Hellenistic art

Hellenistic artis the art of theHellenistic periodgenerally taken to begin with the death ofAlexander the Greatin 323 BC and end with theconquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest ofPtolemaic Egyptfollowing theBattle of Actium. A number of the best-known works ofGreek sculpturebelong to this period, includingLaocoön and His Sons,Dying Gaul,Venus de Milo, and theWinged Victory of Samothrace. It follows the period ofClassical Greek art, while the succeedingGreco-Roman artwas very largely a continuation of Hellenistic trends.
The termHellenisticrefers to the expansion of Greek influence and dissemination of its ideas following the death of Alexander – the "Hellenizing" of the world,withKoine Greekas a common language.The term is a modern invention; theHellenistic Worldnot only included a huge area covering the whole of theAegean Sea, rather than theClassical Greecefocused on thePoleisofAthensandSparta, but also a huge time range. In artistic terms this means that there is huge variety which is often put under the heading of "Hellenistic Art" for convenience.
One of the defining characteristics of the Hellenistic period was the division of Alexander's empire into smaller dynastic empires founded by thediadochi(Alexander's generals who became regents of different regions): thePtolemiesinEgypt, theSeleucidsinMesopotamia,Persia, andSyria, theAttalidsinPergamon, etc. Each of these dynasties practiced a royal patronage which differed from those of the city-states. In Alexander's entourage were three artists:Lysippusthe sculptor,Apellesthe painter, andPyrgotelesthe gem cutter and engraver.The period after his death was one of great prosperity and considerable extravagance for much of the Greek world, at least for the wealthy.  Royalty became important patrons of art.  Sculpture, painting and architecture thrived, butvase-paintingceased to be of great significance.  Metalwork and a wide variety of luxury arts produced much fine art.  Some types of popular art were increasingly sophisticated.
There has been a trend in writing history to depict Hellenistic art as a decadent style, following theGolden AgeofClassical Greece. The 18th century termsBaroqueandRococohave sometimes been applied to the art of this complex and individual period. A renewed interest inhistoriographyas well as some recent discoveries, such as the tombs ofVergina, may allow a better appreciation of the period.
In the architectural field, the dynasties following Hector resulted in vast urban plans and large complexes which had mostly disappeared from city-states by the 5th century BC.The Doric Temple was virtually abandoned.This city planning was quite innovative for the Greek world; rather than manipulating space by correcting its faults, building plans conformed to the natural setting. One notes the appearance of many places of amusement and leisure, notably the multiplication oftheatresand parks. The Hellenistic monarchies were advantaged in this regard in that they often had vast spaces where they could build large cities: such asAntioch,Pergamon, andSeleucia on the Tigris.
It was the time of gigantism: thus it was for the second temple ofApolloatDidyma, situated twenty kilometers fromMiletusinIonia. It was designed by Daphnis of Miletus and Paionios ofEphesusat the end of the fourth century BC, but the construction, never completed, was carried out up until the 2nd century AD. The sanctuary is one of the largest ever constructed in the Mediterranean region: inside a vast court (21.7 metres by 53.6 metres), thecellais surrounded by a double colonnade of 108Ionic columnsnearly 20 metres tall, with richly sculpted bases andcapitals.
HellenisticAlexandriaoriginated a distinctive architectural form language that is often referred to as baroque due to its liberal use of ornamentation and its repurposing of structural elements as ornamental elements. Perhaps partly inspired bytraditional Egyptian architecture, Alexandrian architects developed new shapes such as segmental, broken, hollow and volute pediments and curved arched, concave and broken entablatures.These baroque shapes seem to have existed in Alexandria at least by the 2nd century BC.Many of them were later adopted across theRoman Empireand also significantly influenced the rock-cut tombs ofPetra.
Alexandrian architecture also made heavy use ofCorinthian capitals, both on exteriors and interiors. (The earliest known example of a Corinthian exterior in Alexandria isPtolemy III's temple ofSarapisin theSarapeionwhich was constructed sometime between 246-221 BC, though the propylon of theSanctuary of the Great GodsonSamothrace, which was sponsored byPtolemy IIsometime between 285-246 BC, also already featured Corinthian columns on one of its facades.) Corinthian capitals were sometimes paired with Doric entablatures, a combination that was rarely seen elsewhere in the Hellenistic world. Alexandrian Corinthian capitals exhibited a large variety of shapes and compositions which historians have divided into four distinct types.
