25 Figure Sculptures you need to know…

Edmonia Lewis Forever Free, Forever Free is a representation of the emancipation of African-American slaves after the Civil War. Lewis attempts to break stereotypes of African-American women with this sculpture. For example, Lewis allows the woman to be completely dressed while the man is partially dressed. This draws attention away from the notion of African- American women being sexual and erotic figures. This sculpture is also a representation of the end of the Civil War. While African-Americans are technically free, they continue to be restrained due to the fact that the couple still has chains wrapped around their bodies.

Antoine-Louis Barye Jaguar Devouring a Hare 1850 ROMANTIC

The Portuguese served as mercenaries in the army of Benin's Oba Esigie (r. ca ). His mother, Idia, helped him in warfare, and he honored her with the title of Iy'oba (Queen Mother). The ivory belt mask probably represents Idia. It contains symbolic references to Benin's trade and diplomatic relationships with the Portuguese and to the Iy'oba's link to Olokun, god of the sea. Interspersed in the front row of her hair are Portuguese heads with mustaches. The Benin culture probably associated the Portuguese with Olokun. Mudfish, which have barbels like catfish, symbolically represented Olokun, and often served as sacrificial offerings. Ivory belt mask of a Queen Mother mid-16th century. NIGERIAN

Clodion (Claude Michel) Nymph and Satyr Carousing, Late 18th century (ca. 1780–90) NEOCLASSICAL While often Neoclassical, his manner at times remained quite Rococo, as in the present example. Although Clodion received a number of important commissions for monumental marble sculptures, his fame and popularity rested on his skill at modeling small-scale terracotta groups for private collectors.

Bernini Bust of Louis XIV 1665 FRENCH BAROQUE

Antonio Canova, Pauline Borghese as Venus, NEOCLASSICAL

Charioteer ca. 470 BCE Bronze. EARLY CLASSICAL GREEK

Kroisos ca. 530 BC ARCHAIC GREEK

Gianlorenzo Bernini David 1623 ITALIAN BAROQUE

Polykleitos Doryphoros (The ‘Spear-Bearer’) C450 BCE HIGH CLASSICAL GREEK

Dying Gaul Pergamon, Turkey ca BC HELLENISTIC PERIOD

Augustus of Primaporta, Early 1 st Century BCE REPUBLIC ROME

The Four Tetrarchs 305 AD LATE EMPIRE ROMAN

Peplos Kore Athens, Greece ca. 530 BC ARCHAIC GREEK

Gero Crucifixion, commissioned by Archbishop Gero ca. 970 OTTONIAN (Early Medieval) This Crucifix, carved in oak and then painted and gilded, epitomizes the revival of interest in monumental sculpture during this period. The six- foot-tall image of Christ nailed to the cross is both statue and reliquary [a shrine for sacred relics]. A compartment in the back of the head held the Host. This dramatically different conception of the crucified Savior digresses from the Early Christian image of the youthful Christ triumphant over death in that he is represented as an all-too-human martyr in intense agony. Though the work may seem more similar to the Byzantine representations of a suffering Christ, its emotional power is unparalleled. Blood streaks down his forehead from the (missing) crown of thorns. Christ's body sags under its own weight. The muscles are stretched to the limit - those of his right shoulder and chest seem almost to rip apart.

Virgin and Child Notre Dame, Paris Early fourteenth century LATE GOTHIC

Apollo from Veii C500 BCE 5’10” in height. ETRUSCAN

Kritios Boy ca. 480 BCE EARLY CLASSICAL GREEK

Antoine Houdon Bust of George Washington 1786 NEOCLASSICAL

Kouros Greece ca. 600 BC ARCHAIC GREEK

Praxiteles Hermes and Infant Dionysus (Roman Copy) Late Classical Period

Auguste Rodin, The Thinker (or The Poet) C1880 POST-IMP

Auguste Rodin, Burghers of Calais, POST-IMP

Umberto Boccioni Unique Forms of Continuity in Space, FUTURISM

Marcel Duchamp Nude Descending a Staircase, FUTURISM