1. High Classical Sculpture
Polykleitos, Spear-bearer (Doryphoros), Roman copy in marble of a bronze Greek original, c BCE, 6’ 11” h
Bronze bust, copy of the Doryphoros

2. Polykleitos’s new canon Canon & Chiasmus & Symmetria Contrapposto
Naples Minneapolis

3. Polykleitos, Spear-bearer (Doryphoros), Roman copy in marble of a bronze Greek original, c BCE, 6’ 11” h

4. Polykleitos’s new canon
Polykleitos wrote an account of his “Canon,” which is lost, but Galen, a 2nd-Century physician summarized it as follows:
[Beauty arises from] the commensurability (symmetria) of the parts, such as that of finger to finger, and of all the fingers to the palm and the wrist, and of these to the forearm, and of the forearm to the upper arm, and in fact, of everything to everything else, just as written in the Canon of Polykleitos.
Chiasmus is a literary term derived from the Greek letter chi (X) that describes switching words between two similar sentences. In antiquity it is associated with Chroesus, the 6th century King of Lydia, who is quoted as saying: "In peace sons bury their fathers, but in war fathers bury their sons."

5. The Classical Tradition in Western Sculpture
450 BCE BCE BCE CE CE CE
The Classical Tradition in Western Sculpture

6. The original purpose of the statue is unclear.
A bronze statue of a warrior was found in a ship wreck near Riace, Italy, in 1972.
The original purpose of the statue is unclear.
The date assigned to the statue by scholars is c BCE. Why?
Riace Warrior, , bronze, 6’ 6” tall, c BCE

7. Circa ?
480 BCE
600 BCE BCE BCE 450 BCE BCE BCE

9. Description…

10. The date assigned to the statue by scholars is c. 460-450 BCE. Why?
They place the date:
after 500 BCE because it was made using cire-perdu process.
after c. 480 because it has contrapposto (S-curve through the body) similar to, but more pronounced than, Kritios Boy (left).

11. They place the date before 450 BCE because the Warrior rests on two feet, and thus seems to lack the potential for movement suggested in both Myron’s Discus Thrower of c. 450 BCE or Polykleitos’ Spearbearer of c BCE.
Riace Warrior, , bronze, 6’ 6” tall, c BCE

12. They place the date:
close to 450 BCE because it shows evidence of chiasmus (right leg and left arm working) similar to Polykleitos’s Spearbearer of c BCE.
slightly before 450 BCE because the proportions are somewhat different from Polykleitos’ canon.

13. Circa…
600 BCE BCE 480 BCE BCE BCE BCE

14. Late Classical Art 404 to 323 BCE and Hellenistic Art 323-27 BCE
Greek Art 404 to 27 BCE
Late Classical Art
404 to 323 BCE
and
Hellenistic Art
BCE

16. Late Classical Sculpture 404-323 BCE
Phiale Painter, Hermes delivering Dionysos to Papposilenos, white-ground krater, c BCE—
the same subject.
Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

17. Found at the Temple of Hera at Olympia
Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

18. Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

19. Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

20. Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

21. Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

22. Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of 350-340 BCE
Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

23. “Praxitelean “sculptures of Aphrodite, Roman marble copies after a marble original from Knidos, c BCE

24. Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of 350-340 BCE
Greek black-figure hydria

25. Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of 350-340 BCE
“Praxitelean” head from the MFA, Boston

26. “Praxitelean” head from the MFA, Boston
Praxiteles, Hermes and the Infant Dionysos, marble copy after a marble original of 340 BCE

27. Temple of Aphrodite at Knidos, Turkey
Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of BCE

28. Pliny the Elder, Natural History, 36.20-22:
First and foremost not only of his [Praxiteles], but indeed in the whole world, is the Venus that many have sailed to Cnidus to see. He made two statues and put them up for sale together: one was draped and for that reason was preferred by the people of Cos, who had an option on the sale, even though it was the same price as the other, for they judged this to be the sober and proper thing to do. The Cnidians bought the rejected one, whose fame became immensely greater.... With this statue, Praxiteles had made Cnidus famous. The shrine she stands in is completely open, so that one can view the image of the goddess from all sides, an arrangement (so it is believed) that she herself favored. The statue is equally admirable from every angle. There is a story that a man was once overcome with love for it, hid inside during the night, and embraced it, leaving a stain to mark his lust.
Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of BCE

29. Praxiteles, Aphrodite (Venus) of Knidos, Roman copy after a marble original of 350-340 BCE
“Praxitelean” Aphrodite viewed from behind.

30. Late Classical Sculpture 404-323 BCE
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall
Late Classical Sculpture BCE
The second great sculptor from the Late Classical period was Lysippos, who worked in bronze.
Lysippos, Weary Herakles, c. 320 BCE, Roman copy in marble from the baths of Rome, of a Greek original in bronze

31. Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall
Vatican Collection

32. Pliny the Elder, Natural History 34.62
(62) He [Lysippos] was a most prolific artist, and made more statues than any other sculptor, among them a Man Scraping Himself with a Strigil, which M. Agrippa dedicated in front of his baths, and which the emperor Tiberius was astonishingly fond of. Although at the beginning of his principate he kept control of himself, he was unable to do so in this case, and had the statue removed [from the Baths of Agrippa] to his bedroom, substituting another in its place. But the Roman people became so indignant at this that they raised an outcry at the theater, shouting, "Give us back our Apoxyomenos!" So despite his admiration for it, the emperor returned it.
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall

33. Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall
Late Classical

34. Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall
Praxiteles, Hermes and Dionysus, copy of a marble original of c. 340 BCE, 7’ 1” tall

35. Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c
Lysippos, Apoxyomenos (Scraper), Roman copy of a bronze original of c. 330 BCE, c. 6’ 9” tall
Lysippos, Weary Herakles from the baths of Rome, c. 320 BCE, Roman copy in marble of a bronze Greek original

36. Lysippos, Weary Herakles from the baths of Rome, c
Lysippos, Weary Herakles from the baths of Rome, c. 320 BCE, Roman copy in marble of a bronze Greek original

37. Lysippos, Weary Herakles from the baths of Rome, c
Lysippos, Weary Herakles from the baths of Rome, c. 320 BCE, Roman copy in marble of a bronze Greek original

38. Lysippos, Weary Herakles from the baths of Rome, c
Lysippos, Weary Herakles from the baths of Rome, c. 320 BCE, Roman copy in marble of a bronze Greek original

39. Hendrick Goltzius, Farnese Hercules engraving published 1617

40. Lysippos, Weary Herakles from the baths of Rome, c
Lysippos, Weary Herakles from the baths of Rome, c. 320 BCE, Roman copy in marble of a bronze Greek original

41. When Alexander died in 323 BCE, the Mediterranean and the Near East were divided among his generals. Greek was imposed on defeated nations and became the common language of the entire region. As Greek artistic and intellectual ideas were exported widely, foreign ideas were imported.
Having been defeated by Macedonia, Greeks began to lose their sense of superiority, including their mathematical idealism and their belief in the ability of man to perfect nature through reason and order. In contrast to the rational order of the High Classical era, Greek-speaking regions of the world during the “Hellenistic age” began to create new forms of visual art and literature including poetry and drama (both tragedies and comedies) that emphasized human irrationality, seductive sensuality and emotion. The god of wine Dionysus emerged as a major cult figure during this period, which lasted until the Romans conquered Greece in 27 BCE.

42. Hellenistic Sculpture 323 to 27 BCE
Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

43. Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

44. Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

45. Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

46. Michelangelo, Ignudi from the ceiling of the Sistine Chapel, c. 1506.
Laocoön and His Sons was dug up in Rome in 1506 with Michelangelo watching. It became the foundation of the so-called Baroque tradition.
Various dates have been suggested for the statue, ranging from about 160 to about 20 BC. Inscriptions found in Rhodes date Athanadoros and Hagesandros to a period after 42 BCE, making this date the most probable for the Laocoön statue's creation. It is not known whether it is an original work or a copy of an earlier sculpture, possibly of a bronze sculpture from Pergamon (Turkey), created around 200 BC. Pliny states that this marble statue was located in the palace of the emperor Titus and carved from a single piece of marble, though when found it was discovered to comprise seven interlocking pieces.
Michelangelo, Ignudi from the ceiling of the Sistine Chapel, c
Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

47. Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE
Peter Paul Rubens, Drawing of the Laocoön,

48. Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE
Peter Paul Rubens, Elevation of the Cross, c

49. Giovanni Panini, Ancient Rome, 1757
Laocoön and His Sons by Athanadoros, Hagesandros and Polydoros of Rhodes, early 1st century CE

50. Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians
Giovanni Panini, Ancient Rome, 1757

51. Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

52. Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

53. Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

54. Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

55. “King Attalos having conquered in battle the Tolistoagii Gauls around the springs of the river Kaikos [set up this] thank-offering to Athena.”
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom, Turkey, c BCE, commemorating the victory of Attalos I over the Galatians

56. Epigonos (?), Gallic Chieftain and wife, Roman copy of a bronze original from Pergamum, Turkey, c BCE
“King Attalos having conquered in battle the Tolistoagii Gauls around the springs of the river Kaikos [set up this] thank-offering to Athena.”

57. Old Market Woman, marble, c
Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

58. According to the Metropolitan Museum of Art:
During the Hellenistic period, artists became concerned with the accurate representation of childhood, old age, and even physical deformity. The range of subject matter was extended to include genre-like figures from the fringes of society. Fine, large-scale statues of fishermen, peasants, and aged courtesans became valued religious dedications, sometimes placed in a park-like setting within the sanctuary of the god. Although this statue is known familiarly as The Old Market Woman, it probably represents an aged courtesan on her way to a festival of Dionysos, the god of wine. Her delicate sandals and the ample material in her thin, elaborately draped chiton are a far cry from the rough garb of a peasant woman. The ivy wreath on her head marks her association with Dionysos, and the basket of fruit and the two chickens must be dedicatory gifts to the god or simply her own provisions for a long day of celebration. Veneration of Dionysos was widespread during the Hellenistic period, and ancient literary descriptions give an idea of the extraordinary processions and festivals held in his honor. The flattened composition of the figure is typical of sculpture created in the late second century B.C. The original work may have been dedicated in a sanctuary of Dionysos. The Roman copy could have decorated a garden.
Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

59. Old Market Woman, marble, c
Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE
Caryatid from the Porch of the Maidens, British Museum, 7’ 7” tall

60. Sleeping Satyr (Barberini Faun), c. 230-200 BCE
Old Market Woman, marble, c BCE, 4’ tall, Met, Roman copy from c. 14 to 68 CE

61. Sleeping Satyr (Barberini Faun), c. 230-200 BCE

62. Sleeping Satyr (Barberini Faun), c. 230-200 BCE

63. Sleeping Satyr (Barberini Faun), c. 230-200 BCE

64. Sleeping Satyr (Barberini Faun), c. 230-200 BCE
Hero and Centaur (Herakles and Nessos?), c. 740 BCE, 4 ½” high, Metropolitan Museum of Art, lost wax cast bronze

65. Sleeping Satyr (Barberini Faun), c. 230-200 BCE