Other typical features of Hellenistic Alexandrian architecture wereacanthus leafcolumn bases, which were sometimes inserted between the standard Attic column base and the column shaft of a Corinthian column, andcornicesfeaturing the distinctive Alexandrian flat grooved and/or hollow square modillions.
RomanSecond Stylefrescoes are thought to be inspired by Alexandrian architecture.
The ancient city ofOlynthuswas one of the architectural and artistic keystones in establishing a connection between the Classical and Hellenistic worlds.
Over 100 homes were found at the Olynthus city site. Interestingly, the homes and other architecture were incredibly well preserved. This allows us to better understand the activities that took place in the homes and how space inside the homes was organized and utilized.
Homes in Olynthus were typically squarer in shape. The desired home was not necessarily large or extravagant, but rather comfortable and practical. This was a mark of civilization that was extremely prominent in Greek culture during the Hellenistic period and beyond. Living a civilized life involved maintaining a sturdy living space, thus many brick-like materials were used in the construction of the homes. Stone, wood, mudbrick, and other materials were commonly used to build these dwellings.
Another element that was increasingly popular during the Hellenistic period was the addition of a courtyard to the home. Courtyards served as a light source for the home as Greek houses were closed off from the outside to maintain a level of privacy. There have been windows found at some home sites, but they are typically high off the ground and small. Because of the issue of privacy, many individuals were forced to compromise on light in the home. Well-lit spaces were used for entertaining or more public activity while the private sectors of the home were dark and closed off which complicated housework.
Courtyards were typically the focus of the home as they provided a space for entertaining and a source of light from the very interior of the home. They were paved with cobblestones or pebbles most often, but there have been discoveries of mosaicked courtyards. Mosaics were a wonderful way for the family to express their interests and beliefs as well as a way to add décor to the home and make it more visually appealing. This artistic touch to homes at Olynthus introduces another element of civilized living to this Hellenistic society.
Pergamon in particular is a characteristic example of Hellenistic architecture. Starting from a simple fortress located on theAcropolis, the variousAttalidkings set up a colossal architectural complex. The buildings are fanned out around the Acropolis to take into account the nature of the terrain. Theagora, located to the south on the lowest terrace, is bordered by galleries with colonnades (columns) orstoai. It is the beginning of a street which crosses the entire Acropolis: it separates the administrative, political and military buildings on the east and top of the rock from the sanctuaries to the west, at mid-height, among which the most prominent is that which shelters the monumentalPergamon Altar, known as "of the twelve gods" or "of the gods and of the giants", one of the masterpieces of Greek sculpture. A colossal theatre, able to contain nearly 10,000 spectators, has benches embedded in the flanks of the hill.
Pliny the Elder, after having described the sculpture of the classical period notes:Cessavit deinde ars("then art disappeared").According to Pliny's assessment, sculpture declined significantly after the 121st Olympiad (296–293 BC). A period of stagnation followed, with a brief revival after the 156th (156–153 BC), but with nothing to the standard of the times preceding it.
During this period sculpture became more naturalistic, and also expressive; there is an interest in depicting extremes of emotion. On top of anatomical realism, the Hellenistic artist seeks to represent the character of his subject, including themes such as suffering, sleep, or old age. Genre subjects of common people, women, children, animals, and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens; theBoy with Thornis an example.
Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection.The world ofDionysus, a pastoral idyll populated bysatyrs,maenads, nymphs, andsileni, had been often depicted in earlier vase painting and figurines, but rarely in full-size sculpture. TheOld Drunkardat Munich portrays without reservation an old woman, thin, haggard, clutching against herself her jar of wine.
The period is therefore notable for itsportraits: One such is theBarberini FaunofMunich, which represents a sleepingsatyrwith relaxed posture and anxious face, perhaps the prey of nightmares. TheBelvedere Torso, theResting Satyr, theFurietti CentaursandSleeping Hermaphroditusreflect similar ideas.
Another famous Hellenistic portrait is that ofDemosthenesby Polyeuktos, featuring a well-done face and clasped hands.
Another phenomenon of the Hellenistic age appears in its sculpture: privatization,seen in the recapture of older public patterns in decorative sculpture.Portraiture is tinged with naturalism, under the influence ofRoman art.New Hellenistic cities were springing up all overEgypt,Syria, andAnatolia, which required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardization and some lowering of quality. For these reasons many more Hellenistic statues have survived than is the case with the Classical period.
