1. Sculpture and Ancient Greece

2. 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

3. 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

4. Kritian Boy 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

5. Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy height: 6’6”
Polykleitos
Spear Bearer (Doryphoros) c 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 BCE a marble copy height: 6’6”

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

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. 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