Abstract
In this article, the writer explains that canon is a term used to describe the standard of a genre, or what exists to which other art pieces must adhere. Polycleitus created the canon for Greek art with his work Doryphorus. The writer discusses that Myron, also an artist during Polycleitus' time with his marble statue Discobolus also rendered itself towards a definition of being a canon. The concept of hero in this essay as it applies to both of these works is discussed. Furthermore, Vitruvius' aspects and principles of art and what makes art are introduced. In the concept of Greek Art and creating statues resembling heroes, the definitions of how these statues are considered to be 'classical' and why in these statues artists try to achieve the ideal human form is also presented and dissected with references to Vitruvius' "De Architectura".

From the Paper
"Myron's statue brought forth fluidity of movement and spaciousness. Myron's statue focuses on breaking down a series of movements into one moment represented by the statue. The conquest was to create movement in something that was frozen in a specific time. The single pose in a series of motions was complex in its endeavor to represent.
"The torso of Myron's sculpture is twisted dramatically which brings the discus thrower's arms into the same plane as the movement of the legs. The contorted figure conveys a sense of action as well as balance. The face of this hero is still composed of the classical Greek stoicism despite the hero being in full motion and exerting a plethora of strength and power."

Tags:statues, expression, body, symmetry, proportions

Abstract
Ancient Greek art, architecture, and sculpture have fascinated spectators ever since their discovery. However, while the uninformed viewer might perceive of ancient Greek art, architecture, and sculpture as forming a single period in art history, marked by different styles, art historians have divided it into distinct periods. The paper looks at each of these periods: the Geometric, the Orientalizing, the Archaic, and the Classical, which are explained in terms of how differing philosophical beliefs, historical event,s and cultural developments impacted art, creating different and distinct styles. In specific reference to sculptures, the paper shows that the different styles characterizing each period express different artistic aims as regards to representation of the human body.

From the Paper
"In direct contrast to this archaic statue is a classical one on the east pediment of the same temple. It is calculated that only about a decade separates these two works but, artistically speaking, ages separate them in terms of development of style and form. In this statue, also of a dying warrior, the figure "reacts to his wound as would a flesh-and-blood human. He knows that death is inevitable, but he still struggles to rise once again. And he does not look out at the spectator. He is concerned with his pain, not with us" (Tansey and Kleiner 139). This is definitely a much more realistic picture of a man who is dying from a painful wound."

Tags:kouroi, naturalism, realism, Kritios, Boy

Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture

From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "

Tags:greece, roman, civilization, Euthymides, Euphronius, Classical, Period, Golden, Age, Phidias, Scopas, Hellenistic, Athens

Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.

From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."

Tags:Egyptian, Greek, Bullock, Carpenter

Abstract
This paper contends that for ancient Greeks, perfection existed in the natural world, a world that had been created by the gods. It explains the task of the artists, therefore, was not to improve on nature, but to attempt to capture and preserve the beauty that surrounded them. It highlights that this basic philosophy informed all genres of Greek art during the classical era and was especially evident in Greek sculpture.

From the Paper
"For Greeks, perfection existed in the natural world, a world that had been created by the gods who were themselves perfect and who had imbued the world with a harmony that was just and right. The world was in and of itself perfect and the task of the artist was ..."

Tags:greek, plato, pheidas, naturalism

Abstract
This paper explores the styles of ancient Greek art and the depiction of mythological and heroic images in art. The paper devotes time to describing the Mykonos amphora, the combination of scenes that depicts acts of Greek brutality and violence. The paper also describes many other pieces of pottery and art that are representations of the Trojan War's climactic events and discusses the tendency to merge together disparate episodes of the Iliad narrative. The writer opines that the images and depictions found on a great variety of ancient Greek pottery provide a fascinating glimpse into the cultural and artistic world of one of the first societies to practice democracy and to explain the natural world in scientific terms.