Hellenistic sculpture repeats the innovations of the so-called "second classicism":nudesculpture-in-the-round, allowing the statue to be admired from all angles; study of draping and effects of transparency of clothing, and the suppleness of poses.Thus,Venus de Milo, even while echoing a classic model, is distinguished by the twist of her hips.
The multi-figure group of statues was a Hellenistic innovation, probably of the 3rd century, taking the epic battles of earlier temple pediment reliefs off their walls, and placing them as life-size groups of statues.  Their style is often called "baroque", with extravagantly contorted body poses, and intense expressions in the faces. TheLaocoön Group, detailed below, is considered one of the prototypical examples of the Hellenistic baroque style.
Pergamon did not distinguish itself with its architecture alone: it was also the seat of a brilliant school of sculpture known asPergamene Baroque.The sculptors, imitating the preceding centuries, portray painful moments rendered expressive with three-dimensional compositions, often V-shaped, and anatomical hyper-realism.  The Barberini Faun is one example.
Attalus I(269–197 BC), to commemorate his victory at Caicus against theGauls;— calledGalatiansby the Greeks – had two series of votive groups sculpted: the first, consecrated on the Acropolis of Pergamon, includes the famousGaul killing himself and his wife, of which the original is lost; the second group, offered to Athens, is composed of small bronzes of Greeks, Amazons, gods and giants, Persians and Gauls.Artemis Rospigliosi in theLouvreis probably a copy of one of them; as for copies of theDying Gaul, they were very numerous in the Roman period. The expression of sentiments, the forcefulness of details – bushy hair and moustaches here – and the violence of the movements are characteristic of the Pergamene style.
These characteristics are pushed to their peak in the friezes of theGreat Altar of Pergamon, decorated under the order ofEumenes II(197–159 BC) with agigantomachystretching 110 metres in length, illustrating in the stone a poem composed especially for the court. TheOlympianstriumph in it, each on his side, over Giants – most of which are transformed into savage beasts: serpents, birds of prey, lions or bulls. Their motherGaiacomes to their aid, but can do nothing and must watch them twist in pain under the blows of the gods.
One of the few city states who managed to maintain full independence from the control of any Hellenistic kingdom wasRhodes. After holding out forone year under siege by Demetrius Poliorcetes(305–304 BC), the Rhodians built theColossus of Rhodesto commemorate their victory.With a height of 32 meters, it was one of theSeven Wonders of the Ancient World. Progress in bronze casting made it possible for the Greeks to create large works.  Many of the large bronze statues were lost – with the majority being melted to recover the material.
Discovered in Rome in 1506 and seen immediately byMichelangelo,beginning its huge influence on Renaissance and Baroque art.Laocoön, strangled by snakes, tries desperately to loosen their grip without affording a glance at his dying sons.  The group is one of very few non-architectural ancient sculptures that can be identified with those mentioned by ancient writers.  It is attributed by Pliny the Elder to theRhodiansculptorsAgesander,Athenodoros, andPolydorus.
Johann Joachim Winckelmann, who first articulated the difference between Greek, Greco-Roman and Roman art, drew inspiration from theLaocoön.Gotthold Ephraim Lessingbased many of the ideas in his 'Laocoon' (1766) on Winckelmann's views on harmony and expression in the visual arts.
The fragmentarySperlonga sculpturesare another series of "baroque" sculptures in the Hellenistic style, perhaps made for the EmperorTiberius, who was certainly present at the collapse of the seaside grotto in southern Italy that they decorated.The inscriptions suggest the same sculptors made it who made the Laocoön group,or possibly their relations.
The "Baroque" traits in Hellenistic art, predominately sculpture, have been contrasted with a contemporary trend that has been described as "Rococo". The concept of a Hellenistic "Rococo" was coined by Wilhelm Klein in the early 20th century.Unlike the dramatic "Baroque" sculptures, the "Rococo" trend emphasized playfull motifs, such assatyrsandnymphs. Wilhelm Klein considered the sculpture group "The Invitation to the Dance" to be a prime example of the trend.Also lighthearted depictions ofAphrodite, the goddess of love, andEros, were seen as typical (as seen, for instance, in the so-called Slipper Slapper Group depicted below). It has later been argued that the preference for the "Rococo" motifs in Hellenistic sculpture can be tied to a changed use of sculpture in general. Private sculpture collecting became more common during the later Hellenistic period, and in such collections there seems to have been a preference for the kinds of motifs characterized as "Rococo".
