaster cast of the missing head. Meanwhile, the head of the rider, known for its distinctive Archaic smile, is displayed at the Louvre Museum in Paris, France, accompanied by a cast of the rest of the statue. This arrangement highlights the division of this significant artefact between the two institutions. https://collections.louvre.fr/ark:/53355/cl010276879

**The Head of the Rampin Rider,** Archaic Period, around 550 BC, Marble from Paros, Height: 27 cm, Louvre Museum, Paris, France
https://www.neo-mfg.com/products/history-roman-rampin-rider-60671

The Rampin Rider statue, the oldest and most renowned equestrian statue dedicated to the Acropolis, depicts a naked youth seated forward on his horse, almost on its neck. Once holding a metal bridle and reins attached through drilled holes in the horse’s mane, the rider is portrayed with keen attention to anatomical detail, especially in the physique and abdomen. Adorning his head is a wreath made of wild celery or oak leaves, signifying his victory in an equestrian event, possibly at the Nemean or Olympic Games. The rider’s face, characteristic of the Archaic period, features large almond-shaped eyes, thin eyebrows, and the distinct “archaic smile.” Remarkably, traces of original colour still remain on the rider’s face and hair, as well as on the horse’s mane, offering a glimpse into its original vibrant appearance.

During the Archaic period of ancient Greece, statues depicting riders held significant importance as symbols of wealth, status, and military prowess. These expensive dedications were commissioned by members of the upper socio-economic classes, specifically the pentacosiomedimnoi and triacosiomedimnoi, who were responsible for maintaining war horses. Participation in equestrian events was exclusive to affluent nobles, either as athletes or horse owners, reflecting their elite status. The rider statues, such as the Rampin Rider, were often dedicated on the Acropolis as commemorative monuments to celebrate victories in prestigious games, underscoring the social and political influence of the aristocracy in ancient Greek society.

The larger portion of the Rampin Rider statue, including the rider’s torso and the horse, was unearthed in a Perserschutt ditch, a significant archaeological context filled with statues and other artefacts deliberately buried after the 480 BC Persian sack of Athens. These ditches were created by the Athenians to dispose of the destroyed remnants of their sacred and civic monuments after the Persians razed the city. The Perserschutt deposits are invaluable to archaeology because they provide a well-preserved snapshot of Athenian art and culture before the Persian invasion, capturing details of early Greek sculpture, architecture, and religious practices. The discovery of the Rampin Rider in this context highlights the cultural loss and resilience of Athens, as these broken yet revered artworks were buried with care and later played a crucial role in reconstructing the history of Archaic Greece.

For a Student Activity, please Check… HERE!

Apulian Pottery Style

August 5, 2024

by admin Ancient Greek Art Archaeology Art Education Greek Art Pottery Powerpoints

**An Apulian Red-Figured Knob-Handled Patera in the manner of the Lycurgus Painter,** circa 2^nd half of the 4^th century BC, Diameter: 43.2 cm, Private Collection https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

The ancient Apulian Pottery Style, originating in southeastern Italy during the 4th to 3rd centuries BCE, is renowned for its distinctive and ornate red-figure technique. Characterized by elaborate scenes and mythological narratives, Apulian pottery often featured detailed depictions of figures in dynamic poses, showcasing a high level of artistic skill and storytelling. The vessels, ranging from amphorae to kraters to paterae, served both functional and decorative purposes, with intricate designs adorning their surfaces. Artists employed a rich colour palette, including red, white, and yellow, creating a visually striking contrast. The subjects depicted in Apulian pottery varied widely, encompassing mythology, daily life, and religious themes. This unique pottery style not only reflects the artistic achievements of ancient Apulia but also provides valuable insights into the cultural and social context of the time.

