Their Powerful Massive Artworks Were a Major Influence on Later Greek Art Description

Beginnings of Classical Greek and Roman Art and Architecture

Mycenaean Influences 1600-1100 BCE

Considered the first Greeks, the Mycenaeans had a lasting influence on afterwards Greek fine art, compages, and literature. A bronze age civilization that extended through modern day southern Greece likewise as coastal regions of modern day Turkey, Italia, and Syria, Mycenaea was an aristocracy warrior club dominated past palace states. Divided into three classes - the king's attendants, the mutual people, and slaves - each palace state was ruled by a king with armed services, political, and religious authority. The society valorized heroic warriors and made offerings to a pantheon of gods. In later Greek literature, including Homer's The Iliad and The Odyssey, the exploits of these warriors and gods engaged in the Trojan State of war had go legendary and, in fact, appropriated by later Greeks as their founding myths.

Agriculture and trade were the economic engines driving Mycenaean expansion, and both activities were enhanced by the engineering genius of the Mycenaeans, as they synthetic harbors, dams, aqueducts, drainage systems, bridges, and an extended network of roads that remained unrivaled until the Roman era. Innovative architects, they adult Cyclopean masonry, using large boulders, fit together without mortar, to create massive fortifications. The name for Cyclopean stonework came from the later Greeks, who believed that but the Cyclops, fierce one-eyed giants of myth and legend, could have lifted the stones. To lighten the heavy load above gates and doorways, the Mycenaeans also invented the relieving triangle, a triangular space higher up the lintel that was left open or filled with lighter materials.

The Mycenaeans offset developed the acropolis, a fortress or citadel, built on a hill that characterized later Greek cities. The male monarch's palace, centered on a megaron, or round throne room with 4 columns, was decorated with vividly colored frescoes of marine life, battle, processions, hunting, and gods and goddesses.

Scholars still debate how the Mycenaean culture declined, and theories include invasions, internal conflict, and natural disasters. The era was followed by what has been called the Greek Dark Ages, though it is also known equally the Homeric Historic period and the Geometric menses. The term Homeric Age refers to Homer whose poems narrated the Trojan War and its backwash. The term Geometric period refers to the era'due south mode of vase painting, which primarily employed geometric motifs and patterns.

Greek Archaic Menstruum 776-480 BCE

The Archaic Period began in 776 BCE with the establishment of the Olympic Games. Greeks believed that the athletic games, which emphasized human being achievement, set them apart from "barbarian," non-Greek peoples. The Greeks' valorization of the Mycenaean era as a heroic gold historic period led them to idealize male athletes, and the male figure became dominant subjects of Greek art. The Greeks felt that the male nude showed not only the perfection and beauty of the body just also the nobility of character.

The Greeks adult a political and social structure based upon the polis, or city-land. While Argus was a leading center of trade in the early part of the era, Sparta, a urban center state that emphasized military prowess, grew to be the most powerful. Athens became the pioneering force in the art, culture, science, and philosophy that became the basis of Western civilization. Though the era was dominated by the dominion of tyrants, Solon, a philosopher king, became the ruler of Athens around 594 BCE and established notable reforms. He created the Council of Four Hundred, a trunk that could question and challenge the king, ended the practise of putting people into slavery for their debts, and established a ruling class based on wealth rather than descent. Extensive sea-faring trade drove the Greek economy, and Athens, along with other city-states, began establishing trading posts and settlements throughout the Mediterranean. As a issue of these forays, Greek cultural values spread to other cultures, including the Etruscans in southern Italia, influencing and co-mingling with them.

Figurative sculpture was the greatest artistic innovation of the Archaic menstruum every bit it emphasized realistic, though idealized, figures. Influenced by Egyptian sculpture, the Greeks transformed the frontal poses of pharaohs and other notables into works known as kouros (young men) and kore (young women), life-sized sculptures that were first developed in the Cyclades islands in the vii^th century BCE. During the late Archaic flow, private sculptors, including Antenor, Kritios, and Nesiotes, were celebrated, and their names preserved for posterity.

