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The Male Figure in High Classical Greek Art: Striving for Perfection

By Jackson Goode

Ancient Greece is one of the most powerful civilizations to have ever existed, and despite being long gone, the impact of their societies are still felt even today. Over the course of a millennia, the peoples of the Peloponnese would evolve through many stages and give us the artistic ideals that still linger. The most significant of Ancient Greece's artistic aspirations was their aim at true perfection.

Perfection is a lofty ideal, but in the art world, it is one that we run into frequently. Historically speaking, there has always been a "perfect" in regards to art-meaning a perfect function, place, imagery, etc. In Ancient Egypt, art was for the deceased for the express purpose of funerary rituals and religious beliefs, and because of this, Egyptian art does not come very close reality.[1] During the Renaissance, there was an interest in art being human.[2] The images strayed from the religious scenes that the Medieval period is known for, and naturalistic depictions of humans interacting with each other and with the world become the cornerstone. For the Ancient Greeks, though, the human body was perfect.[3] The human body is the perfect machine, and the Greeks had a deep respect for it. This is evident in the fact that the overwhelming majority of surviving Greek work is figurative. The Greeks expand on this, though. No one individual body is perfect, it is the relations of parts to the whole that are perfect.[4]

Ancient Greece also had a deep interest in mathematics. There were slight influences during the Archaic period by Babylonian society, but the Greeks interest in math stagnated until the Classical period.[5] The start of the Classical period of Ancient Greece is placed in the year 480 CE.[6] This year marked the defeat of the Persians at the Battle of Salamis. This decisive victory marked a turning point in the war. The previously divided city states could now band together, and it is at this time we see a joining of Athens and Sparta.[7] A year later, at the next decisive victory against the Persians at Plataea ended the Greeks worries of invasions, allowing civilization to blossom. This period is one of the high points of Greek civilization. Greece was absolutely flourishing. Athens came to organize one of the first alliances of many Greek city states, uniting them under the Delian League.[8] Members of this league were required to provide ships or money, and Athens became an imperial power. This wealth and prosperity served as a huge motivator for humanistic and artistic development, bringing in a style that was radically different than anything previous.

Before the Classical were the Geometric, Orientalizing, and Archaic periods. These periods are markedly different from the Classical, despite being separated by just a few centuries. The Geometric and Orientalizing periods were marked by their use of geometric shapes.[9] There was still an emphasis on people, but the people were not illusionistic at all. Heads were simplified into elliptical forms, the torsos broken down into triangles, and limbs became spindly cylinders. They were representational, but the emphasis on naturalism just wasn't there. Archaic art is where we see the first sparks of naturalism in Greek art. The figures became more robust, more round, more real. The faces became less abstracted and strange and more grounded in life. There was a clear interest in "humanism, rationalism, and idealism," which are noted as the driving forces of Classical Greek art, so it is logical that in a period of extravagance between the wars, a style such as the Classical would arise.[10]

This momentum continued on until the start of the Peloponnesian War that broke apart the Delian league in mid fifth century BCE.[11] Sparta came to dominate the Peloponnese, but Athens remained strong in its hold on the Aegean.[12] Continuing its imperial power, Pericles came to the forefront of Athenian politics, and with him came the start of modern democracy. A patron of the arts, Pericles helped usher in the High Classical period with his rebuilding of the Acropolis. The High Classical exists in a small, fifty year window in the fifth century BCE. This small window is seen as the pinnacle of artistic development, and it is denoted by many as the start of a true golden age.

Marvelous works like Polyclitus' Diadoumenos and Doryphoros exemplify this new style. They are more than perfect than perfection-more real than reality.. Every aspect of them is meticulously planned to be in perfect mathematical ratio to every other part.[13] Polyclitus did not call his sculpture the Doryphoros. Instead, he called his work Canon. It is a set of ideas to be followed to make another perfect form [14] The real question, though, is were the Greeks successful in their striving towards perfection.

Footnotes

1 Amy Calvert. "A beginner's guide to ancient Egypt." Accessed December 5, 2015 https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/beginners-guide-egypt/a/egyptian-art

2 Bruce Cole, The Renaissance Artist at Work: From Pisano to Titian, (New York: Harper & Row, 1983). http://arthistoryresources.net/renaissance-art-theory-2012/renaissance-artist.html

3 Beth Harris and Stephen Zucker. "Polykleitos, Doryphoros (Spear-Bearer)." Khan Academy SmartHistory video, 5:07. August 11, 2012. https://www.youtube.com/watch?v=EAR9RAMg9NY

4 Beth Harris and Stephen Zucker. "Polykleitos, Doryphoros (Spear-Bearer)."

5 Luke Hodgkin, "Greeks and origins". A History of Mathematics: From Mesopotamia to Modernity. (London: Oxford University Press, 2005).