In July 2023, at Christie’s, an Apulian Red-Figured Knob-Handled Patera, dating back to the second half of the 4th century BC and executed in the style of the Lycurgus Painter, was auctioned with exceptional results. The patera’s interior features an Amazon on horseback, adorned in an intricate costume and panther skin, wielding a long spear while attacking a panther amidst a complex freeform foliate setting. Conversely, the exterior is decorated with a central figure of winged Eros, flanked by draped females on one side, and a centrally seated draped female, accompanied by winged Eros and another draped female, on the opposite side. This exquisite piece of pottery provides us with the opportunity to raise questions about Apulian Pottery and its significance… https://www.christies.com/lot/lot-6436519?ldp_breadcrumb=back&intObjectID=6436519&from=salessummary&lid=1

What was the cultural and historical context of ancient Apulia during the production of the so-called, Apulian Pottery? Apulia, a region in Southern Italy colonized by the Greeks, played a significant role in the production of pottery during the 4th century BC. Over half of the recovered pottery vases from Southern Italy, particularly in modern Puglia, were crafted in Tarentum, a major Greek polis in the area. This flourishing pottery production was part of the broader phenomenon of Greek colonization in the western Mediterranean, occurring from the 8th to the 5th century BC, leading to the establishment of colonies in Southern Italy and Sicily, collectively known as Magna Graecia or ‘Great Greece.’ The influx of Greek artisans and pottery makers to these colonies facilitated the development of a unique artistic style that blended local Italic traditions with Attic aesthetics.

What is an ‘Apulian Patera’… The term ‘Apulian Patera’ typically refers to a specific shape of ancient Apulian pottery rather than a separate style. A patera is a shallow, often bowl-like vessel with a flat, wide rim. In the context of Apulian pottery, the Apulian Patera shape is commonly associated with the red-figure pottery produced in Apulia during the 4th to 3rd centuries BC. These vessels were characterized by their distinctive form, featuring a broad, flat rim with a slightly concave interior. The exterior of the bowl often displayed intricate red-figure decorations, showcasing scenes from mythology, daily life, or religious motifs. The Apulian Patera shape was popular for various functions, including serving food and libations during rituals or symposia. The artistic embellishments on these vessels, coupled with their functional design, make Apulian Patera potter an intriguing aspect of ancient Apulian artistic and cultural heritage.

How would Apulian Pottery aesthetics be described… Apulian pottery vessels exhibit distinctive aesthetic characteristics that contribute to their enduring appeal. Renowned for their red-figure technique, these vessels typically feature a lustrous black background adorned with intricate, finely drawn details in red, white, and occasionally yellow pigments. The scenes depicted on Apulian pottery often showcase a remarkable level of artistry, with figures engaged in dynamic poses and elaborate narratives drawn from mythology, daily life, or religious themes. The artists displayed keen attention to anatomical accuracy and fine details, emphasizing the expressive facial features and fluid movement of the depicted figures. The wide range of vessel shapes, including kraters, amphorae, and the characteristic Apulian Patera, further highlight the versatility of this pottery tradition. The overall effect is one of visual richness and storytelling, where each vessel becomes a canvas for the skilled artisans to convey both aesthetic beauty and cultural narratives from ancient Apulia.

For a PowerPoint of 10 Masterpieces of Apulian Pottery, please… Check HERE!

Girl on the Beach by Thaleia Flora Karavia

July 8, 2024

by admin 20th century Art Art Greek Art Neohellenic Art Powerpoints

**Thaleia Flora Karavia,** Greek Artist, 1871 – 1960
**Girl on the Beach,** 1922-25, Oil on Canvas, 61 x 50 cm, National Gallery, Athens, Greece https://www.nationalgallery.gr/en/artwork/girl-on-the-beach/

Thaleia Flora Karavia was a prominent Greek painter known for her vibrant depictions of everyday life, her contributions to war art, and her involvement in the Greek artistic community. Born in Siatista, in northern Greece, she moved to Constantinople as a child in 1874, where she pursued her education at the Zappeion Girls’ School, and received her early artistic education. After graduation, she spent a year teaching, but her passion for painting soon led her to Munich in 1895. There, she attended private schools and received training from renowned artists such as Nikolaos Vokos, Georgios Ιakovidιs, Nikolaos Gyzis, Paul Nauen, Anton Azbe, Walter Thor, and Fer.

