1. Classical and Hellenic Sculpture
Ancient Greece
Classical and Hellenic Sculpture
“The Nude Dudes”
New Vocab:
-Contrapposto
-Pathos

2. Recovered from ruins of the Acropolis-differs significantly from earlier Kourous- stands in a realistic way- with weight shifts-no more symmetry- faint s-curve

3. Contrapposto- standing at ease, a balanced non-symmetry
Leg that carries the weight is the engaged leg, the other is the free leg
Major discovery- learning how to show the body at rest
Gives a new animation to the body-archaic smile is no longer needed- expressions are now more serious
Each muscle shows the new balance of weight in the Spear Bearer- even the head
The measure of true human beauty
Spear Bearer (Roman Copy) BC by Polyclitus

4. The Severe Style- Started with the introduction of Contrapposto
describes sculpture between 480 and 450 BC
Charioteer- 1st large scale Greek bronze sculpture- contrapposto is present despite heavy clothing
Left foot is the engaged one
Folds of clothing are much softer than archaic sculpture- reflect the behavior of real cloth- shows the pull of gravity
Animated expression, very solemn
Charioteer, 470 BC

5. Pair of pediment sculptures are a good example of the severe style
Sculpture is active, but does not physically participate in action
Body has a tension, faces have emotion
Apollo, Hippodamia, West pediment, Temple of Zeus at Olympia, c.460 BC

6. Movement in statues--
Could only be achieved after the invention of contrapposto
Large, free-standing sculptures in motion is the greatest achievement of the severe style
Poseidon- in the act of throwing trident (or thunderbolt)
Pose is athletic, a gesture rather than in mid action- a divine action
Poseidon (Zeus?) c BC, Bronze

7. - condenses a sequence of motions into a single pose- much more complex
Brings in era of the mature classical style
All sculpture was effected by new freedom
Discobolus, Roman marble copy of Greek bronze c. 450 BC by Myron

8. Carved as a pediment sculpture
Tells the story of Niobid who bragged about her children to Apollo and Artemis- the Gods killed her children and shot an arrow in her back
The drapery serves as a dramatic device- shows the violence in her pose
Purpose was to show a beautiful female body in strenuous action
Unites suffering and motion
Dying Niobid, c BC

9. Pathos- suffering conveyed with nobility and restraint- meant to touch us rather than horrify us
Compare

10. Parthenon Sculptures
Dionysus, East pediment of Parthenon, c BC
Ease of movement, poetry- fit into the pediment, but stands alone

11. Three Goddesses, east pediment, 438-432
Also fits into pediment, drapery adds to ease and spaciousness of the sculpture
Architectural sculpture is clearly moving away from the confines of the pediment

12. Phidian Style- Characterized by great sense of rhythm
Horsemen, west frieze of Parthenon c. 440 BC
Phidian Style-
Phidian was the chief overseer of artistic enterprises sponsored bu Pericles- Parthenon sculpture fits under this category, but many different artisans worked on them

13. Why is she taking off her shoes???
Rhythm and grace in an awkward position
Figure is strongly detached from background
Garment makes her look wet
Nike, balustrade of Temple of
Athena Nike, BC

14. Painting also reflected the Phidian style Three-dimensional
Shapes exist in depth
Uses foreshortening
Most classical painting examples have been lost
The “Achilles Painter”, BC

15. Pre-Hellenic, 4th Century Sculpture--400-100 BC
The period after the Peloponnesian War and before the rise of Alexander the Great
From Mausoleum at Halicarnassus, funerary monument
structure probably derived from Egyptian idea- very “un-Greek”
Scopas- recognizable style
Of the Parthenon tradition, but the physical violence depicted is very un-Classical
Scopas, Battle of the Greeks and Amazons, east frieze
Mausoleum, BC

16. Drapery has its own volume
Intense gaze
Probably done by Praxiteles or was influenced by- focused on feminine grace
Demeter from Cnidus, BC

17. 1st completely nude figure of Aphrodite
Statue became a synonym for absolute beauty
Cnidian Aphrodite (Roman copy) 300 BC
Done by Praxiteles

18. Sense of complete relaxation
S-curve of body
Faint smile
Probably Praxiteles’ greatest accomplishment
Hermes, by Praxiteles, c BC

19. Very popular during the 18th and 19th centuries during Greek revival
Seen as the perfect example of classical beauty
Apollo Belvedere (Roman copy) 4th c. BC

20. Lysippus- another great name in 4th c. sculpture
New sense of proportion- more slender body, smaller head
Shows athlete scraping himself with a scraper-common motif
Both arms are horizontally extended, diagonal line of the free leg, unruly hair- freedom of 3-dimensional movement
Apoxomenos (Scraper)Roman copy of a Greek bronze, c. 330 by Lysippus

21. Hellenistic Sculpture-
Hellenistic period defined by the spread of Greek culture by the conquests of Alexander the Great
Sculpture began to be produced in far reaches of the empire
Characterized by action, pathos, movement

22. Dying Gaul, Roman copy of a Greek bronze, 230-220 BC
Commemorates defeat of the Gauls, a Celtic tribe that invaded Asia Minor
Shows ethnic type- facial structure and hair type, rope around neck
Shares heroic nudity of Greek warriors- seen as worthy foes
Has a new animal quality- very physical process of dying

23. Mrs. Field says: “You won’t ever forget this one!!”
Depicts a drunken satyr, asleep
In a state of dreaming- troubled expression, convulsive gesture
Get your mind out of the gutter!
Barberini Faun, Roman copy, c.220 BC

24. Altar of Zeus at Pergamum (restored) 180 BC
Famous for its Frieze- climax of Greek architectural sculpture

25. Frieze Detail
Carved to a great depth-almost detached, no longer confined to pediment
Depicts the battle of the gods and giants- a popular theme- now symbolizes specific ruler’s victories- like the Near East tradition- divine kingship was re-introduced with Alexander
Dramatic force, writhing movement

26. Shows dramatic internal and external forces- wind suggests that figure is air born, animates drapery
NEW relationship between form and the space it occupies
Nike of Samothrace c BC

27. Found in Rome in 1506, greatly influenced Michelangelo
Represented sublime tragedy to the people of the Renaissance
The Laocoon Group (Roman copy) 1st c. AD

28. Produced for private ownership
Broader range of subject matter than monumental sculpture
Everyday subjects
Same love for movement and action
Veiled Dancer c.200BC