From the 2nd century theNeo-Atticor Neo-Classical style is seen by different scholars as either a reaction to baroque excesses, returning to a version of Classical style, or as a continuation of the traditional style for cult statues.Workshops in the style became mainly producers of copies for the Roman market, which preferred copies of Classical rather than Hellenistic pieces.
Paintings and mosaics were important mediums in art, but no examples of paintings on panels have survived the fall to the Romans. It is possible to get some idea of what they were like from related media, and what seem to be copies of or loose derivations from paintings in a wider range of materials.
Perhaps the most striking element of Hellenistic paintings and mosaics is the increased use of landscape.Landscapes in these works of art are representative of familiar naturalistic figures while also displaying mythological and sacro-idyllic elements.Landscape friezes and mosaics were commonly used to display scenes from Hellenistic poetry such as that by Herondas and Theocritos. These landscapes that expressed the stories of Hellenistic writers were utilized in the home to emphasize that family's education and knowledge about the literary world.
Sacro-idyllic means that the most prominent elements of the artwork are those related to sacred and pastoral themes.This style that emerged most prevalently in Hellenistic art combines sacred and profane elements, creating a dreamlike setting.Sacro-idyllic influences are conveyed in the Roman mosaic "Nile Mosaic of Palestrina" which demonstrates fantastical narratives with a color scheme and commonplace components that illustrate the Nile in its passage from Ethiopia to the Mediterranean. The inclusion of Hellenistic backgrounds can also be seen in works throughout Pompeii, Cyrene, Alexandria. Moreover, specifically in Southern Russia, floral features and branches can be found on walls and ceilings strewn in a disordered yet conventional manner, mirroring a late Greek style.In addition, "Cubiculum" paintings found inVilla Boscorealeinclude vegetation and a rocky setting in the background of detailed paintings of grand architecture.
Wall paintings began appearing more prominently in the Pompeian period. These wall paintings were not just displayed in places of worship or in tombs.Often, wall paintings were used to decorate the home. Wall paintings were common in private homes in Delos, Priene, Thera, Pantikapaion, Olbia, and Alexandria.
Few examples of Greek wall paintings have survived the centuries. The most impressive, in terms of showing what high-quality Greek painting was like, are those at the Macedonian royal tombs atVergina. Though Greek painters are given tribute to bringing fundamental ways of representation to the Western World through their art. Three main qualities unique to Hellenistic painting style were three-dimensional perspective, the use of light and shade to render form, andtrompe-l'œilrealism.Very few forms of Hellenistic Greek painting survive except for woodenpinakespanels and those painted on stone. The most famously known stone paintings are found on the Macedonian Tomb atAgios Athanasios.
Researchers have been limited to studying the Hellenistic influences in Romanfrescoes, for example those ofPompeiiorHerculaneum. In addition, some of the paintings inVilla Boscorealeclearly echo lost Hellenistic, Macedonian royal paintings.
Recent excavations from the Mediterranean have revealed the technology used in Hellenistic painting.Wall art of this period utilized two techniques: secco technique andfrescotechnique.Fresco technique required layers of lime-rich plaster to then decorate walls and stone supports.On the other hand, no base was necessary for the secco technique, which used gum arabic and egg tempera to paint finalizing details on marble or other stone.This technique is exemplified in the Masonry friezes found in Delos.Both techniques used mediums that were locally accessible, such as terracotta aggregates in the base layers and natural inorganic pigments, synthetic inorganic pigments, and organic substances as colorants.
Recent discoveries include those of chamber tombs inVergina(1987) in the former kingdom ofMacedonia, where many friezes have been unearthed.For example, in Tomb II archaeologists found a Hellenistic-style frieze depicting a lion hunt.This frieze found in the tomb supposedly that ofPhilip IIis remarkable by its composition, the arrangement of the figures in space and its realistic representation of nature.Other friezes maintain a realistic narrative, such as a symposium and banquet or a military escort, and possibly retell historical events.
There is also the recently restored 1st-centuryNabataeanceiling frescoes in the Painted House atLittle Petrain Jordan.As the Nabataeans traded with the Romans, Egyptians, and Greeks, insects and other animals observed in the paintings reflect Hellenism while various types of vines are associated with the Greek god,Dionysus.