The artist returned to Constantinople in 1898, but her artistic journey called her back to Munich, where she stayed until 1900. Upon her final return to Constantinople, she travelled extensively across various European cities. In 1907, she married journalist Nikolaos Karavias during a visit to Egypt. The couple settled in Alexandria, where Flora Karavia lived for thirty years. During her time there, she was highly active in the art community, founding and personally running an Artistic School.

Karavia’s work is distinguished by impeccable draftsmanship, harmonious composition, a delicate approach to colour, and an acute sense of realism. She excelled in a diverse range of subjects, including portraits, landscapes, still life, and genre scenes, capturing the essence of Greek life and culture. Initially, she adhered to the conservative guidelines of the Academy, but eventually embraced the principles of impressionism and plein-air painting. Beyond her canvas work, she also illustrated literary texts and designed lottery tickets to support the Greek National Fleet, showcasing her versatility and commitment to both art and national causes.

A particular favourite is the artist’s painting of Girl on the Beach, as it captures a serene but joyful moment, emphasizing her mastery of light and colour. The painting depicts a smiling, young girl seated on a sun-drenched beach, gazing at the viewer, her back out at the summer sea. The composition is both simple and evocative, with the girl positioned at the center, creating a sense of balance and harmony. Flora Karavia’s use of soft, warm tones reflects the gentle sunlight, casting delicate shadows that add depth and realism to the scene. The brushwork is fluid yet precise, capturing the textures of the gentle ripples of the water, and the girl’s curly hair. This painting highlights Flora Karavia’s ability to convey a mood of peaceful introspection and her keen observation of the natural world. Through this work, she invites the viewer to share in a happy moment of joyful reflection, making it a poignant example of her artistic sensitivity and skill.

During the Balkan Wars (1912-1913) and World War I, Karavia was one of the few female war artists who documented the experiences of soldiers and the impact of the wars on Greece. Her war art provides a unique and personal perspective on conflicts, focusing on the human side of war rather than the strategic or political aspects.

Apart from her painting, Flora Karavia was also an active member of the Greek artistic community, participating in exhibitions and promoting the arts in Greece. She was associated with the Art Group “Techni,” which played a crucial role in the development of modern Greek art.

Throughout her career, Thaleia Flora Karavia’s works were celebrated for their emotional depth, technical skill, and dedication to portraying the human condition. Her legacy continues to be honoured in Greece, where she is considered a significant figure in the nation’s art history.

For a PowerPoint titled 10 Portraits of Women by Thaleia Flora Karavia, please… Check HERE!

Byzantine Ivory Caskets

June 11, 2024

by admin Art Byzantine Art Byzantine Ivories Byzantium Greek Art Medieval Art Powerpoints

**Byzantine Casket with Mythological and Combat Scenes,** 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France (Photo Credit: Amalia Spiliakou, May 2023)

Byzantine Ivory Caskets, also known as covered boxes, represent exquisite examples of medieval artistry and craftsmanship. These small, intricately carved containers were crafted in the Byzantine Empire during the early medieval period, primarily between the 6th and 12th centuries. Made from luxurious materials such as ivory, these Caskets served a variety of purposes, ranging from holding religious relics to storing precious items like jewelry or cosmetics. Adorned with elaborate motifs, often depicting religious scenes, mythological figures, or intricate geometric patterns, Byzantine Ivory Caskets not only served functional roles but also conveyed the wealth, power, and artistic sophistication of the Byzantine civilization. These objects provide valuable insights into the social, cultural, and religious contexts of the Byzantine Empire.

In the present day, around 125 ivory Caskets endure, each bearing its unique journey through time and wear, with approximately 50 adorned in secular motifs. These elegant Caskets stand as a testament to Byzantine artistry, representing a remarkable legacy of secular expression preserved amidst the sands of time. Their survival marks them as the paramount example of Byzantine secular art, offering a glimpse into the aesthetic tastes and cultural nuances of an empire steeped in opulence and sophistication.

