
of important projects. As early as 500 BCE artist began to maintain individual reputations for particular excellence in a field of artistry. There was a kind of early renaissance in art around this time starting in Greece and widening to neighboring civilizations. There began an appreciation for the art of art so to speak this probably came about from the organization of society and the education of its inhabitants. Although noble’s and emperors enjoyed the better of this new cultural awareness society also marveled at the ability of the artist and they took pride in their achievements as reflecting positively on society as a hole. It is in these early tracing of history we find the foundation of fine art and its power to unite and enrich society. With the birth of this new ideal also came the birth of an internal and engaging dialogue among philosophers, artist, poets, musicians, writers etc... One that would last to this day and eventually set the foundations for art throughout the world. This is the primary journey that I will investigate and in doing so explain some of the disparities and awe that come as acknowledged baggage to this extraordinary life for those engaged in the act of creation. This ideal was in part establishing standards for the arts as society became more intellectually advanced so did their sensibilities; the evolution of painting and sculpture strove to become more naturalistic architecture also became more refined and set a standard in design

Greek Architectural Orders The ancient Greeks developed three major architectural styles, or orders, that determined the major features of a temple facade. The Doric is the oldest and simplest order. The Ionic and Corinthian orders added a base to the column and developed a more elaborate scheme for the column’s capital. The entablature (above the columns) also differs in each order. The Greeks where among the first cultures to consciously evolve their art as attitudes in society changed. As one looks at these works below you can see starting from the Archaic period the stiff stylization of an early Kore (Young Woman) these works depicted more of an ideal rather than specific individuals. Another early view of the conscious use of symbolism socially accepted at the time. As we move into early Classical we a shift to more naturalistic depiction of form coupled with the power of emotion.
» Alcamenes (circa late 5th century B.C.)
» Exekias (circa 550-525 B.C.)
» Lysippus (circa 4th century B.C.)
» Myron (circa 490-430 B.C.)
» Phidias (circa 490-430bc)
» Polyclitus (circa 450-420 B.C.)
» Polygnotus (circa 470 and 450 B.C.)
» Praxiteles (circa 390?-330?B.C.)
» Scopas (circa 395-350 B.C.)
» Zeuxis (circa 4th century B.C.)




The line in these works represents a beautiful use of geometry forming expressive special tensions. Moving into late classical we see the continued simplification of line and naturalistic posture, and quiet grace. The Greeks captured and idealized proportions and essentially set the bar for high art during this period. As society came under different rules and other cultures started to occupy the city the artist strove to incorporate other subject matter to accommodate a widening cultural diversity. Although these icons broadened there emotional range did as well it sought to capture death, old age, portraiture, any subject that could express the range of human emotion naturalistically. This is a vital shift in art for many reasons the first being that of conscious interpretation of life itself by creating



works that would essentially reflect and represent the state of humanity and the ideals they stood for. Another being the universality found in common expression setting form as a language able to be understood on multiple levels. Before I move on I would like to take a brief look at the Roman works found in Pompeii for several reasons one being the reinforcement that the art produced in this time strove to capture and enhance life to tell stories of religious beliefs and mythology.

House of the Vettii
photo John Hauser

House of the Vettii
library.ucsc.edu

Eros Venus