Ancient
Greece
Classical and Hellenic
Sculpture
“The Nude Dudes”
New Vocab:
-Contrapposto
-Pathos
Recovered from ruins of the Acropolis-differs significantly from earlier Kourousstands in a realistic way- with weight shifts-no more symmetry- faint s-curve
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) 450-440 BC by
Polyclitus
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 clothshows the pull of gravity
•Animated expression, very solemn
Charioteer, 470 BC
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
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.460-450 BC, Bronze
- 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
•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.450-440 BC
Pathos- suffering conveyed with
nobility and restraint- meant to touch
us rather than horrify us
Compare
Parthenon Sculptures
Dionysus, East pediment of Parthenon, c. 438-432 BC
Ease of movement, poetry- fit into the pediment, but stands alone
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
Characterized by great sense of
rhythm
Horsemen, west frieze of Parthenon c. 440 BC
Phidian StylePhidian was the chief overseer of
artistic enterprises sponsored bu
Pericles- Parthenon sculpture fits
under this category, but many
different artisans worked on
them
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, 410-407 BC
Painting also reflected the Phidian style
•Three-dimensional
•Shapes exist in depth
•Uses foreshortening
•Most classical painting examples have
been lost
The “Achilles Painter”, 440-430 BC
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 unClassical
Scopas, Battle of the Greeks and Amazons, east frieze
Mausoleum, 359-351 BC
•Drapery has its own volume
•Intense gaze
•Probably done by Praxiteles or was
influenced by- focused on feminine grace
Demeter from Cnidus, 340-330 BC
•1st completely nude figure of Aphrodite
•Statue became a synonym for absolute beauty
Cnidian Aphrodite (Roman copy) 300 BC
Done by Praxiteles
•Sense of complete relaxation
•S-curve of body
•Faint smile
•Probably Praxiteles’ greatest accomplishment
Hermes, by Praxiteles, c. 300-320 BC
•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
•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 hairfreedom of 3-dimensional movement
Apoxomenos (Scraper)Roman copy of a
Greek bronze, c. 330 by Lysippus
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
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
•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
Altar of Zeus at Pergamum (restored) 180 BC
Famous for its Frieze- climax of Greek architectural sculpture
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
•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.200-190 BC
•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
•Produced for private ownership
•Broader range of subject matter
than monumental sculpture
•Everyday subjects
•Same love for movement and
action
Veiled Dancer c.200BC