The tardily Primitive catamenia was marked past new reforms, every bit the Athenian lawgiver Cleisthenes established new policies in 508BC that led to him beingness dubbed "the father of commonwealth." To gloat the terminate of the rule of tyrants, he commissioned the sculptore Antenor to complete a bronze statue, The Tyrannicides (510 BCE), depicting Harmonides and Aristogeion, who had assassinated Hipparchos, the brother of the tyrant Hippias, in 514 BCE. Though the two were executed for the criminal offense, they became symbols of the movement toward democracy that led to the expulsion of Hippias iv years later and were considered to exist the only gimmicky Greeks worthy enough to be granted immortality in fine art. The committee of Antenor'due south piece of work was the first public funded art commission, and the subject area was so resonant that, when Antenor'due south work was taken during the 483 BCE Persian invasion, Kritios was commissioned to create a replacement. Kritios's The Tyrannicides (c. 477 BCE) developed what has been called the severe mode, or the Early Classical style, as he depicted realistic motility and individual characterization, which had a great influence on subsequent sculpture.

Classical Greece 480-323 BCE

Classical Hellenic republic, as well known every bit the Golden Age, became cardinal both to the afterwards Roman Empire and western civilization, in philosophy, politics, literature, scientific discipline, art, and architecture. The peachy Greek historian of the era Thucydides, called the general and populist statesman Pericles "Athens'southward first citizen." Equal rights for citizens (which but meant developed Greek males), democracy, freedom of speech, and a society ruled by an associates of citizens defined Greek government. Pericles launched the rebuilding of the Parthenon (447-432 BCE) in Athens, a project overseen by his friend, the sculptor Phidias, and established Athens equally the most powerful metropolis state, expanding its influence throughout the Mediterranean region.

The Classical era also saw the establishment of Western philosophy in the teachings and writings of Socrates, Plato, and Aristotle. The philosophy of Socrates survived through Plato's written accounts of his teacher'due south dialogues, and Plato went on to found the University in Athens effectually 387 BCE, an early prototype of all afterwards academies and universities. Many leaders studied at the Academy, including most notably Aristotle, and information technology became a leading force known throughout the world for the importance of scientific and philosophical inquiry based upon the belief in reason and knowledge. While their philosophies diverged in central respects, Plato and Aristotle concurred in seeing art as an imitation of nature, aspiring to the beautiful.

Additionally, the emphasis on individuality resulted in a more personalized fine art, and private artists, including Phidias, Praxiteles, and Myron, became historic. Funerary sculpture began depicting real people (instead of idealized types) with emotional expression, while at the same time, statuary works idealized the human form, particularly the male nude. Praxiteles, though, pioneered the female nude in his Aphrodite of Knidos (4th century BCE), a work that has been referenced time and time again in the ensuing centuries.

Hellenistic Greek 323-31 BCE

The death of Alexander the Great in 323 BCE marked the get-go of the Hellenistic period. Having amassed a vast empire beyond Greece that included parts of Asia, N Africa, Europe and non having named a successor instigated a war between Alexander's generals for control of his empire, and local leaders jockeyed to regain command of their regions. Somewhen, iii generals agreed to a power-sharing relationship and carved the Greek empire into three different regions. While the mainland Greek cultural influence declined, Alexandria in Egypt and Antioch in modern day Syria became of import centers of Hellenistic culture. Many Greeks emigrated to other parts of the fractured empire, "Hellenizing the world," as art historian John Griffiths Pedley wrote.

Despite the splintering of the empire, great wealth led to regal patronage of the arts, specially in sculpture, painting, and compages. Alexander the Groovy's official sculptor had been Lysippus who, working in statuary afterwards Alexander'southward death, created works that marked a transition from the Classical to the Hellenistic style. Some of the most famous works of Greek art, including the Venus de Milo (130-100 BCE) and the Winged Victory of Samothrace (200-190 BCE) were created in the era.

Architecture turned toward urban planning, every bit cities created complex parks and theaters for leisure. Temples took on colossal proportions, and the architectural way employed the Corinthian order, the most decorative of Classical orders. Pergamon became a vital heart of culture, known for its colossal complexes, equally exemplified by in the Pergamon Altar (c. 166-156 BCE) with its all-encompassing and dramatic friezes. During the Hellenistic menses, the Greeks gradually fell to the rule of the Roman Commonwealth, equally Rome conquered Republic of macedonia in the Battle of Corinth in 146 BCE. Upon his death in 133 BCE, King Attalus 3 left the Kingdom of Pergamon to the Romans. Though Greek rebellions followed, they were crushed in the following century.