Intricately carved and made of transverse sections of elephant tusks, the Byzantine Caskets were more than mere receptacles; they were vessels of cultural significance and practical utility. Their intricate reliefs, often depicting a blend of pagan mythology and Christian iconography, hint at their multifaceted functions. Those adorned with scenes of Christ’s miraculous healings likely served as vessels for safeguarding the sacred elements of the Eucharist, underscoring their role in religious rituals and devotion. Conversely, Caskets embellished with pagan motifs might have been employed for storing personal effects like valuable documents, cosmetics or jewelry, reflecting the interplay between secular and religious spheres in Byzantine society. Though their precise origins remain elusive, scholars speculate that these Caskets were crafted in Constantinople or the Byzantine provinces of North Africa or Syria-Palestine, regions renowned for their ivory craftsmanship. Despite the enigma surrounding their provenance, Byzantine Ivory Caskets endure as tangible manifestations of the empire’s artistic prowess and spiritual fervour.

During the Byzantine period, ivory held a revered status as a symbol of luxury, prestige, and religious devotion. The Byzantines prized ivory for its exceptional beauty and workability, utilizing it in a myriad of contexts ranging from religious artefacts to secular luxury items. Ivory was extensively employed in the creation of intricate carvings, including religious icons, diptychs, and triptychs, which adorned churches, palaces, and private collections and Caskets as containers of precious secular or religious treasures. These exquisite ivory artworks served not only as expressions of faith but also as tangible manifestations of wealth and power. Furthermore, ivory was utilized in the production of practical items such as furniture inlays, game pieces, and personal accessories, reflecting its versatility and widespread appeal across various aspects of Byzantine society. The use of ivory persisted throughout the Byzantine period, leaving an indelible mark on the art, culture, and material wealth of the empire.

**Byzantine Casket with Mythological and Combat Scenes,** 4th quarter of the 10th century, Ivory, 11.5×41.5×17.5 cm, Musée de Cluny, Paris, France https://www.facebook.com/photo/?fbid=747127510777426&set=a.547320410758138

Among these remarkable artefacts, the Byzantine ivory Casket of the Musée de Cluny in Paris stands as one of my favourites. Crafted in Constantinople around the turn of the millennium, this Casket is a testament to the refined tastes of the secular elites within the court of the Macedonian dynasty. Delicately adorned with finely carved ivory panels, it depicts intricate scenes drawn from the legendary exploits of Heracles and various other tales of Greek mythology to epic battles and chariot races. Each panel is a masterpiece of craftsmanship, capturing the essence of both ancient lore and medieval life. Undoubtedly intended for domestic use within the opulent confines of aristocratic households, this Casket serves as a tangible link between the classical past and the burgeoning cultural landscape of Byzantium.

As one marvels at this masterpiece within the halls of the Cluny Museum, one cannot help but be transported back in time, envisioning the opulence and splendour of the Byzantine era.

For a PowerPoint Presentation, please… Check HERE!

Lion from a Grave Monument in the Canellopoulos Museum

June 8, 2024

by admin Ancient Greek Art Archaeology Art Greek Art Museums Sculpture Social Studies Student Activities Worksheets

**Lion from a grave monument,** 4th century BC, White Marble, Height: 41.5 cm, Paul and Alexandra Canellopoulos Museum, Athens, Greece – Photo Credit: Amalia Spiliakou, Museum of Cycladic Art, *Chaeronea, 2 August 338 BC: A day that changed the world* Exhibition, February 2024

The lion sits on his haunches and looks straight ahead, with his mouth half open, evidently portrayed as growling. Anatomical details of the head have been realistically rendered. The eyes are small and fairly deeply set, the nose flat and wide. The slender, supple body and the swelling of the chest and leg muscles suggest tension. The rich mane has dense, thick, unruly curls, that were divided from each other by means of a drill. They cover the head, the upper part of the spine, the neck and the upper part of the chest. A crest of curls runs down the spinal ridge. The curls are rendered without the sharp tips that are usual on the Attic lions of the 4th century B.C. The long tail runs under the right hind leg and in snake-like curves ends in a tuft over the right haunch. This is how the Lion from a Grave Monument in the Canellopoulos Museum is described by the Museum experts, and I couldn’t agree more… https://camu.gr/en/item/epitymvio-liontari/

