c.l.i.l. lesson number two greek art - liceomonfalcone.it - clil - greek art.pdf · 1 c.l.i.l....

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C.L.I.L.Lesson number two

Greek Art

This lesson, the second of the four days’ workshop, concerns Greek and Roman art.The first lesson concerned a simplified approach to the elements, both structural and decorative, of the Greek temple, learning the main glossary we needed to describe the architectural parts of religious buildings.

In the first part of this lesson we’ll analyse and complete the glossary to describe not only the elements but also the style, the composition and the figures, to be very effective in enabling a better understanding of the meaning and the value of the buildings.

In the second part of the lesson I’ll display some pictures about the main subject, emphasizing the stylistic and structural features and the differences among the main masterpieces.

In the third part we’ll use the new glossary by short sentences, explaining the characteristics of the artworks.

The fourth one’ contains some exercises you will complete as well as your homework.

On every sheet you’ll find a white side you can use to write and translate the words you don’t know.

Liceo Scientifico M. Buonarroti – Monfalcone (GO)a.s. 2010-2011

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Lesson number two - First partTHE GLOSSARY

The framework of this glossary aims at clarity, grouping the words under the headings ARCHITECTURE, SCULPTURE, TECHNIQUE AND MATERIALS, STYLE AND COMPOSITION, AND FIGURES.

ARCHITECTURE Building edificio Base basamento

Temple tempio Column colonna

Church chiesa Shaft fusto

Cathedral cattedrale Groove scanalatura

Basilica basilica Capital capitello

Theater/re teatro Abacus abaco

Anphitheater/re anfiteatro Echinus echino

Sanctuary Santuario Trabeation trabeazione

Stadium Stadio Architrave architrave

Villa Villa Freeze fregio

Abbey abbazia Methope metopa

Landscape paesaggio Triglyph triglifo

Cornice cornice

To build costruire Pediment frontone

To devise lasciare in eredità

Cella cella

To appear sembrare Doric Dorico

To evolve sviluppare Ionic Ionico

To devote dedicare Corinthian corinzio

To feature avere un posto di primo piano

Arch arco

To provide fornire Vault volta

To advance favorire Dome cupola

To achive ottenere Apse Abside

To convert trasfromare Narthex nartece

To rest poggiare Roof tetto

To support sostenere Aisle navata


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TECNIQUE AND Brass ottone Stone pietra

MATERIALS Bronze bronzo Plaster intonaco

Clay argilla Glass vetro

Gold oro Wood legno

Silver argento

Ivory avorio To model modellare

Marble marmo To shape formare modellare

Iron ferro To break rompere

Steel acciaio To point out far notare

SCULPTURE Civilization civiltà Head testa

God dio Dress vestito

Goddess dea Clothes indumenti

Hierarchy gerarchia Fold piega

Deity divinità Backdrop fondale

Athlete atleta Boundary limite

Male maschile

Female femminile To match accoppiare

Arm braccio To sculpt scolpire

Leg gamba To carve incidere


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STYLE AND Stylised stilizzato Wave onda

COMPOSITION Flowing fluente Shape forma

Undulating ondulato Descriptive descrittivo

Simplified semplificato Soft contours contorni morbidi

Careful accurato

Stiff rigido

Front view vista frontale To display mostrare

Profile view vista di profilo To emphasize enfatizzare

Horizontal orizzontale To highlight far risaltare

Vertical verticale To stand out risaltare

Linear lineare To conceive concepire

Decorative decorativo To huddle (up) ammucchiare

Proportion proporzione To group raggruppare

Rhythmic ritmico To range disporre

FIGURES Calm Calmo Two-dimensional

bidimensionale

Colossal gigantesco Espressive Espressivo

Dignified Nobile Idealized idealizzato

Dramatic Drammatico Realistic Realistico

Flat Piatto Severe severo

Foreshortened Scorciato

Massive Imponente To signify significare

Nude nudo (artistico) To imitate imitare

Overlapping sovrapposto To depict raffigurare


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ENTABLATURE

COLUMN

PEDIMENT

BASE

Lesson number two - Second part THE PICTURES

The Greek templeTipology: IN ANTIS

PEDIMENT

CORNICE

METHOPETRIGLYPH

ARCHITRAVE

ABACUS

SHAFT

ECHINUSNACKING

CAPITAL

COLUMN

ENTABLATURE

THE DORIC ORDER


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THE GREEK TEMPLE – Ionic and Doric Order

