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You can then have them compare and contrast these two sculptures, or you can proceed by recruiting a student volunteer to the front of the classroom. If you’ve previously covered Egyptian art, you can begin by asking the students what this statue reminds them of, for example, King Menkaure and His Queen (2490–2472 BCE).

It is through Greek art that we witness for the first time in the Western art historical canon a sudden profusion of artists signing their works, suggesting a newfound pride-of-place in being a respected artist.Ī great way to introduce your class to this theme is to start your lesson with an image of the Metropolitan Museum of Art’s Statue of a Kouros (590–580 BCE). The works in this lesson also evince a final parallel them of the emergence of the named artist. Alternatively, you could relate the Greek study of the human form to to the idealized proportions of Greek architecture (Phideas, for example, and his efforts at the Parthenon, 447–432 BCE). Through this theme you could also explore the importance in Greek culture of representing mythological figures and deities in idealized form, or the development the notion of humanism, an ideological approach centered on the immense potential of the human being to achieve greatness, particularly in the arts and sciences. It centers around the evolution of anatomical proportions and the human form. This lesson incorporates solely Greek works that span from 800 to 31 BCE (although some of the later examples are Roman copies after lost Greek originals, the dates provided relate to their Greek creation). From the Geometric Period, the earliest period of Greek art, to the development of the anatomical canon of proportions in the High Classical period, you can use the evolution of figural form as a backbone for your discussion.

A lesson on ancient Greek painting in the form of pottery as well as Greek sculpture offers a great opportunity for an expanded discussion on the artist’s quest to achieve real human proportions and postures.