Idealism in greek architecture
Still, nature never wholly attains the ideal. Greek focus on art was not on how a person felt, but how a person looked. Practically it only dealt successfully with the human form and with animals like the horse and the dog which have been largely humanized.
The belief that inner perfection is represented by outer appearance was perhaps represented more in Greek architecture than any of their art.
To present it as more naturally round would have gone against the social system in which they lived. Those viewing the sculpture at the time would gain at the least a sense of approval for their activities and ideally and admiration of it.
In the fourth century there existed a more complete knowledge of the attitude and grouping; but religion was declining, social decay had set in, and the artists had lost their inspiration. The beauty of Elpinike or Alkibiades be- queathed a certain touch of charm to even the por- traits of their contemporaries.
Nor must one expect mysticism or untrammelled imagination. The Greeks attitude towards their gods waned but their desire for idealism still grew. But when one writes of Greek Art one must not try to conceal its limitations.
Greek naturalism definition
When sculptors found in a man or woman some specially beautiful feature, the formation of a flank, the curve of a breast, the poise of a head, they could not wholly relinquish it even in statues of indi- viduals. To present it as more naturally round would have gone against the social system in which they lived. The hill served as a fortress for the Mycenaean kingdom in the 13th century BC, and the same walls that surrounded it became the home of the Acropolis. Plan of the Palace at Knossos Crete as Constructed c. Here were born the first ideas that shaped Western culture, in such a way that our knowledge and ways of thinking are a consequence of the philosophy, science and the art of the Greeks. Greeks in ancient times accounted for plants and animals, as well as the human figure been depicted with great realism in paintings, sculptures and ceramics, thanks to thorough research of nature. He learns the form of the muscles in action and repose; he stud- ies the rhythm of movements. An artist may be on such friendly terms with nature that he may dare to try to ex- press her tendencies more completely than she can herself express them.
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