On the 17^th of February, while visiting the Chaeronea, 2 August 338 BC: A Day That Changed the World Exhibition at the Cycladic Museum, I was captivated by the Lion from the Canellopoulos Museum. The statue’s imposing presence immediately drew my thoughts to grave monuments of lions in ancient Greek art, which are emblematic of power, courage, and enduring legacy. These sculptures, often placed atop graves, served as guardians and symbols of honour for the deceased. The lion’s fierce yet dignified expression evoked the valour of fallen warriors and the deep respect afforded to them in Greek culture. This connection underscored the lion’s role as a potent symbol across various contexts, from battlefield commemorations to funerary art, illustrating the profound layers of meaning that these majestic creatures held in ancient Greek society.

At the Chaeronea Exhibition, the Canellopoulos Lion is placed facing a sketch showing how the deceased were positioned in the Polyandrion of the Theban Sacred Band. This arrangement piques my eagerness to examine the monumental Lion of Chaeronea as well. This iconic grave monument, erected to honour the fallen Theban warriors of the Battle of Chaeronea, embodies the valour and enduring legacy of those who perished. Both sculptures’ powerful presence and dignified expression serve as a testament to the ancient Greeks’ deep reverence for their heroes, making them a compelling subject for exploration.

**Lion of Chaeronea,** 4^th century BC, grey local stone, Height: 5.50 m, Chaeronea, Greece https://www.tripadvisor.com/Attraction_Review-g13326468-d13225685-Reviews-Lion_of_Chaeronea-Chaeronea_Boeotia_Region_Central_Greece.html#/media-atf/13225685/293530509:p/?albumid=-160&type=0&category=-160

The Lion of Chaeronea stands as a significant symbol of ancient Greek history, commemorating the Battle of Chaeronea in 338 BCE, where Philip II of Macedon and his son, Alexander the Great, decisively defeated the combined forces of Athens and Thebes. This battle marked the end of Greek city-states’ independence and the rise of Macedonian dominance, setting the stage for Alexander’s future conquests and the spread of Hellenistic culture. The monument is believed to honour the Sacred Band of Thebes, an elite military unit renowned for its bravery and cohesion, which was annihilated during the battle. The Lion of Chaeronea thus serves as both a memorial to the fallen soldiers and a pivotal marker of the power shift that shaped the course of Western civilization.

According to the Chaeronea Museum experts… At the entrance of Chaeronea, at a distance of 13 kilometres from the city of Livadia, stands a marble pedestal with a large lion. The tomb monument was erected in honour of the Theban soldiers of the ‘sacred band’ who fell in the Battle of Chaeronea in 338 BC, in which the Macedonians emerged victorious. When after his victory Philip II allowed the burial of the dead, the Lion of Chaeronea was erected to mark their burial place. Indeed, excavations at the site brought to light the skeletons of 254 men and some of their weapons.

The statue of the Lion is 5.30 meters tall and is depicted sitting on his hind legs. The lion is considered to symbolize the heroism of the soldiers of Thebes, which Philip II himself had recognized. The Lion was revealed after excavations in 1818, broken into five pieces. It was restored standing on a 3-meter-high pedestal. Today it is located next to the Archaeological Museum of Chaeronea, in front of a row of cypress trees.

For a Student Activity, please… Check HERE!

Bibliography: https://www.mthv.gr/el/pera-apo-to-mouseio/peripatos-sti-boiotia/arhaiologiko-mouseio-haironeias-leon-tis-haironeias/#image-2 and https://camu.gr/en/item/epitymvio-liontari/

The Dolphin Frieze from the Mycenaean Acropolis of Gla

April 23, 2024

by admin Ancient Greek Art Archaeology Art Bronze Age Art Greek Art Mycenaean Art Student Activities Worksheets

**Dolphin Frieze,** Second half of the 13^th century BC, Fresco, from the Mycenaean Acropolis of Gla in Boeotia, Archaeological Museum of Thebes, Greece – Photo Credit: Amalia Spiliakou, February 19, 2024

On February 19, 2024, I fulfilled a long-awaited wish by visiting the Archaeological Museum of Thebes, one of Greece’s most significant archaeological museums. The collections, some of which are rare or unique, have been on my bucket list for quite some time. These artefacts, originating from excavations across Boeotia, span from the Paleolithic era to post-Byzantine times, providing a comprehensive view of the region’s cultural history. The Dolphin Frieze from the Mycenaean Acropolis of Gla was at the top of my list; seeing it in person was a moment of sheer delight and fulfilment.

