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We owe the vast majority of the ideas of the Hellenistic age to the influence of ____ the Great. At the age of 19, he took command of the ____ of Macedonia and began a campaign of ____ that would cover most of the known ____ at the time. Unlike many of those who had come before him, Alexander had learned to respect the ____ and the wisdom of the ____ that he conquered. His ____ was not only to rule the world but also to ____ it into one ____. Part of Alexander's plan involved the blending of cultures, Greek and Asian, and the creation of a new one. This new culture was ____. While the Greek influence remained strong, there was a new acceptance of the styles and ideas of the Persians, Egyptians, and Indians. The sculptors of the ____ era began to challenge the set ____ of standing ____ and no longer felt it was necessary to depict people as ____ of beauty or physical ____. During this period, sculpture became more and more ____. To decorate their homes and grounds, aristocratic families would ____ sculptures depicting simple scenes of ____ life, women, children, and animals. Lifelike ____ of people were popular. Hellenistic sculpture also displayed more ____, greater variety, and a feeling of movement. Some Hellenistic sculpture became exaggerated and dramatic. Scale and proportion weren't true to life, and physical features were bigger than life, with overdeveloped musculature and intense emotions playing across the faces of human subjects. Three works stand out as epitomizing Hellenistic sculpture. Interestingly, all three pieces depict Classical themes, but they depart from Classical style in their expressive qualities. Aphrodite of Melos (130 BCE.) Better known as the Venus de Milo, this statue of the Greek ____ of physical ____ is probably the most ____ piece of Greek sculpture in the modern world. She was carved on the Grecian island of Melos by Alexandros of Antioch-on-the-Meander. With her ____, passive facial expression, Aphrodite claims a ____ nature, but her pose, partial nudity, and intricately carved ____ are Hellenistic in style. The Venus de Milo Winged Victory of Samothrace (200 BCE. —190 BCE.) Sculpted by Pythokritos of Rhodes, the Winged Victory (or Nike) of Samothrace is one of the world's most treasured works of art and can be found in the Louvre Museum in Paris. The feature that makes it so very Hellenistic in style is the dramatic sense of ____ conveyed in the work. With her ____ swept back and her body leaning forward, Victory looks as if she will take ____ at any moment. Her perfect form and soft curves, together with the sense of energy and ____ she conveys, combine Classical and Hellenistic into a perfect blend. The Laocoon (40 BCE.) Wrought with physical strain and emotional ____, the Laocoon embodies the essence of the ____ period. Based on the Greek ____ of the Trojan horse in Virgil's Aeneid, the subject, a Trojan priest named Laocoon, is suspicious of the Greeks' gift of a gigantic ____ horse. When Laocoon warns the Trojans not to bring the ____ into the city, the god Poseidon intercedes by having a giant sea ____ attack and kill Laocoon and his two sons. Notice the ____ of the bodies, the snakes, and the faces in the sculpture. Also, look at the careful ____ of the figures. The strength and pain makes it seem as though Laocoon's ____ will continue reaching out. The extreme ____ and emotion are typical of the Hellenistic era.

U1L7 Wordwall Art History S2

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