6 Stokstad, Marilyn, and Michael Watt Cothren. "Art of Ancient Greece." In Art History. Fifth ed. (Pearson, 2013).

7 J. F. Lazenby, The Defense of Greece, 490-479 B.C. (Warminster: Aris & Phillips, 1993)

8 Colette Hemingway and Seán Hemingway. "The Art of Classical Greece (ca. 480-323 B.C.)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/tacg/hd_tacg.htm (January 2008)

9 Stokstad, Marilyn, and Michael Watt Cothren. "Art of Ancient Greece."

10 Stokstad, Marilyn, and Michael Watt Cothren. "Art of Ancient Greece."

11 Encyclopædia Britannica Online, s. v. "Peloponnesian War", accessed December 07, 2015, http://www.britannica.com/event/Peloponnesian-War

12 Stokstad, Marilyn, and Michael Watt Cothren. "Art of Ancient Greece."

13 Allen Farber. "Polyclitus's Canon and the Idea of Symmetria." SUNY Oneonta. Accessed December 5, 2015. https://www.oneonta.edu/faculty/farberas/arth/ARTH209/Doyphoros.html

14 Beth Harris and Stephen Zucker. "Polykleitos, Doryphoros (Spear-Bearer)."

Bibliography

Calvert, Amy. "A beginner's guide to ancient Egypt." Accessed December 5, 2015 http://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/beginners-guide-egypt/a/egyptian-art

Cole, Bruce, The Renaissance Artist at Work: From Pisano to Titian, (New York: Harper & Row,
1983). http://arthistoryresources.net/renaissance-art-theory-2012/renaissance-artist.html

Encyclopædia Britannica Online, s. v. "Peloponnesian War", accessed December 07, 2015, http://www.britannica.com/event/Peloponnesian-War

Farber, Allen. "Polyclitus's Canon and the Idea of Symmetria." SUNY Oneonta. Accessed December 5, 2015. https://www.oneonta.edu/faculty/farberas/arth/ARTH209/Doyphoros.html

Harris, Beth and Stephen Zucker. "Polykleitos, Doryphoros (Spear-Bearer)." Khan Academy SmartHistory video, 5:07. August 11, 2012. https://www.youtube.com/watch?v=EAR9RAMg9NY

Hemingway, Colette, and Seán Hemingway. "The Art of Classical Greece (ca. 480-323 B.C.)".
In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art,
2000-. http://www.metmuseum.org/toah/hd/tacg/hd_tacg.htm (January 2008)

Hodgkin, Luke, "Greeks and origins". A History of Mathematics: From Mesopotamia to
Modernity. (London: Oxford University Press, 2005).

Lazenby, J.F, The Defense of Greece, 490-479 B.C. (Warminster: Aris & Phillips, 1993) Stokstad, Marilyn, and Michael Watt Cothren. "Art of Ancient Greece." In Art History. Fifth ed.
(Pearson, 2013).

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1. The Male Figure in High Classical Greek Art: Striving for Perfection

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The Male Figure in High Classical Greek Art: Striving for Perfection By Jackson Goode Ancient Greece is one of the most powerful civilizations to have ever existed, and despite being long gone, the impact of their societies are still felt even today.

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Looking at those soaring skyscrapers shaping the skylines of cities around the globe, have you ever wondered what started this? Well, it all started in ; the small town that started with a mere population of 200, and grew to be a modern metropolis-home for over a million and a half Americans, by the end of the 19th century. Chicago is known for its diverse architecture , and a major reason why Chicago has tremendously flourished in those 70 years was its architecture, known as the Commercial Style , or the Chicago School .

The Industrial Revolution lead to many things; among which are Skyscrapers

The Industrial Revolution started in the second half of the 18 th century and changed the face of the world. It marked the end of the era of handcrafted products and introduced mass production using machinery powered by steam engines. Among the revolutionary products that highly benefited from mass production is steel. The availability of steel, in addition to the invention of the elevator, led construction and structure engineers to dream of a new world of possibilities, but we could sum it up in two words: "Tall Buildings".

World's First Skyscraper was 10 Floors High!

Structural engineers dreamed, but architects were not as flexible. They liked their pediments, entablatures, and columns the way they were-classic by the book. However, this did not stop the flow, and the world's first skyscraper rose to its full height in 1884. Architect and Structural Engineer William Le Baron Jenney designed the 42-meter-high Home Insurance Building; the first tall structure to utilize steel for framing. The building comprised 10 floors which became 12, 7 years later, increasing the height of the whole edifice to 54.9 meters. Unfortunately, you can only view this building in old images now because it was demolished in 1931 to be replaced by an even higher building, the Field Building-a.k.a. LaSalle Bank Building.