The Mycenaean period is of profound significance in both art and history, acting as a vital cultural link between the Bronze Age civilizations of the Aegean and the classical world of ancient Greece. Artefacts from this era, ranging from architecture to fresco painting and pottery, illuminate the emergence of distinct artistic styles and techniques that greatly influenced classical Greek artistry. Mycenaean builders demonstrated their prowess through the construction of grand palaces, robust fortifications, and imposing tombs, showcasing advanced architectural and engineering capabilities. Their vibrant fresco paintings, characterized by bold depictions of figures, animals, and geometric patterns, stand as a testament to their artistic abilities. Moreover, the Mycenaean civilization played a pivotal role in shaping the socio-political landscape of ancient Greece, laying the groundwork for the development of Greek culture and identity.

**The Acropolis of Gla,** Boeotia, Greece https://www.mthv.gr/en/beyond-the-museum/tour-in-boeotia/the-mycenaean-acropolis-at-glas/

**Model of the Archaeological site of Gla,** Archaeological Museum of Thebes, Greece
https://commons.wikimedia.org/wiki/File:Gla_-_Modell_of_archaeological_site.JPG

The least known of all Mycenaean Palaces is probably that of Gla in Central Greece. Perched atop a rugged hill, the Mycenaean Acropolis of Gla is a site of historical and archaeological significance dating back to the Late Bronze Age. This fortified settlement, strategically positioned on the Boeotian plain jutted into Lake Kopais (now drained) or formed an island within it. It served as a vital center of the Mycenaean civilization, showcasing the architectural prowess and strategic foresight of its ancient inhabitants. With its imposing Cyclopean Walls, about 3 m thick, and 2.8 km long, enclosing about 235,000 square meters of land, and commanding views, the Acropolis of Gla stands as a testament to the military and cultural achievements of the Mycenaeans, offering invaluable insights into their society, economy, and interactions within the broader Aegean world.

The Acropolis of Gla is famously associated with the ambitious endeavour to drain Lake Kopais, a feat considered unparalleled in Bronze Age antiquity, highlighting the advanced technical knowledge possessed by Mycenaean engineers. It is also known for its sheer magnitude and complexity. Encircled by robust Cyclopean Walls featuring four gates constructed from imposing stone blocks, Gla reigns as the largest fortified Mycenaean Acropolis within Greek territory. Less known, but equally important is the site’s residential area, a sprawling L-shaped edifice, often hailed as a ‘Palace’, and situated in the site’s northern expanse. Built atop an engineered plateau, this ‘Palace’ or, Melathron’, unfolds into three distinct sections, featuring a layout reminiscent of the renowned Megaron structures found in ancient centers like Tiryns, Mycenae, and Pylos. However, the absence of hallmark Mycenaean Palace elements, specifically a “throne room”, a circular hearth, and a “bathroom”, raises questions about its classification as a fully-fledged Mycenaean Megaron.

Among the buildings’ debris, archaeologists discovered as early as 1893, evidence of a wastewater system, unique clay roof tiles suggesting pitched roofs, and evidence of decorative wall frescoes, damaged and fragmentary, but extremely precious. Today, these fragments, discovered in the elongated East Wing of the South Enclosure, during excavations conducted by S. Iakovidis, in the early 1980s and 1990s are exhibited in the Archaeological Museum of Thebes. The most remarkable of these fragments show diving Dolphins and parts of other maritime scenes, including large Argonauts. These fresco fragments were expertly reconstructed by Christos Boulotis. (See Bibliography)

