A new world of realism

This is the beginning of the period of Athenian supremacy, just after the great victory over the Persians. It coincides with the flowering of democracy and drama. There is a new naturalism in the stance of the figures, a new confidence in trying different poses and a new simplicity in drapery. There is also evidence of an interest in showing individual character and emotion. “Arrested motion”.

There is a movement now towards greater observation of reality in the human form. Also away from fussiness towards simplicity, even severity. A grand, calm, sometimes solemn expression.

The human figure now looks like a co-ordinated whole. Now sculptors could branch out into actions and even feelings. Not total realism, though. Very serene, even severe, a step away from the real. One major development was in the weight distribution of the standing figure. It became even more unequal which gives a sense of movement and naturalism. There is a new asymmetry which looks really lively.

With the new advances in bronze-casting, sculptors became more adventurous in the types of pose they depicted. Instead of standing still, figures were now striding out, waving their arms, about to jump, run or throw something. (See Richterpp.96, 98, 99, 110 and 111). Now a figure could be shown mid-action.

The folds become more natural in shape and much less fussy. They are no longer in a set pattern, and instead of the light chiton and heavy himation, the peplos is seen more. (See Richter p.103) The term “severe” can apply to the drapery too.

Huge advances were made here. Perhaps the most obvious is in perspective and foreshortening. The finest example from this period is the Ludovisi Throne, or Birth of Aphrodite.

Severe style – grandeur and solemnity Simple, natural folds in drapery New variety in poses “arrested motion” Action and emotion shown Contrapposto carried further (tilt in standing figures) New ability to show perspective (depth) and foreshortening in relief sculpture.