frieze

capital

colu

mn

shaft

cornice

entasis

enta

blet

ure

architrave

metopetriglyph

pediment

plinth

volute

acroterion

Lesson number two - Second partTHE PICTURES

Ionic Order Doric Order

echinus

abacus


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GREEK SCULPTURE

Lesson number two - Second partTHE PICTURES

Archaicperiod

Severeperiod

Classicalperiod

Ellenisticperiod


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Lesson number two - Third part CONCEPTS

The architecture

The Greeks devised both the shape and the image of the “perfect” temple, which lasted over the centuries until the 19th century, after its rediscover at the beginning of the 15th century.

The most important artistic novelties of Greek architecture were the Three Orders, They are the whole rules, both geometrical and mathematical, through which every architectural element of the temple is linked to all the others and to the whole building.

The three Greek architectural orders are: Doric – Ionic – Corinthian.

The Greek temples are also grouped according to their typology.

The Doric Order flourished in the 7th century b.C., at the beginning of the Archaic Period, as well as the Ionic Order. The birth of the Corinthian one’ dates back to the 5th century b.C.

The by far most important and famous typology of Greek temples is the so called “Periptero” in which a rectangle of columns surrounds a cell (naos). In front of the cell there is the pronaos, a little open space enclosed by three walls and, sometimes, even enclosed by two columns on the fourth side. Behind the cell there is often a second little open space, sometimes enclosed by two columns, as well as the pronaos, the so called Opistodomo.

Inside the cell were placed the statues of gods and goddesses.


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Lesson number two - Third part THE CONCEPTS

The history of Greek Sculpture lasted from the seventh century b.C. to the Roman conquest (31 b.C.) and developed through four main periods: Archaic, Severe, Classical and Ellenistic.

In the archaic period the human body, especially the male, was Greek sculptors’ main subject-matter, and it reflected both perfect beauty and moral order.

The first free standing figures were the kouroi and korai, male and female types who did not represent real people, but athletes or deities. Both appear stiff, simplified and face towards the front.

Less then a century later, in the severe period, the models evolved into more realistic images as the Discobolus, dated around 460 b.C., when the statue was no longer carved but the surfaces were modelled as to resemble a real body.

Not many years separated the Discobolus from the Doryphoros, archetype of a more independent and flexible body, whose “contrapposto” becomes a chiastic principle so that the left arm holding the spear is balanced by the right leg engaged in movement, and the relaxed right arm is matched by the left leg.

At the beginning of the Ellenistic period, with Lisippos’ Apoxyomenos, Greek statues changed Policletus’ rules abandoning idealized proportions and becoming more similar to a real man.

The Greeks devised the perfect human body, an idealized image of man, whereas by Policletus’ rules, the so-colled “Canon”, every part of the body was linked to the whole body through correct proportions.This idea of human beauty will be rediscovered in the Renaissance and will last until the 19th century.

The sculpture


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Lesson number two - Fourth part YOUR HOMEWORK

Texts

1. Choose a statue you’ve studied in the early lessons ( ex.: Cleobis, Moscophoros, Discobolus, Zeus Artemision, etc.) and describe it in at least four lines, underlining the features of the artistic period.

Use the glossary.

1. Choose one of the typologies of the Greek temples we have studied, ask and answer at least three questions about the topic and also about the architectural order you better remember.

Questions

1. Which was the earliest architectural order the Greeks invented and when did it flourish?

1. Which was the improvement of the sculpture from the Severe to the Classical period? (Answer writing only one line).

1. What were the main subjects of archaic Greek sculpture?

4. Copy the words of the glossary and write down the phonetic transcription by hand.

Descriptions

1. Although they had idealized the human body, the Greeks tried to copy the features of the real man. Look for the statue of the classical period you prefer, describe it underlining both the real and the ideal elements.

1. Explain why the statues of the Parthenon's pediments are so innovative, who the sculptor of the masterpiece was and what is the name of the new technique he invented.


c.l.i.l. lesson number two greek art - liceomonfalcone.it - clil - greek art.pdf · 1 c.l.i.l....

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