Chicago School dominates . . . High-rises everywhere!

The construction of the Home Insurance Building initiated a trend that lives up to this day and only keeps flourishing. The need for those high-rise commercial buildings was initiated by, once again, the industrial revolution. Mass production meant more goods to be sold, and hence the need for sufficient commercial space. What could better do the job than multiple vertical expansions?

The Commercial Style buildings may have some common features that made them seem unified back in the time, but the truth is they showed more variety than similarities. This is why naming the movement/trend as Chicago School, by historian Carl W. Condit, has issued a debate.

How do you know it is probably Chicago School?

However, getting back to the similarities, here is a list of common architectural features between the Commercial Style/Chicago School Buildings.

1. No more Greek columns, but the whole building has become one itself. How so?

The building's overall form follows the structure of a classic column. Its lower floors act as the base/podium, featuring an exterior that is a bit distinctive from the rest of the buildings-usually incorporating more glass. Its middle floors act as the column's shaft. And, finally, the top floors act as the capital, crowned with a cornice, and revealing some simple ornaments.

2. All buildings utilize a steel-frame structure, allowing more height. The structural steel was manufactured to be fire-proof to avoid catastrophes similar to the 1871 Chicago Fire.

3. The buildings are clad in masonry; e.g. Terra Cotta, showing little ornamentation and making space for large surface windows.

4. The design of the windows followed a system that ensured the entry of both light and ventilation;

The typical window then comprised a large fixed glass pane, between two smaller double-hung sash windows. Those windows are typically repeated all over the building, creating a regular grid. Sometimes, the windows are projected to the outside, creating a bay inside the space, and they are known as oriel windows.

As mention before, commonalities existed, but the Chicago School buildings maintained an air of diversity ensued by the brilliant architects who designed them. That brings us to the next question.

Who were the 'Starchitects' of the First Chicago School?

Wait! There was it another one? Yes, the "Second" Chicago School was led by a number of modernist architects, like Mies Van Der Rohe, and it was there between the 1940s and 70s. However, this one is not the subject of our discussion.

The original Chicago School lasted between 1880 and 1910, and it featured these names most of all: William Le Baron Jenney, Henry Hobson Richardson, William Holabird, Martin Roche, Daniel H Burnham, John Wellborn Root, Dankmar Adler, and last but not least at all Louis Sullivan. Those architects did not just design buildings for the sake of satisfying the demands of their clients or spreading an architectural trend, but furthermore to build a 'modern democracy' in the growing city of Chicago.

"With me, architecture is not an art, but a religion, and that religion but a part of democracy." _ Louis Sullivan

Yes, Sullivan was good with his words. You might know him for these words too, a quote you have probably used or opposed yourself multiple times before; "Form follows function." Sullivan did not just leave us buildings, thoughts, and controversial quotes, but also Frank Lloyd Wright. Sullivan was the mentor of the legendary American modernist architect and his source of inspiration to the Prairie School style.

Collection of some of Chicago School's most remarkable works:

Now, check these buildings and see how they all include the common features mention previously: the base/shaft/capital structure, the ornaments on the capital, the 6+ floors height, the standard windows, and the storefronts on the ground floor.

1. Carson,Pirie, Scott & Co. (Sullivan Center) - Chicago

Louis Sullivan designed the Carson,Pirie, Scott & Co. building, and it opened in 1899. Daniel Burnham completed the building by making some additions in 1906.

2. Auditorium Building - Chicago

The Auditorium Building is another masterpiece by Louis Sullivan and his practice partner Dankmar Adler. It opened in 1889. Young Frank Lloyd Wright joined as an assistant and worked on parts of the interior design.

3. Guaranty Building (Prudential Building) - New York

This is one of the fine examples of Chicago School architecture, but outside of Chicago. It features Sullivan's exquisite floral ornamentation on the capital, especially at the corners.

4. Chicago Savings Bank Building (Chicago Building) - Chicago

The building was designed by William Holabird and Martin Roche of Holabird & Roche, and it opened in 1905. It features Oriel windows, Terra Cotta cladding, and a cornice on top of its capital.

5. Reliance Building - Chicago

Architect John Root designed the building in 1890, and Charles B. Atwood made additions and completed the building in 1895. The building is remarkable for its relatively large glass surfaces which cover most of the facade, making it the closest thing to current skyscrapers fully enveloped in glass curtainwalls.

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Chicago School of Architecture and the Birth of Skyscrapers - Arch2O.com

# data[].attributes.attachment_link.description
Looking at those soaring skyscrapers shaping the skylines of cities around the globe, have you ever wondered what started this? Well, it all started in ; the small town that started with a mere population of 200, and grew to be a modern metropolis-home for over a million and a half Americans, by the end of the 19th century.