Hellenistic art rified the gods and great athletes, but it also served to decorate the homes of the newly rich Heroic portraits and massive groups were popular, but so were humble themes and portrayals of human beings in all walks and stages of life— even caricature became popular From architecture came an awareness of space that added landscapes and interiors to sculpture and painting Whereas Hellenic art was restrained and attempted to show the perfect and the universal, Hellenistic art was preoccupied with the particular rather than the universal Patrons and artists alike preferred individuality, novelty (including ethnicity and ugliness), and artistic inventiveness Hellenistic art built on the classical concepts, but became more dramatic, with sweeping lines and strong contrasts of light, shadow, and emotion Idealism gave way to naturalism, the culmination of the works of fourth-century b.c.e sculptors Lysippos, Skopas, and Praxiteles, all of whom emphasized realistic expression of the human figure Greatness and humility, characteristic of the Charioteer of Delphi, gave way to bold expression during tense moments, typified by the Boy Jockey Unlike Hellenic art, sculptures showed extreme emotion: pain, stress, anger, despair, or fear, but depiction of the outward subject was insufficient for many Hellenistic sculptors Posture and physical characteristics were used to show thoughts, feelings, and attitudes Hygeia, of which only the head remains, is a statue that reflects the Hellenistic style Although done in conformance to classical standards and ideals, Hygeia has an expression of concern and understanding INDIVIDUAL SUPPORT FOR THE ARTS Hellenistic art was an expression of the prosperity and new social structure that arose in the areas of Alexander’s empire Public support for the arts continued, but individual citizens also began patronizing artists Rather than create monuments to gods or kings, they bought art that was secular and personal An example of great art put into an environment is the Altar of Zeus from Pergamum (c 180 b.c.e.), which Greek artists created for Eumenes II Enclosed by a high podium decorated with a frieze of the battle between the gods and the Giants, it shows classical iconography as well as baroque exaggeration of movement and emotion and a background of swirling draperies Samples of Hellenistic painting are mostly in the facades and interiors of chamber tombs and mosaics, as well as in Roman copies Hellenistic art also plays with erotic themes through depictions of Aphrodite, Eros, the Satyrs, Dionysus, Pan, and hermaphrodites Female nudes were highly popular, and many examples remain, including the well-known Aphrodite 191 of Melos (Venus de Milo) The proportions and curves of the Venus are still the standard for modern beauty Hellenistic art for home use included mosaics, garden statuaries, painted stucco wall decorations, and marble furnishings Hellenistic art influenced Rome and through the Romans the Italian Renaissance Hellenistic architecture flourished with the spread of the empire, leading to a demand for new buildings Rather than a building occupying any empty space, architects attempted to make the building aesthetically compatible with its surroundings Hellenistic architects popularized the long-established stoa, a long rectangular building with a roof supported in the front by columns Stoas served as offices, classrooms, law courts, shopping centers, and gathering places in bad weather, or for socializing The first woman architect, Phile of Priene, who lived around 100 b.c.e., designed a reservoir among other works Mosaics were made before the third century b.c.e from small pieces of colored river pebbles Early in the third century b.c.e tesserae, squares of cut glass or stone, were used The Alexander Mosaic from second-century b.c.e Pompeii shows Alexander the Great battling Darius III, probably during the Battle of Issus The Hellenistic Period was a time of booming commerce and trade, generating a need for large amphorae, The Altar of Zeus is an example of Hellenistic art, with the figures on its frieze showing exaggerated movement and emotion