Roman Republic 509 BCE - 26 CE

Rome began as a city-state ruled past kings, who were elected by the nobleman of the Roman Senate, and then became a Commonwealth when Lucius Tarquinii Superbus, the concluding king, was expelled in 509BC. Considering his son had raped Lucretia, a married noblewoman, who took her ain life, Tarquinii was deposed past her husband, her father, and Lucius Junius Brutus, Tarquinii's nephew. The story became both part of Roman history and a subject depicted in art throughout the post-obit centuries.

With the kingship abolished, the Republic was established with a new organization of authorities led past 2 consuls. As the patricians, the upper class who governed Rome, were often in conflict with the plebeians, or common people, an accent was put upon urban center planning, including apartment buildings called insulae and public entertainments that featured gladiator fights and equus caballus races to go on the people happy, a type of rule that the Roman poet Juvenal described equally "bread and circuses." Cities were planned on a grid arrangement, while architecture and applied science projects were transformed by the development of concrete in the 3^rd century. Rome was primarily a military country, oft at war with neighboring tribes in Italy at the beginning. Various military campaigns resulted in the conquest and destruction of Carthage, a N African kingdom, in three Punic wars, the conquest of the Macedonia and its eastern territories, and Greece in the 2^nd century BCE resulted in geographically expansive empire.

Roman civilization adopted many of the myths, gods, and heroic stories of the Greeks, while emphasizing their own tradition of the mas majorum, the way of the ancestors, a kind of contractual obligation with the gods and the founding fathers of Rome. Greek works, taken as spoils of war, were extensively copied and displayed in Roman homes and became a principal influence upon Roman art and architecture. The ascent of Julius Caesar, post-obit his triumph over the Gauls in northern Europe, marked the end of the Republic, every bit he was assassinated in 44 BCE by a number of senators in order to prevent him existence declared emperor. His death plunged the Democracy into a civil war, fought past his onetime general Marc Antony allied with Cleopatra, queen of Egypt, against the forces of Pompeius and the forces of Caesar's great nephew and heir, Octavian.

Majestic Rome 27 BCE - 393 CE

While the assassins may have staved off the crowning of Caesar as emperor, eventually an emperor was named. Imperial Rome begins with the crowning of Octavian as the showtime emperor, who came to be known as Augustus. In his about forty-five year reign, he transformed the urban center, establishing public services, including the get-go police strength, fire fighting force, postal system, and municipal offices, while creating revenue and taxation systems that were the blueprint for the Empire in the following centuries. He also launched a new building plan that included temples and notable public buildings, and he transformed the arts, commissioning works like the Augustus of Prima Porta (ane^st century CE) that depicted him as an ideal leader in a classical manner that harkened back to Hellenic republic. He also commissioned The Aeneid (29-19 BCE) an epic poem by the poet Virgil that defined Rome and became a canonical work of Western literature. The poem described the mythical founding of Rome, relating the journey of Aeneas, the son of Venus and Prince of Troy, who fled the Sack of Troy to arrive in Italy, where, fighting and defeating the Etruscan rulers, he founded Rome.

The Imperial era was defined by the awe-inspiring grandeur of its compages and its luxurious lifestyle, as wealthy residences were lavishly decorated with colorful frescoes, and the upper grade, throughout the Empire, commissioned portraits. The Empire concluded with the Sack of Rome in 393 CE, though by that fourth dimension, its power had already declined, due to increasingly capricious emperors, internal disharmonize, and rebellion in its provinces. The conversion of Emperor Constantine to Christianity and the moving of the imperial capital from Rome to Constantinople in 313 CE established the rising power of the Byzantine Empire.

Classical Greek and Roman Art and Architecture: Concepts, Styles, and Trends

The Gilt Ratio

The Greeks believed that truth and dazzler were closely associated, and noted philosophers understood beauty in largely mathematical terms. Socrates said, "Measure and proportion manifest themselves in all areas of beauty and virtue," and Aristotle advocated for the golden mean, or the middle way, that led to a virtuous and heroic life by avoiding extremes. For the Greeks, dazzler derived from the combination of symmetry, harmony, and proportion. The gilded ratio, a concept based on the proportions betwixt two quantities, as defined by the mathematicians Pythagoras (6^th century BCE) and Euclid (323-283 BCE), was idea to be the virtually beautiful proportion. The golden ratio indicates that the ratio betwixt two quantities is the aforementioned as the ratio between the larger of the two and their sum. The Parthenon (447-432 BCE) employed the gilded ratio in its pattern and was fêted as the most perfect edifice imaginable. Because the artist Phidias oversaw the building of the temple, the golden ratio became unremarkably known by the Greek letter phi, in honor of Phidias. The golden ratio had a noted impact on afterwards artists and architects, influencing the Roman architect Vitruvius, whose principles informed the Renaissance, every bit seen in the piece of work and theory of Leon Battista Alberti, and modernistic architects, including Le Corbusier.

