Sculpture and Ancient Greece

Dying Warrior Temple of Aphaia, Aegina c. 480 BCE marble, 6 feet Archaic Period triangular pediments create a problem: in situ sculpture from the left corner of the east pediment of the temple subject: the sack of Troy from the this figure would have originally been painted and fitted with authentic bronze accessories sculptor portrays the soldiers uptilted, twisted form turning in space capturing his agony and vulnerability note the contrast between the modeling of the flesh and the hard surfaces of the shield and helmet Dying Warrior pediment sculpture Temple of Aphaia, Aegina c. 480 BCE marble, 6 feet Archaic Period

Anavysos Kouros c. 525 BCE Archaic Period a kore (korai) –female clothed kouros (kourai)- male nude free-standing sculpted figures used for commemorative purposes perhaps symbolic ancestor figures Anavysos Kouros From a cemetery near Athens c. 525 BCE Height: 6’4” Archaic Period a more life-like rendering of the human figure an archaic smile—closed lipped smile massive torso and limbs have greater anatomical accuracy suggesting heroic strength the viewer is meant to be inspired to emulate this figure’s noble actions and heroic character the nude figure is like the gods but in a human shape; the lack of clothing removes the figure from the context of time and makes the figure thus timeless—immortal remember, the Greeks believed that man was the measure of all things; they conceptualized their gods as having human forms and human attributes Anavysos Kouros c. 525 BCE Archaic Period

Kritian Boy 480 BCE unlike earlier Archaic sculpture; the boy strikes an easy pose weight rests n his left leg and his right leg bends slightly at the knee there is a noticeable curve in his spine which counters the slight shifting of his hips and there is a subtle drop in one of his shoulders the slight turn of his head invites the viewer to follow his gaze his solemn expression lacks any trace of the Archaic smile an important transitional sculpture—bridges the “gap” between the Archaic kouroi and the ideal figures of the later Classical Period

Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy height: 6’6” Polykleitos Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy Polykleitos was the best-known art theorist of the Classical period; about 450 BCE, he developed a set of rules for constructing the ideal human figure which he set down in a treatise know as The Canon a system of ratios between a basic unit and the length of various body parts also included guidelines for symmetria – relationships of body parts one to the other relationship of weight bearing and relaxed legs and arms --contrapposto– the cross-balancing of supporting and free elements in a figure pattern of tension and relaxation hip-tilt more pronounced than Kritian Boy; head turned to the same side as the engaged leg read the unengaged legs to discern the “narrative”—the Spear Bearer seems to be stepping forward; Warrior A seems to have paused facial expression: calm noble detachment Polykleitos Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy height: 6’6”

Praxiteles Hermes and the Infant Dionysos Hellenistic or Roman copy after 4th century original a new canon of proportions was developed; smaller head and more youthful body than Polykleitos’ Spear Bearer (Doryphoros); note the off-balance S-curve pose note the contrast between the texture of the flesh and the crumpled draperies as well as the rough locks of hair calm noble detachment gave way to a sensitive rendering of wistful introspection, dreaminess or fleeting anxiety note the humanized treatment of the subjects—two gods—one adult and one infant—a moment of absorbed companionship—less austere than previous sculptures Praxiteles Hermes and the Infant Dionysos

Alexander the Great left: head from a Hellenistic copy, possibly after a 4th century original by Lysippos right: 4-drachman coin issued by Lysimachos of Thrace

Laocoon and His Sons Hagesandros, Polydoros, and Athanadoros of Rhodes marble height: 8’ the Trojans’ priest Laocoon warned the Trojans not to take the giant wooden horse; the gods were on the side of the Greeks during the Trojan War—they sent sea serpents to destroy Laocoon and his sons as they walked along the shore of the sea composed to be seen from the front “only” and from a short distance another example of expressionism

original marble of c. 350 BCE Praxiteles Aphrodite of Knidos original marble of c. 350 BCE Praxiteles Aphrodite of Knidos height: 6’8” original marble of c. 350 BCE Knidos is a city in Asia Minor first statue by a well-known sculptor to represent a nude woman a composite the original was placed in an open shrine where people could view it from every side

Aphrodite of Melos or Venus de Milo c. 150 BCE Aphrodite of Melos or Venus de Milo c. 150 BCE marble height: 6’ 10” now at the Musee de Louvre, Paris meant to recall Aphrodite by Praxiteles twisting stance and strong projection of the knee are typical of Hellenistic art drapery has a rich, three dimensional quality associated with Hellenistic sculpture of Pergamon and Rhodes

Nike (Victory) Adjusting Her Sandals fragment of a relief decoration Temple of Athena Nike, Acropolis, Athens Nike (Victory) Adjusting Her Sandals fragment of a relief decoration Temple of Athena Nike, Acropolis, Athens marble height: 42” Classical admired for it’s naturalism

Nike (Victory) of Samothrace c. 190 BCE Nike (Victory) of Samothrace from the sanctuary of the Great Gods, Samothrace c. 190 BCE now at the Musee de Louvre, Paris work probably created to commemorate an important naval victory –perhaps the Rhodian triumph over the Seleucid king Antiochus III in 190 BCE was originally positioned on the prow of a ship

Nike (Victory) of Samothrace c. 190 BCE Nike (Victory) of Samothrace from the sanctuary of the Great Gods, Samothrace c. 190 BCE now at the Musee de Louvre, Paris