Pottery and Sculpture in Ancient Greece - Special Academic Support

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Pottery

The evolution of pottery in Ancient Greece was accompanied by changes in the decorations of items. In the beginning, the Corinthian black-figure was the main method adopted by the manufacturers of the sixth century BCE, and it was one of the techniques which did not change for an extended period of time (Art of Ancient Greece, n.d.). For example, the artworks of Amasis, such as the amphora with Dionysos with Maenads, became significant pieces made with this mode of painting suitable for portraying details by engraving (Art of Ancient Greece, n.d.). Another creator who used this method was Exekias, and the mythological stories he depicted on different vessels were also made with the inclusion of black-figure scenes (Art of Ancient Greece, n.d.). This similarity between the art pieces of various painters and potters is sufficient evidence of their preferences in terms of colors and, therefore, can be considered a feature of the era.

Alongside black-figure pottery, white-ground painting was popular among the artists, but it was fragile. For example, the ceramic lekythos decorated in this way about 450-440 BCE portraying a woman and its maid was intended for memorializing the dead person (Art of Ancient Greece, n.d.). In other words, the use of this vessel was limited to this purpose, and the selection of this medium was appropriate.

However, by the end of the century, a shift happened, as many manufacturers began to adopt the red-figure technique. This event was conditional upon the new opportunities it provided, and they included flexibility in the process while being more solid than white-ground works (Art of Ancient Greece, n.d.). For instance, the paintings of Euphronios, who depicted the death of Sarpedon on a krater, were typical for this period (Art of Ancient Greece, n.d.). In this way, it can be concluded that different types of methods were preferred by artists of corresponding periods.

Sculpture

The particular attention of ancient Greek sculptors was drawn to the attempts to depict a human body with respect to their ideals. This endeavor was a subject of study for many artists, and one of them, Polykleitos of Argos, achieved significant results in determining the proportions and other features of sculptures for temples (Art of Ancient Greece, n.d.). The development of his theories, also known as the Canon of Polykleitos, started in about 450 BCE when his observations led to the formulation of specific laws in the matter (Art of Ancient Greece, n.d.). During the Classical period, the sculptor created a piece depicting Achilles with a spear, which combined these perceptions (Art of Ancient Greece, n.d.). Thus, this moment marked the beginning of the practical implementation of new standards.

Over time, they evolved and gained a number of characteristics, which, consequently, were combined into a more elaborate system. It primarily consisted of parameters of the length of the body and all of its parts which were strictly related to one another in order to guarantee symmetry (Art of Ancient Greece, n.d.). In addition, the position of all components or, in other words, the movements of figures were considered critical for adhering to the newly developed norms. However, during the Hellenistic period, the majority of principles were changed, and the focus shifted to greater expressiveness and advanced anatomy while numerous details were included (Art of Ancient Greece, n.d.). Still, the canon of Polykleitos, which was shaped over time, was significant in pioneering the area and creating the basis for further work.

Reference

Art of Ancient Greece. (n.d.). Web.

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