Recent archaeological discoveries at the cemetery ofPagasae(close to modernVolos), at the edge of thePagasetic Gulfhave brought to light some original works. The excavations of this site led by Dr. Arvanitopoulos may be connected to various Greek painters in the 3rd and 4th centuries and depict scenes that allude to the reign ofAlexander the Great.
In the 1960s, a group of wall paintings was found onDelos.It is evident that the fragments of friezes found were created by a community of painters who lived during the late Hellenistic period.The murals emphasized domestic decoration, conveying the belief these people held that the Delian establishment would remain stable and secure enough for this artwork to be enjoyed by homeowners for many years to come.
Certainmosaics, however, provide a pretty good idea of the "grand painting" of the period: these are copies of frescoes. This art form has been used to decorate primarily walls, floors, and columns.
The development of mosaic art during theHellenistic Periodbegan withPebble Mosaics, best represented in the site ofOlynthosfrom 5th century BC. The technique of Pebble Mosaics consisted of placing small white and black pebbles of no specific shape, in a circular or rectangular panel to illustrate scenes of mythology. The white pebbles -in slightly different shades- were placed on a black or blue background to create the image. The black pebbles served to outline the image.
In the mosaics from the site ofPella, from the 4th century BC, it is possible to see a more evolved form of the art. Mosaics from this site display the use of pebbles that were shaded in a wider range of colors and tones. They also show early use of terra-cotta and lead wire to create a greater definition of contours and details to the images in the mosaics.
Following this example, more materials were gradually added. Examples of this extended use of materials in mosaics of the 3rd century BC include finely cut stones, chipped pebbles, glass and baked clay, known astesserae. This improved the technique of mosaics by aiding the artists in creating more definition, greater detail, a better fit, and an even wider range of colors and tones.
Despite the chronological order of the appearance of these techniques, there is no actual evidence to suggest that the tessellated necessarily developed from the pebble mosaics.
Opus vermiculatumandopus tessellatumwere two different techniques used during this period of mosaic making.Opus tessellatumrefers to a redacted tessera (a small block of stone, tile, glass, or other material used in the construction of a mosaic)size followed by an increased variety in shape, color, and material as well asandamento––or the pattern in which the tessera was laid.Opus vermiculatumis oftentimes partnered with this technique but differs in complexity and is known to have the highest visual impact.
The majority of mosaics were produced and laid on site. However, a number of floor mosaics display the use of theemblematatechnique, in which panels of the image are created off-site in trays of terra-cotta or stone. These trays were later placed into the setting-bed on the site.
At Delos, colored grouts were used on opus vermiculatum mosaics, but in other regions this is not common. There is one example of colored grout used in Alexandria on the Dog and Askos mosaic. At Samos, the grouts and the tesserae are both colored.
Studying color here is difficult as the grouts are extremely fragile and vulnerable.
Scientifics research has been a source of interesting information with regard to the grouts and tesserae used in Hellenistic Mosaics. Lead strips were discovered on mosaics as a definiting characteristic of the surface technique. Lead strips are absent from the mosaics here. At Delos, lead strips were common on mosaics in the opus tessellatum style. These strips were used to outline decorative borders and geometric decorative motifs. The strips were extremely common on opus vermiculatum mosaics from Alexandria. Because lead strips were present in both styles of surface types, they cannot be the sole characteristic of one type or the other.
A rare example of virtuoso Hellenistic style picture mosaic found in the Levantine coast. Through a technical analysis of the mosaic, researchers suggest that this mosaic was created by itinerant craftsman working insitu. Since 2000, over 200 fragments of the mosaic have been discovered at the headline of Tel Dor, however, the destruction of the original mosaic is unknown.Excavators suggest that earthquake or urban renewal is the cause. Original architectural context is unknown, but stylistic and technical comparisons suggest a late Hellenistic period date, estimating around the second half of the second century B.C.E. Analyzing the fragments found at the original site, researchers have found that the original mosaic contained a centralized rectangle with unknown iconography surrounded by a series of decorative borders consisting of a perspective meander followed by a mask-and-garland border.This mosaic consists of two different techniques of mosaic making,opus vermiculatumandopus tessellatum.