The Dolphin Fresco from the Mycenaean Acropolis of Gla is a remarkable artefact that showcases an unusual naturalism and a sophisticated understanding of marine life, captured through the depiction of Dolphins with an astonishing level of detail and realism. These elegant creatures, spanning 75 to 80 cm in height, are painted against a vivid blue background, highlighting their dynamic forms and graceful postures. The Dolphins, numbering between six and seven, are depicted in a uniform size and posture, their bodies elegantly curved into open arches or crescents, embodying the fluidity and grace of living dolphins. Their upper bodies are painted black, featuring a triangular dorsal fin, while their bellies are a contrasting white, delineated from the black with yellow stripes. Their eyes are almond-shaped, set against a yellow background, adding a striking detail to their overall appearance.

The use of colours in the Gla Dolphins fresco draws closer to the real hues of these marine creatures, with the black, white, and yellow providing a stark contrast to the deep blue sea they inhabit. This colour choice not only enhances the naturalism of the scene but also demonstrates the Mycenaeans’ advanced skills in pigment selection and application. Indeed, recent analyses have revealed the use of rare, imported lapis lazuli mixed with hematite and possibly an organic colour derived from murex, underscoring the significant effort and resources devoted to achieving the fresco’s vibrant colours.

This fresco, along with other Dolphin Paintings of the Aegean Bronze Age period demonstrates a persistence of themes drawn from nature within Mycenaean art, suggesting a deep-rooted appreciation for the natural world. The Gla Dolphins, with their lifelike appearance and intricate detailing, stand as a testament to the Mycenaean civilization’s artistic prowess and their enduring fascination with the sea and its inhabitants.

For a Student Activity, inspired by the Dolphin Freeze, please… Check HERE!

Bibliography: Christos Boulotis, Reconstructing a Dolphin Frieze and Argonauts from the Mycenaean Citadel of Gla, ΜΕΛΕΤΗΜΑΤΑ 72, Mycenaean Wall Painting in Context, National Hellenic Research Foundation, Athens, 2015, pp. 371… https://www.academia.edu/39148590/RECONSTRUCTING_A_DOLPHIN_FRIEZE_AND_ARGONAUTS_FROM_THE_MYCENAEAN_CITADEL_OF_GLA_In_MYCENAEAN_WALL_PAINTING_IN_CONTEXT_ATHENS_2015_371_403

Maid of Athens

March 24, 2024

by admin 1821-Greek Independence Day 19th century Art Art Greek Art Neohellenic Art Social Studies Student Activities Worksheets

**Theodoros Vryzakis**, Greek Artist, 1814–1878
**The Maid of Athens**, 1860, oil on canvas, 97,5 x 71 cm, Anthony E. Comninos Foundation, Greece https://www.facebook.com/teloglion/photos/pcb.5776572499028058/5776566092362032

Maid of Athens, ere we part, / Give, oh give me back my heart! / Or, since that has left my breast, / Keep it now, and take the rest! / Hear my vow before I go, / Ζωή μου, σᾶς ἀγαπῶ. / By those tresses unconfined, / Wood by each Ægean wind; / By those lids whose jetty fringe / Kiss thy soft cheeks’ blooming tinge; / By those wild eyes like the roe, / Ζωή μου, σᾶς ἀγαπῶ. / By that lip I long to taste; / By that zone encircled waist; / By all the token-flowers that tell / What words can never speak so well; / By love’s alternate joy and woe. / Ζωή μου, σᾶς ἀγαπῶ. / Maid of Athens! I am gone: / Think of me, sweet! when alone. / Though I fly to Istambol, / Athens holds my heart and soul: / Can I cease to love thee? No! / Ζωή μου, σᾶς ἀγαπῶ. (Zoë mou, sas agapo – My Life, I love you)… wrote Lord Byron in 1810 while visiting Athens… https://allpoetry.com/Maid-Of-Athens,-Ere-We-Part

Lord Byron, the famous British poet, visited Greece in 1809-1810 as part of his Grand Tour of Europe and the Near East. He was motivated by a desire to explore the classical world and to see the ruins of antiquity. He was also interested in the politics of the region and was particularly intrigued by the ongoing struggles of the Greek people against Ottoman rule. Byron became a strong advocate of the Greek Struggle for Independence, donating money and resources to support the cause. His actions helped to raise awareness of the Greek cause and inspired other Europeans to support Greek independence as well. He is remembered as one of the most prominent philhellenes of the 19th century, the man whose influence on British public opinion helped the recognition of Greek independence by the British government.