From the Paper
"In essence, the oral history of the Trojan War has come down to us through the epic poem the Iliad by the Greek poet Homer who composed this famous account of the conflict between the Trojans and the Greeks sometime during the 8th century BCE and the Ilioupersis ("The Sack of Ilion") by Arktinos of Miletos which survives only in a few ancient references (Magrath, 2002). The basic tale of the Trojan War relates events that allegedly occurred some five hundred years prior to the writing of the Iliad and the Ilioupersis, circa the 13th century BCE during the Mycenaean Period in ancient Greece."

Tags:Trojan, War, Mykonos, amphora, Achaeans, Helen, Menelaus, Cassandra, Astyanax

Abstract
This paper discusses the basic themes of Greek artistic endeavors, such as individualism, rationalism, and humanism, and analyzes how Greek art, architecture, and literature reflected the society in which they were created.

Abstract
This paper explains that during this period both deities and ordinary mortals were depicted, but there was no homogeneity of technique, which ranged from a very natural and sculptural pottery in amphorae to a more studied and artificial style. The author points out that three of the objects represent tools. The amphora stored wine, the lekythos was used during religious ceremonies, and the krater was used to serve punch made from wine. The paper relates that, unlike the amphora, the lekythos style has only one handle, a more slender neck than an amphora, with a wider mouth, and probably held oil or perfumes, a claim that is advanced because they were often found in and around tombs that were excavated from ancient homes.

Table of Content
Background
Pottery
"The Bateman Amphora"
"The Dipylon Amphora"
"Douris Lekythos"
"Bell Krater"
Statues
"Athlete Making an Offering"
"Kouros"

From the Paper
"A late example, this torso--which is all that is left is actually less well modeled than the "Athlete". The belly and rib cage, in fact, appear to be stylized, almost abstract. It may be that the work has weathered. But probably, the more geometric, and less curvilinear, detailing on this statue was the result of a transition between the drapery and highly stylized posing of earlier eras, including the "dark times" and the early Archaic period, to the more abundantly natural depictions of the statuary of the Classical period. Kouri, which means "youths," was an art form that didn't last very long, only about a hundred years. It is thought, nonetheless, that they represented gods, warriors and, of course, athletes."

Tags:encaustic, technique, amphora, lekythos, krater

Abstract
This paper presents an analysis of an ancient Greek artifact known as the Naiskos Hydria, a Funerary Water Pitcher, is dated c. 340-330 BC. The material is ceramic. The piece is an example of a funerary pitcher that would be placed in a tomb. The piece is an example of late Red Figure style, a style in which reddish figures appear light against the black background of the pot surface, in this case modified with the use of white as a third color.

From the Paper
"The piece known as the Naiskos Hydria, a Funerary Water Pitcher, is dated c. 340-330 BC. The material is ceramic. The piece is an example of a funerary pitcher that would be placed in a tomb. The piece is well-formed and has a clear intent set into its design, that being to commemorate the death of the occupant of the tomb and to show respect in the presenting of gifts to that person. The piece is an example of late Red Figure style, a style in which reddish figures appear light against the black background of the pot surface, in this case modified with the use of white as a third color. The effect is achieved as the piece is made of red clay which produces black oxidation..."

Tags:greek, art, history

Abstract
This paper examines the representation of gods in Greek art, and the very rigid patterns and canons that had been imposed by the masters of the past. The paper holds that those rules were followed religiously by art pupils, who learned the crafts to continue traditions. This is one reason why artistic representations of gods and goddesses show very similar features and obey to the same anatomical rules of body structure and proportion. The Greeks believed that the gods were perfect and their goal was to represent this perfection by finding the key to flawless harmony of features and lines. The paper argues that this created some troubles in representing a vast range of deities, since they all looked alike for following the same anatomical rules. The paper concludes that Greek representations of gods or heroes usually present only the best part of those characters, even if sometimes placed in human positions, with weaknesses, adversities and frustrations.

From the Paper
"In Greek mythology Aphrodite was the goddess of love, lust, beauty and femininity. Although modern culture often refers to her as 'the goddess of love' it is important to state that ancient Greek conception of love was different from our days. The spiritual, romantic meaning of love, given by Christianity, is not what her power refers to. She is the goddess of sexual love."

Tags:classical, art, ideal