An example is theAlexander Mosaic, showing the confrontation of the young conqueror and the Grand KingDarius IIIat theBattle of Issus, a mosaic from a floor in theHouse of the Faunat Pompeii (now inNaples). It is believed to be a copy of a painting described by Pliny which had been painted by Philoxenus ofEretriafor KingCassanderofMacedonat the end of the 4th century BC,or even of a painting by Apelles contemporaneous with Alexander himself.The mosaic allows us to admire the choice of colors along with the composition of the ensemble using turning movement and facial expression.
TheStag Hunt MosaicbyGnosisis a mosaic from a wealthy home of the late 4th century BC, the so-called "House of the Abduction ofHelen" (or "House of the Rape of Helen"), inPella, The signature ("Gnosis epoesen", i.e. Gnosis created) is the first known signature of amosaicist.
Theemblemais bordered by an intricatefloralpattern, which itself is bordered by stylized depictions ofwaves.The mosaic is a pebble mosaic with stones collected from beaches and riverbanks which were set into cement.As was perhaps often the case,the mosaic does much to reflect styles of painting.The light figures against a darker background may allude tored figurepainting.The mosaic also usesshading, known to theGreeksasskiagraphia, in its depictions of the musculature and cloaks of the figures.This along with its use of overlapping figures to createdepthrenders the imagethree dimensional.
The Hellenistic period is equally the time of development of the mosaic as such, particularly with the works ofSosos of Pergamon, active in the 2nd century BC and the only mosaic artist cited by Pliny.His taste fortrompe-l'œil(optical illusion) and the effects of the medium are found in several works attributed to him such as the "Unswept Floor" in the Vatican museum,representing the leftovers of a repast (fish bones, bones, empty shells, etc.) and the "Dove Basin" (made of smallopus vermiculatumtesseraestones)at theCapitoline Museum, known by means of a reproduction discovered inHadrian's Villa.In it one sees four doves perched on the edge of a gilt bronze basin filled with water. One of them is watering herself while the others seem to be resting, which creates effects of reflections and shadow perfectly studied by the artist. The "Dove Basin" mosaic panel is an emblema, designed to be the central point of an otherwise plain mosaic floor. The emblema was originally an import from the Hellenistic eastern Mediterranean, where, in cities such asPergamom,EphesusandAlexandria, there were artists specializing in mosaics.One of them was Sosos of Pergamon, the most celebrated mosaicist of antiquity who worked in the second century BC.
According to the French archaeologistFrançois Chamoux, themosaics of Delosin theCycladesrepresent the zenith of Hellenistic-period mosaic art employing the use oftesseraeto form complex, colorful scenes.This style of mosaic continued until theend of Antiquityand may have had an impact on the widespread use of mosaics in the Western world during theMiddle Ages.
The Hellenistic Age comes immediately after the great age of paintedAncient Greek pottery, perhaps because increased prosperity led to more use of fine metalware (very little now surviving) and the decline of the fine painted "vase" (the term used for all vessel shapes in pottery).  Most vases of the period are black and uniform, with a shiny appearance approaching that of varnish, decorated with simple motifs of flowers orfestoons. The shapes of the vessels are often based on metalwork shapes: thus with thelagynos, a wine jar typical of the period.  Painted vase types that continued production into the Hellenistic period includeHadra vasesandPanathenaic amphora.
It is also the period of so-called Megarian ware:mold-made vases with decoration in relief appeared, doubtless in imitation of vases made of precious metals.  Wreaths in relief were applied to the body of the vase.  One finds also more complex relief, based onanimalsorlegendary creatures.
Red-figure paintinghad died out inAthensby the end of the 4th century BC to be replaced by what is known asWest Slope Ware, so named after the finds on the west slope of theAthenian Acropolis. This consisted of painting in a tan coloured slip and white paint on a fired black slip background with some incised detailing.
Representations of people diminished, replaced with simpler motifs such as wreaths, dolphins, rosettes, etc. Variations of this style spread throughout the Greek world with notable centres inCreteandApulia, where figural scenes continued to be in demand.
Gnathia vaseshowever were still produced not only inApulian, but also inCampanian,PaestanandSicilianvase painting.
InCanosa di Pugliain South Italy, in 3rd century BC burials one might findvaseswith fully three-dimensional attachments.The distinguishing feature of Canosa vases are the water-soluble paints. Blue, red, yellow, light purple and brown paints were applied to a white ground.