Fascinated by the ancient Greek culture and history, Byron spent during 1810, several months in Athens, immersing himself in the local culture. Athens had a profound impact on his poetry, particularly in the creation of his epic poem Childe Harold’s Pilgrimage, which was published in 1812 and became a literary sensation. The poem is a reflection on the ruins of ancient Greece and the contemporary state of the country, which was still under Ottoman rule. Greece inspired him to write several other poems, such as The Curse of Minerva, The Isles of Greece, and The Siege of Corinth, all of which reflect his admiration for ancient Greece and its culture.

The Maid of Athens is a poem by Lord Byron, published in 1810. It is a tribute to a Greek girl named Teresa Makri, whom the poet met during his first, 1810, stay in Athens. The poem expresses the speaker’s admiration for Teresa’s beauty and spirit, and his regret at not being able to spend more time with her. The poem is known for its romantic and exotic imagery and its evocation of the beauty and mystery of Greece.

In 1860, Theodoros Vryzakis, a 19th-century Greek painter, known for his historical and patriotic canvases depicting scenes from the Greek War of Independence, painted The Maid of Athens, inspired by Byron’s famous poem.

According to the National Gallery of Greece citation… After his father was hanged by the Turks in 1821, Theodoros Vryzakis and his brother Euthymios were sent to the Capodistrias Orphanage on Aegina. In 1832, probably with the help of Ludwig Thiersch, a progressive educator in the Court of King Otto of Greece, he went to Munich where he studied at the Panhellenion, the Greek school founded by Ludwig I for the orphans of the veterans of the Greek War of Independence. In 1844, he was accepted by the Munich Academy of Fine Arts, and until 1855 continued on a scholarship financed by the Greek community in Munich. https://www.nationalgallery.gr/en/artist/vryzakis-theodoros/

From 1848 to 1851, still financed by the Greek community in Munich, Vryzakis returned to Greece for an extended visit. He aimed to study the landscape and the people of Greece so he could accurately depict them in his history paintings. Could the Maid of Athens be the result of such a study? I wish I could accurately say Yes or No!

Vryzakis’s painting of the Maid of Athens, a tribute to the famous Philhellene, Lord Byron, is characteristically executed in the artist’s classical romantic spirit. His style, clearly influenced by Neoclassicism, idealizes the girl’s features, emphasizing her dark hair and eyes. If the Maid of Athens is indeed Theresa Macri, the eldest daughter of Theodora Macri, the widow of a former English vice-consul, she is depicted as described by the artist, Hugh W. Williams, who visited Athens in May 1817… Theresa, the Maid of Athens, …has black, or dark hair and eyes; her visage is oval, and her complexion somewhat pale, with teeth of pearly whiteness. Her cheeks are rounded, her nose straight, rather inclined to aquiline. Her countenance, except when the conversation has something of mirth in it, may be said to be rather pensive. She is elegant, and her manners pleasing and lady-like, such as would be fascinating in any country… https://genius.com/Lord-byron-maid-of-athens-ere-we-part-annotated – Travels in Italy, Greece, etc., ii. 291, 292.

Celebrating the Greek Revolution of 1821 and remembering… people and events!

For a Student Activity, please… Check HERE! Lord Byron’s famous Poem Maid of Athens… is also the source of inspiration for a Melody by Charles Gounod… https://www.google.com/search?q=Maid+of+Athens+music+by+Gounod&rlz=1C1GGRV_enGR751GR751&oq=Maid+of+Athens+music+by+Gounod&aqs=chrome..69i57j33i160l3.20210j0j15&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:10334ca8,vid:FEwgmMo0l5c