Greek Architecture

Best known for its temples, using a rectangular pattern framed by colonnades open on all sides, Greek compages emphasized formal unity. The building became a sculptural presence on a high hill, equally art historian Nikolaus Pevsner wrote, "The plastic shape of the [Greek] temple ... placed before u.s. with a physical presence more intense, more alive than that of any later building."

The Greeks developed the three orders - the Doric, the Ionic, and the Corinthian - which became part of the fundamental architectural vocabulary of Rome and subsequently much of Europe and the U.s.a.. Developed in dissimilar parts of Hellenic republic and at different times, the distinction betwixt the orders is primarily based upon the differences between the columns themselves, their capitals, and the entablature above them. The Doric social club is the simplest, using smooth or fluted columns with round capitals, while the entablature features add a more complex decorative element above the simple columns. The Ionic column uses volutes, from the Latin word for scroll, every bit a decorative element at the top of the majuscule, and the entablature is designed so that a narrative frieze extends the length of the building. The late Classical Corinthian lodge, named for the Greek urban center of Corinth, is the most decorative, using elaborately carved capitals with an acanthus leaf motif.

Originally, Greek temples were often congenital with wood, using a kind of post and axle construction, though stone and marble were increasingly employed. The first temple to be congenital entirely of marble was the Parthenon (447-432 BCE). Greek architecture also pioneered the amphitheater, the agora, or public foursquare surrounded by a pillar, and the stadium.The Romans appropriated these architectural structures, creating monumental amphitheaters and revisioning the agora as the Roman forum, an extensive public square that featured hundreds of marble columns.

Roman Architecture and Engineering

Roman architecture was so innovative that it has been chosen the Roman Architectural Revolution, or the Concrete Revolution, based on its invention of concrete in the 3^rd century. The technological evolution meant that the course of a construction was no longer constrained past the limitations of brick and masonry and led to the innovative employment of the curvation, the barrel vault, the groin vault, and the dome. These new innovations ushered in an historic period of monumental architecture, as seen in the Colosseum and ceremonious engineering projects, including aqueducts, apartment buildings, and bridges. The Romans, as architectural historian D.S. Robertson wrote, "were the outset builders in Europe, perhaps the first in the earth, fully to appreciate the advantages of the curvation, the vault and the dome." They pioneered the segmental arch - essentially a flattened arch, used in bridges and individual residences - the extended arch, and the triumphal curvation, which celebrated the emperors' great victories. Merely information technology was their employment of the dome that had the most significant touch on on Western civilisation. Though influenced by the Etruscans, particularly in their use of arches and hydraulic techniques, and the Greeks, Romans still used columns, porticos, and entablatures fifty-fifty when technological innovations no longer required them structurally.

Though little is known of his life beyond his piece of work as a military machine engineer for Emperor Augustus, Vitruvius was the most noted Roman builder and engineer, and his De architectura (On Compages) (xxx-fifteen BCE), known as Ten Books on Architecture, became a canonical work of subsequent architectural theory and practice. His treatise was dedicated to Emperor Augustus, his patron, and was meant to be a guide for all fashion of building projects. His work described boondocks planning, residential, public, and religious building, as well equally building materials, water supplies and aqueducts, and Roman machinery, such as hoists, cranes, and siege machines. Equally he wrote, "Architecture is a science arising out of many other sciences, and adorned with much and varied learning." His belief that a construction should have the qualities of stability, unity, and dazzler became known as the Vitruvian Triad. He saw architecture imitating nature in its proportionality and ascribed this proportionality to the human form too, famously expressed later in Leonardo da Vinci'southward Vitruvian Man (1490).

