Art 36

/Study Links

Kouros and Kore Figures from Boardman, Oxford History of Classical Art, pp. 39-55.
Kouros from Sunium, c. 600 BC	· First group of well preserved male statues (from a generation or so after they began to be notes in primary sources) · Dates are approximate and come from comparison with pottery, which is found in the archeological context · Many were found near a temple to Poseidon · Most of the carving was done in situ · Grided blocking begins carving, grid is preserved in the final form of the statue – no impetus to walk around · Some debt can be seen to Egyptian sculpture - but these are nude with no back pillar · Dedicatory inscriptions would have been cut on bases or the back of the sculpture (many would also have been painted and therby are now lost) · Male figurines would have been part of the deicatory tradition and would have honored both the god and the giver. · Cutting details will change dramatically as we move forward
Kouros Grave marker of Kroisos, c. 530 BC (a.k.a Anavyssos Kouros)	· From south Attica. · Later in date · Found near the village of Anavyssos · Set up as a memorial over a tomb · Bears and epitaph to Krosios – bidding the passer by to pause and grieve for the death of one whom fierce Ares had killed in the front line of battle. · Probably the battle of in Attica when Pisistratus established himself as tyrant (545) · See a tendency towards massiveness of proportions (esp. shoulders and thighs – trademark of Attic carving) · Connection between these works in the fleshiness of features and the ornamental treatment of hair · Kroissos K. may have worn cap, or the hair was painted · Advances in detail can be noted · While shape of block can be seen, the arms are free of the body
Kouros grave marker of Aristodikos, c. 510-500 BC	· One of the last in the traditional Korous stance · Found in the area near Mt. Olympus (in Attica) in 1944 · Also marked a grave · No pinched archaic waist · Separate plaque of pubic hair – borrowing from the bronze work technique · In this stage of development we see the figures break away from the "'archiac" striding stance · Losing symmetry and daring to stride forward and break space around them
Kore from Attica (a.k.a Berlin Kore) c. 570-560 BC	· Female version of the Kouros · Much greater variety in basic body and detail · Same purpose – as gifts to the gods and markers over tombs · Earliest from attica · Stood over a tomb · Some original paint can still be seen · Large features- grooves and ridges · One hand holds and offering – is extended · The other is at the breast
*Votive (Peplos) kore, c. 530 BC	· Dedicated on the Athenian Acropolis · Excavated in 1886 · Retained a good amount of painted decoration · Cannot be associated with base · There were a large number of kore from the Acropolis · Most only wear the chiton, but this also wears the heavier peplos · Lack of modeling – not that the artist could not do it – the hairstyle is very detailed
Votive kore from Chios, c. 510 BC	· From the Heraeum on Samos and the Athenian Acropolis · Some were dedicated by men – so they are idealizations of female deities (Hera and Athena could be recipients– sometime just goddess mentioned) · Here wearing a chiton with a cloak · Holds the chiton to reveal legs · 55 cm high – 21 inches · right arm doweled on · not located to Athens but Chios, for the home of the artist