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Sculpture and Ancient Greece

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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 on 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 Myron The Discus thrower a Roman copy after the original bronze of c. 450 BCE marble height: 5’1” Notice the stump used to support the figure….

6 Spear Bearer (Doryphoros) c. 450-440 BCE a marble copy height: 6’6”
Polykleitos Spear Bearer (Doryphoros) c BCE a marble copy DORYPHOROS is spear bearer in Greek. 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”

7 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

8 Lysippos The Scraper Roman copy after an original bronze of c. 330 BCE
used smaller heads and more slender bodies like those of Praxiteles the arms of The Scraper break free into the surrounding space, requiring the viewer to move around the statue to fully absrob its full aspect

9 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

10 Dying Gallic Trumpeter Roman Copy after the original bronze of c
Dying Gallic Trumpeter Roman Copy after the original bronze of c. 220 BCE Pergamene Style deliberate attempt to elicit a specific emotional response in the viewer—expressionism Dying Gallic Trumpeter Roman Copy after the original bronze of c. 220 BCE

11 Hagesandros, Polydoros, and Athanadoros of Rhodes
Laocoon and His Sons 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

12 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

13 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

14 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

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

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