TheCenturipe wareof Sicily, which has been called "the last gasp of Greek vase painting",had fully colouredtemperapainting including groups of figures applied after firing, contrary to the traditional practice. The fragility of the pigments prevented frequent use of these vases; they were reserved for use in funerals, and many were purely for display, for example with lids that did not lift off. The practice perhaps continued into the 2nd century BC, making it possibly the last vase painting with significant figures.A workshop was active until at least the 3rd century BC.  These vases are characterized by a base painted pink. The figures, often female, are represented in coloured clothing: blue-violetchiton, yellowhimation, white veil.  The style is reminiscent ofPompeiiand draws more from grand contemporary paintings than on the heritage of the red-figure pottery.
Bricks and tiles were used for architectural and other purposes. Production ofGreek terracotta figurinesbecame increasingly important. Terracotta figurines represented divinities as well as subjects from contemporary life.  Previously reserved for religious use, in Hellenistic Greece the terracotta was more frequently used for funerary and purely decorative, purposes. The refinement of molding techniques made it possible to create true miniature statues, with a high level of detail, typically painted.
Several Greek styles continued into the Roman period, and Greek influence, partly transmitted via theAncient Etruscans, onAncient Roman potterywas considerable, especially in figurines.
Tanagra figurines, fromTanagrainBoeotiaand other centers, full of lively colours, most often represent elegant women in scenes full of charm.AtSmyrna, in Asia Minor, two major styles occurred side-by-side: first of all, copies of masterpieces of great sculpture, such as theFarneseHerculesin gilt terracotta.
In a completely different genre, there are the "grotesques", which contrast violently with the canons of "Greek beauty": thekoroplathos(figurine maker) fashions deformed bodies in tortuous poses –hunchbacks,epileptics,hydrocephalics,obesewomen, etc.  One could therefore wonder whether these were medical models, the town ofSmyrnabeing reputed for itsmedical school. Or they could simply be caricatures, designed to provoke laughter. The "grotesques" are equally common atTarsusand also atAlexandria.
One theme which emerged was the "negro", particularly inPtolemaicEgypt: these statuettes of Black adolescents were successful up to the Roman period.Sometimes, they were reduced to echoing a form from the great sculptures:  thus one finds numerous copies in miniature of theTyche(Fortune or Chance) ofAntioch, of which the original dates to the beginning of the 3rd century BC.
Hellenistic pottery designs can be found in the city ofTaxilain modernPakistan, which was colonized with Greek artisans and potters after Alexander conquered it.
Because of so much bronze statue melting, only the smaller objects still exist. In Hellenistic Greece, the raw materials were plentiful following eastern conquests.
The work on metal vases took on a new fullness:  the artists competed among themselves with great virtuosity.  TheThracianPanagyurishte Treasure(from modernBulgaria), includes Greek objects such as a goldamphorawith two rearingcentaursforming the handles.
TheDerveni Krater, from nearThessaloniki, is a large bronzevolutekraterfrom about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representingDionysussurrounded byAriadneand her procession ofsatyrsandmaenads.The neck is decorated with ornamental motifs while four satyrs in high relief are casually seated on the shoulders of the vase.
The evolution is similar for the art of jewelry.  The jewelers of the time excelled at handling details and filigrees:  thus, the funeral wreaths present very realistic leaves of trees or stalks of wheat.  In this period the insetting of precious stones flourished.
It was in the Hellenistic period that the Greeks, who until then only knew molded glass, discovered the technique ofglass blowing, thus permittingnew forms. Beginning inSyria,the art of glass developed especially in Italy. Molded glass continued, notably in the creation ofintagliojewelry.
The art ofengraving gemshardly advanced at all, limiting itself to mass-produced items that lacked originality. As compensation, thecameomade its appearance. It concerns cutting in relief on a stone composed of several colored layers, allowing the object to be presented in relief with more than one color.  The Hellenistic period produced some masterpieces like theGonzaga cameo, now in theHermitage Museum, and spectacularhardstone carvingslike theCup of the Ptolemiesin Paris.
Coinage in the Hellenistic period increasingly used portraits.
Spurred by the Roman acquisition, elite consumption and demand for Greek art, both Greek and Roman artists, particularly after the establishment ofRoman Greece, sought to reproduce the marble and bronze artworks of the Classical and Hellenistic periods. They did so by creatingmoldsof original sculptures, producingplaster caststhat could be sent to any sculptor's workshop of the Mediterranean where these works of art could be duplicated. These were often faithful reproductions of originals, yet other times they fused several elements of various artworks into one group, or simply addedRoman portraitureheads to preexisting athletic Greek bodies.