Parthenon animation

I am indebted to Alberti's Window for highlighting the existence of this animation which illustrates the various indignities visited upon The Parthenon during its long history. Apparently the film has caused some controversy amongst Greek Christians (who are shown hacking away bits of nude sculptures) and has the potential to further stoke the cultural fires of the Elgin marbles debate. I enjoyed seeing the building in relation to the rest of the Acropolis, at the start of the film, and its various adaptations over the years.

Architecture as Theatre

1868 Lawrence Alma-Tadema - Phidias Showing the Frieze of the Parthenon to his Friends

The Parthenon is considered to have been one of the best examples of Greek Doric architecture. We will return to the idea of Orders in Greek architecture in a future post so, for now, I'd like to focus on what it might have been like to visit the building in all its glory. This is rather like the difference between reading a play on the page and imagining a staged performance. The building today is a shadow of its former self so let's try to imagine what it might have been like in the 5th century BCE. Fortunately, several websites can help us in this quest.

The following text does a pretty good job of describing what it might have been like to visit The Parthenon just after it was completed:

"All temples in Greece were designed to be seen only from the outside. The viewers never entered a temple and could only glimpse the interior statues through the open doors. The Parthenon was conceived in a way that the aesthetic elements allow for a smooth transition between the exterior and the interior that housed the chryselephantine statue of Athena. A visitor to the Acropolis would be confronted by the majestic proportion of the Parthenon in three quarters view. As the viewer moved closer, the details of the sculptures would become decipherable, and when in proximity to the base of the columns, parts of the frieze would become evident in tantalizing colorful glimpses peering from the spaces between the columns. Moving towards the east and looking up, a visitor would be mesmerized with the depiction of the Panathenaic procession as it appeared in cinematic fashion on the frieze. A visitor moving east would eventually turn the corner to face the entrance of the Parthenon, and there he would be confronted with the birth of Athena high above on the east pediment. Then, through the immense open doors, any visitor would be enchanted by the glistening gold and ivory hues of the monumental statue of Athena standing at the back of the dim cella. The statue of Athena Pallas reflected its immense stature on the tranquil surface of the water-pool floor, and was framed by yet more Doric columns, this time smaller, in a double-decked arrangement that made the interior space seem as if it were even larger and taller than the exterior. It seems certain that the master planners of the Parthenon conceived it as a theatrical event. The temple was constructed with the movements of the viewer in mind, and by the arrangement of the temple, the monumental sculptures of the pediment, and the detailed frieze, the emotions of the visitors were choreographed to prepare them for the ultimate glimpse of the majestic Athena Parthenos and to maximize the effect of an awe inspiring visit."

Part of the building's beauty might lie in the control of geometrical relationships. The balance and harmony of the various elements of the building are the result of mathematical calculations. We will return to some of these ideas in future posts but one of the most important concepts is the use of optical effects which work to counteract some of the distortions caused by viewing three dimensional objects in space. Check out this slightly cheesy but interesting video which explores some of the optical tricks employed by the builders of The Parthenon:

Watch NOVA | Optical Tricks of the Parthenon | PBS in Entertainment Videos | View More Free Videos Online at Veoh.com

Chronology

A key concept in the study of art history is chronology. Having an understanding of the relationships between historical events, political, social and economic contexts and the art produced in a given period is pretty crucial. Many History of Art text books are structured chronologically, enabling the authors to tell a story about changes and developments over time. Of course, there are recent examples of galleries and museums re-structuring their collections thematically, rather than chronologically and we will certainly be whizzing around in history on this blog to keep things interesting. Nevertheless, the internet contains lots of useful resources for students trying to get a grip on some basic chronology. One really good example is the Heilbrunn Timeline of Art History on the Metropolitan Museum of Art website. Here is a brief description of the resource:

The Heilbrunn Timeline of Art History is a chronological, geographical, and thematic exploration of the history of art from around the world, as illustrated especially by the Metropolitan Museum of Art's collection. The Museum's curatorial, conservation, and education staff—the largest team of art experts anywhere in the world—research and write the Timeline, which is an invaluable reference and research tool for students, educators, scholars, and anyone interested in the study of art history and related subjects. First launched in 2000, the Timeline now extends from prehistory to the present day. It will continue to expand in scope and depth, and also reflect the most up-to-date scholarship.

Given that the AS course begins with classical Greek art from approximately 500 BCE, it might make sense for us to check out this period on the timeline and the associated resources that include examples of works of art and thematic essays. If you are planning a trip to a gallery this weekend, may I suggest a quick trip to see Poussin's Adoration at the National Gallery, followed by the Parthenon Marbles at the British Museum.

Here are a couple of questions for you to consider:

• What does the word "classical" mean in the context of art history?
• Why do you think the exam board have selected 500 BCE as the historical starting point of the course?
• What do you already know about the ancient Greek civilisation?
• What evidence can you see around you that the language of "classical" art and architecture is still very important?

You may wish to post some responses to these questions as comments so that we can have a discussion.