1. Why the nude?
What should we try to read?
What is the body doing? Can we read a narrative in the movement of the body? What does the facial expression communicate?
How has the sculptor constructed the body?
What are the proportions of the head to the body? How developed is the musculature of the torso or chest?
How does the intent of a sculpture of a male differ from that of a female?
What can we argue based on what has been represented?

2. Sculpture and Ancient Greece

3. The Male Nude in Ancient Greek Art How does it change?

4. 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

5. 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

6. 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

7. 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
Kritian Boy BCE

8. Warrior A c. 460-480 BCE Warrior A c. 460-480 BCE
bronze with bone and glass eyes, silver teeth, and copper lips and nipples
height: 6’ 8”
hollow casting in bronze made it possible to create compositions in which the subject is depicted in an off-balance action pose; it was easier for sculptors to depict the subject as if they were in movement
bronze became the medium of choice for Greek sculptors
many of the most famous works we value today are actually marble copies made by the Romans after bronze originals
athletic musculature seems to contradict the maturity of the face
notice how the opposite arms and legs are static or in motion….
desire to heighten the life-like effects by adding eyeballs of bone and colored glass, by insetting the lips and nipples in pinkish copper

10. 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….

11. 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”

12. 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

13. 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

14. Lysippos The Scraper Roman copy after an original bronze of c. 330 BCE
used smaller heads and more slender bodies like those of Praxiteles
Lysippos The Scraper

15. 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

16. 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

17. Dying Gallic Trumpeter
Dying Gaul
Dying Gallic Trumpeter

18. Dying Gallic Trumpeter

19. 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

20. Hagesandros, Polydoros, and Athanadoros of Rhodes
Laocoon and His Sons
marble height: 8’

21. Hagesandros, Polydoros, and Athanadoros of Rhodes
Laocoon and His Sons
marble height: 8’

22. Hagesandros, Polydoros, and Athanadoros of Rhodes
Laocoon and His Sons
marble height: 8’

23. Hellenistic Ruler c. 150-140 BCE
bronze height: 7’9”
Hellenistic exaggeration overrides the lingering suggestions of Classical heroism and idealism
overdeveloped musculature; individualized features; arrogant pose

24. The Female Nude in Ancient Greek Art How does it change?

25. 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

26. 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

27. 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
Aphrodite of Melos or Venus de Milo
c. 150 BCE

28. 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

29. 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

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

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

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

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

34. 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