Vase Painting

Vase painting was a noted chemical element of Greek art and provides the best case of how Greek painting focused primarily on portraying the man form and evolved toward increased realism. The primeval style was geometric, employing patterns influenced by Mycenaean art, but quickly turned to the man figure, similarly stylized. An "Orientalizing" period followed, as Eastern motifs, including the sphinx, were adopted to be followed by a black effigy style, named for its color scheme, that used more authentic detail and figurative modeling.

The Classical era developed the ruby figure style of vase painting, which created the figures by strongly outlining them against a blackness background and allowed for their details to be painted rather than incised into the clay. As a upshot, variations of color and of line thickness allowed for more curving and rounded shapes than were present in the Geometric style of vases.

Greek and Roman Painting

While Classical Fine art is noted primarily for its sculpture and compages, Greek and Roman artists made innovations in both fresco and panel painting. Near of what is known of Greek painting is ascertained primarily from painting on pottery and from Etruscan and subsequently Roman murals, which are known to have been influenced by Greek artists and, sometimes, painted past them, as the Greeks established settlements in Southern Italian republic where they introduced their art. Hades Abducting Persephone (iv ^th century BCE) in the Vergina tombs in Macedonia is a rare case of a Classical era mural painting and shows an increased realism that parallels their experiments in sculpture.

Roman panel and fresco paintings survived in greater number than Greek paintings. The 1748 excavation of Pompeii, a Roman urban center that was buried well-nigh instantaneously in the eruption of Mount Vesuvius in 79 CE, led to the groundbreaking discovery of many relatively well-preserved frescos in noted Roman residences, including the House of the Vettii, the Villa of Mysteries, and the Business firm of the Tragic Poet. Fresco paintings brought a sense of calorie-free, space, and color into interiors that, lacking windows, were oft dark and cramped. Preferred subjects included mythological accounts, tales from the Trojan war, historical accounts, religious rituals, erotic scenes, landscapes, and still lifes. Additionally, walls were sometimes painted to resemble brightly colored marble or alabaster panels, enhanced by illusionary beams or cornices.

Greek Sculpture

Influenced by the Egyptians, the Greeks in the Archaic menstruum began making life-sized sculptures, only rather than portraying pharaohs or gods, Greek sculpture largely consisted of kouroi, of which there were three types - the nude young man, the dressed and continuing immature woman, and a seated adult female. Famous for their smiling expressions, dubbed the "Primitive grinning", the sculptures were used equally funerary monuments, public memorials, and votive statues. They represented an ideal type rather than a particular private and emphasized realistic anatomy and human motion, equally New York Times art critic Alastair Macaulay wrote, "The kouros is timeless; he might be virtually to breathe, motility, speak."

In the late Archaic period a few sculptors like Kritios became known and celebrated, a trend which became even more predominant during the Classical era, as Phidias, Polycleitus, Myron, Scopas, Praxiteles, and Lysippus became legendary. Myron'southward Discobolos, or "discus thrower," (460-450 BCE) was credited every bit being the offset work to capture a moment of harmony and rest. Increasingly, artists focused their attention on a mathematical system of proportions that Polycleitus described in his Catechism of Polycleitus and emphasized symmetry as a combination of residuum and rhythm. Polycleitus created Doryphoros (Spear-Bearer) (c.440 BCE) to illustrate his theory that "perfection comes about little by little through many numbers."

About of the original Greek bronzes have been lost, as the value of the fabric led to their frequently being melted downward and reused, particularly in the early Christian era where they were viewed as heathen idols. A few notable examples have survived, such every bit the Charioteer of Delphi (478 or 474 BCE), which was found in 1896 in a temple buried in a rockslide. Other works, including the Raice bronzes (460-450 BCE) and the Artemison Bronze (c.460) were retrieved from the sea. The primeval Greek bronzes were sphyrelaton, or hammered sheets, fastened together with rivets; however, by the belatedly Archaic period, effectually 500 BCE, the Greeks began employing the lost-wax method. To make large-scale sculptures, the works were cast in various pieces and so welded together, with copper inlaid to create the eyes, teeth, lips, fingernails, and nipples to give the statue a lifelike appearance.

