Greek Study Charts
FEMALE freestanding Sculpture
1
January 2, 2013
Summary of Greek Female Sculpture
Typical Examples
Geometric Period
900- 700 BC
Stylistic Characteristics
Artists
Greek Study Charts
FEMALE freestanding Sculpture
2
January 2, 2013
Archaic Period
700 - 480 BC
J165
Lady fro Auxerrre, c 650 BC
Greek Archaic elements of the closed contour,
the grimmacing mask, the frontality.
Greek preoccupation with the harmonious
proportions or idealized humanity.
G5-14
Hera, from Samos, c. 560 BC, Marble, apx 6'4" high.
Louvre, Paris
G5-17
Peplos Kore,
Ionian elaboration of drapery lines
Hera and Pelplos Kore- drapery forms sheath that
conceals body of the column like figures
DORIAN
from the Acrospolis, Athens, c 530 BC
Marble, apx 48" high, Acropolis Mus, Athens
G5-18
Kore from Chios (?), - IONIAN
c 510 BC
Marble, apx 21 1/2" high, Acropolis Mus, Athens
Kore from Chios and caryatids of Treasury of
Siphnians= archaic drapery with angular
pressed folds
Poses = similiar to Kouros except for bent left arm
& lack of extension of left leg
Archaic smile
= 1st clear expression in western art.
Marble painted with colored encaustic
Greek Study Charts
FEMALE freestanding Sculpture
3
January 2, 2013
Early Classical
(Transitional)
Period
480 - 450 BC
Greek Study Charts
FEMALE freestanding Sculpture
4
January 2, 2013
Figures move in 2D
High Classical
(Mature)
Period
450 - 430 BC
J210
5-47
PHIDIAS, Three Goddesses,
from the east pediment of the Parthenon, Marble, over
lifesize, British Museum, London,
c 448 - 432 BC
J212
G5-57- or Late Classical
PHIDIAN STYLE, Nike Fastening Her Sandal,
(or "Adjusting")
from parapet of the Temple of Athena Nike,
Acropolis, Athens, c 410 BC, apx. 42" high,
AcropolisMus, Athens
Idealism
Myron- 5th
Polykleitos- 5th- active 450-420
Phidias- 5th - 500-432
3 Goddesses-drapery folds take on abstract life of their
Phidian style dominated Athenian sculp until end
own, twists and turns are subordinated
of 5th c BC
to the unifiying voulmes of the bodies
able to capture with great subtlety the
grace of the Phidian style
complex poses of the figures, which are
revealed by the diaphanous (translucent)
drapery
repeated zigzag of planes
Nike --wet drapery folds that follow
and reveal sensual contours of the body
drapery CLINGS to body
graceful elegance
almost transparent drapery
Greek Study Charts
FEMALE freestanding Sculpture
5
January 2, 2013
Late Classical
Period
430 - 323 BC
J220
PRAXITELES
Aphrdite of Cnidus
mid 4th c, c 300 BC
Figure move in 2D
New more personal and naturalistic ideal of
physical beauty
slender in proportions
J219
Demeter, c340- 330 BC
mid 4th c
emphaisis on the exquisitely smooth modeling
that reproduces tones of resilent flesh
popularized the nude female statue
abandoned traditional concept of figure occupying
rectangular space
Idealization of feminity
depicted nude women in normal situations that
justified their nudity, - bathing, making love,
flute girls, hertairiNaturalism
By the end of there is the Canon of Lysippos
and figure moves in 3D
Praxiteles- 4th
Lysippos- 4th
Scopas- 4th
Boethos
Greek Study Charts
FEMALE freestanding Sculpture
6
January 2, 2013
Hellenistic Period
323- 30 BC
G5-75
Nike of Samothrace, c 190 BC. Marble, apx 8' high.
Louvre, Paris
G5-63
Aphrodite of Cyrene, fromNorth Africa,
c. 100 BC (?), Marble, apx 56" high, Museo Nazionale
Romano, Rome.
Samothrace- forward diagonal of torso
slight contrapposto
Bryaxis
Agesander, Athenadorus, and Polydorus
of Rhodes
stone emulates the freedom of painters with
shadows and gradations of shadows by
variations of surface carving
1st School of Pergamon
2nd School of Pergamon
environment that opened up around
Apoxyomenos opened up still more
visual nuances of moment with ongoing essence
o action
interdependence between the statue and space
that envelops it
complex movement of drapery- caused by
forward stride and by wind that whips the
drapery
Drapery Movement = more activated
sense of unity disciplines the physical and
emotional violence
dynamic integration of the whole compostion i
unlike carefully studied relationships of
separate parts seen in the Early Classical
period
wide scope of theme and the visula curiosity of
Hellenistic sculptors
Effort to move the viewer with themes of their
work
Realism of the Old Market Woman is emphasized
by the treatment of the drapery that reveals
the old and halting body underneath
figures no longer live within thier quiet self
contained world but instead are acted on by
envionmental forces
Old age, bent, bony frame, wrinkled skin, sunken
cheeks, sagging breasts.
Greek Study Charts
FEMALE freestanding Sculpture
7
January 2, 2013