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The Parthenon is a large 1871 painting by American artist Frederic Edwin Church which is in the collection of the Metropolitan Museum of Art, New York City. [1]Church visited Greece in 1869 and spent several weeks in Athens, where he made numerous studies of the ruins of the Parthenon that later served as the basis for the work.
The accounts of the construction of the Parthenon make it possible to know that the marble intended for the pediments began to be extracted from the quarries of Mount Pentelikon in 439–438 BC.; sculpture work starting the following year. [1] [2] The accounts also show that excavation and transportation expenses were annual.
The sculpture work had to be done on the ground, before the metopes were put in place, at the top of the walls. The sculptors, necessarily many, surely began to work from 447 or 446 BC to complete their work before 438 BC, when the work for the roof began; 442 BC or shortly thereafter is a likely completion date.
A new study has found that the Parthenon sculptures, previously thought to be white, were once painted with elaborate designs and patterns on their garments, using colors such as “Egyptian blue.”
The only piece of sculpture from the Parthenon known to be from the hand of Phidias [97] was the statue of Athena housed in the naos. This massive chryselephantine sculpture is now lost and known only from copies, vase painting, gems, literary descriptions, and coins. [98]
Further damage to the Parthenon's artwork occurred when the Venetian general Francesco Morosini attempted to remove some of the larger sculptures. During the operation, a sculpture of Poseidon and two horses of Athena's chariot fell and broke into pieces. Several sculptures and fragments were removed by the Venetians.
At the end of 2024, there was major news in the art world: talks between for the British Museum and the government of Greece over the Parthenon Marbles had reportedly reached advanced stages. If ...
The Parthenon frieze is the defining monument of the High Classical style of Attic sculpture. [31] It stands between the gradual eclipse of the Severe style, as witnessed on the Parthenon metopes, [32] and the evolution of the Late Classical Rich style, exemplified by the Nike balustrade.