Forth with sculpture in the round, the Greeks employed relief sculpture to decorate the entablatures of temples with extensive friezes that often depicted mythological and legendary battles and mythological scenes. Created past Phidias, the Parthenon Marbles (c. 447-438 BCE), besides known equally the Elgin Marbles, are the most famous examples. Created on metopes, or panels, the relief sculptures decorated the frieze lining the interior chamber of the temple and, renowned for their realism and dynamic movement, had a noted influence upon later artists, including Auguste Rodin.

The Greeks likewise made colossal chryselephantine, or ivory and gold statues, outset in the Archaic period. Phidias was acclaimed for both his Athena Parthenos (447 BCE), a about forty foot tall statue that resided in the Parthenon on the Acropolis, and his Statue of Zeus at Olympia (435 BCE) that was forty iii feet tall and considered one of the Seven Wonders of the Ancient World. Both statues used a wooden structure with gilded panels and ivory limbs attached in a kind of modular construction. They were not only symbols of the gods but also symbols of Greek wealth and ability. Both works were destroyed, only small copies of Athena exist, and representations on coins and descriptions in Greek texts survive.

Roman Portraiture

Many Roman sculptures were copies of Greek originals, but their own contribution to Classical sculpture came in the form of portraiture. Emphasizing a realistic approach, the Romans felt that depicting notable men as they were, warts and all, was a sign of character. In contrast, in Imperial Rome, portraiture turned to idealistic treatments, as emperors, beginning with Augustus, wanted to create a political image, showing them every bit heirs of both classical Greece and Roman history. As a result, a Greco-Roman style developed in sculptural relief every bit seen in the Augustan Ara Pacis (13 BCE).

The Romans also revived a method of Greek glass painting to use for portraiture. Most of the images were the size of medallions or roundels cut out of a drinking vessel. Wealthy Romans would have drinking cups made with a gilt glass portrait of themselves and, following the owner'due south death, the portrait would exist cut out in a circular shape and cemented into the catacomb walls every bit a tomb marker.

Some of the most famous painted Roman portraits are the Fayum mummy portraits, named for the place in Egypt where they were found, that covered the faces of the mummified dead. Preserved past Egypt'southward barren climate, the portraits institute the largest surviving group of portrait panel painting from the Classical era. Most of the mummy portraits were created betwixt the 1^st century BCE and the iii^rd century CE and reflect the intertwining of Roman and Egyptian traditions, during the time when Egypt was nether Rome's dominion. Though idealized, the paintings brandish remarkably individualistic and naturalistic characteristics.

Later Developments - After Classical Greek and Roman Art and Architecture

The influence of Classical Fine art and compages cannot be overestimated, equally it extends to all fine art movements and periods of Western art. While Roman compages and Greek fine art influenced the Romanesque and Byzantine periods, the influence of Classical Fine art became ascendant in the Italian Renaissance, founded upon a revival of interest in Classical principles, philosophy, and aesthetic ethics. The Parthenon and the Pantheon too as the writings of Vitruvius informed the architectural theories and do of Leon Battista Alberti and Palladio and designs into the modern era, including those of Le Corbusier.

Greek sculpture influenced Renaissance artists Michelangelo, Albrecht Dürer, Leonardo da Vinci, Raphael, and the after Baroque artists, including Bernini. The discoveries at Pompeii informed the aesthetic theories of Johann Joachim Winckelmann in the eighteen^th century and the development of Neoclassicism, every bit seen in Antonio Canova's sculptures. The modern sculptor Auguste Rodin was influenced primarily by the Parthenon Marbles, of which he wrote, they "had...a rejuvenating influence, and those sensations acquired me to follow Nature all the more closely in my studies." Artists from the Futurist Umberto Boccioni, the Surrealist Salvador Dalí, and the multifaceted Pablo Picasso, to, later, Yves Klein, Sanford Biggers, and Banksy all cited Greek fine art as an influence.

Classical Art has also influenced other art forms, as both the choreography of Isidore Cunningham and Merce Cunningham were influenced by the Parthenon Marbles, and the first fashion garment featured in the Museum of Modern Art in 2003 was Henriette Negrin and Mariano Fortuny y Madrazos' Delphos Gown (1907) a silk apparel inspired by the Charioteer Delphi (c. 500 BCE) which had been discovered a decade earlier. The legends, gods, philosophies and art of the Classical era became essential elements of subsequent Western civilization and consciousness.

broderquie1945.blogspot.com

Source: https://www.theartstory.org/movement/classical-greek-and-roman-art/history-and-concepts/

Share this post