The Classical Period
480 – 400 BCE
“In the first place, the fifth century b.c. is one of the
epochs in the history of art which have made the most
important and fruitful conquests in the field of
naturalism. Not merely is this true of the early classical
style of the Olympia sculptures and the art of Myron;
the whole century shows a joy in nature which, with
some short pauses, is continually on the increase. It is
precisely the fact that its impulse to be true to nature is
almost as strong as its desire for proportion and order
which distinguishes Greek classicism from the later
classicist styles derived from it.”
Arnold Hauser, The Social History of Art , Volume 1
The Classical Period
is one of the most
important periods for
its influence on later
styles and periods of
art. As we will see this
period influenced the
great Italian
Renaissance
sculptors Donatello
and Michelangelo and
the late 19th century
artist Rodin.
Polykleitos was
trained in the Severe
Style and extended
the concepts of that
period creating even
more fluidity in the
movement. In the
Classical Period the
muscular
development
connecting torso to
legs becomes more
pronounced. It has
been suggested that
the athletes of the
period actually
developed this area
rather than this being
an invention of the
sculptors.
The Doryphoros or Spear Bearer demonstrates the new ideals in regards to the
beautiful in Greek art. Proportion and contrapposto become more subtle and, to
create a more lyrical figure Polykleitos adds an interesting system of cross
balances in the arms and legs. This system softens the absolute symmetry of
the human body creating a contrast in the bodies contour on the left and right.
Praxiteles is one of the most important
sculptors of the 4th century BCE and his
work demonstrates the changes that
take place in Greek art of this period. In
earlier periods the artists seem to have
held to a common aesthetic but in the
Classical Period the artists seem to
develop more individual forms.
Praxiteles continues the use of weight
shift, contrapposto but adds to it the “S”
curve. These three devices give the
figure more grace and beauty
Praxiteles – Hermes and
Dionysos
Ca. 340 BCE
The female nude was extremely rare
until the 4th century BCE. It has been
said that Praxiteles was the first to sculpt
the female nude. Kenneth Clarke wrote
in his scholarly work, The Nude, “It is
remarkable that in the female nude there
is hardly a single formal idea of lasting
value that was not originally discovered
in the 4th century.”
Knidos was the sacred island of
Aphrodite (Aphrodite becomes Venus in
Rome). Praxiteles created the cult idol
for her temple on the island. As one
entered the temple they would view the
Goddess from behind as she steps into a
ritual bath. Notice at the feet of Aphrodite
there is a dolphin with Eros on its back.
These are symbols of the goddess and
we will see them again on the Roman
Augustus of Primaporta.
Venus de Medici (after Praxiteles)
Pliny, the Roman writer, said of Praxiteles’ Aphrodite, it was “ superior to
all works of art, not only of Praxiteles, but indeed in the whole world.
There is a tale that two male pilgrims went to Knidos to pay homage to
the goddess of love. As they entered the temple they saw the statue of
the goddess as we see her in the Venus de Medici. They were so taken
with her beauty that they bribed the priest to allow them to come around
so they might see her in her full glory.
Another story about the beauty of Aphrodite concerns Phidias. Phidias
had done a sculpture of the goddess and when it was seen a rumor
spread through Athens that the model was as beautiful as Aphrodite.
Heresy! Phidias was brought to trial before the all male senate. When
it came time for his defense the model was brought in, Phidias removed
the pin that held up her garment, the garment fell to the floor. Phidias
was acquitted as she was truly as beautiful as the goddess.
We have here two
more examples of
Roman copies of
the Aphrodite by
Praxiteles. Not all
copies are of quality.
Notice the arm
brought forward in the
Aphrodite of Knidos,
the proportional
relationships are
clumsy. This occurred
during the restoration
of the sculpture.
Crouching Aphrodite
Lysippos was the most renowned artist of
the second half of the 4th century BCE. He
was a sculptor for Alexander the Great. In
his work we see a new set of proportions
which makes
the figure more slender and elegant. The
differences are slight but profound.
Lysippos, Apoxyomenos
ca. 330 BCE
This beautiful figure, Hermes tying his
Sandals, has been attributed to Lysippos
but the attribution has been challenged.
The proportions are consistent with those
stated in Lysippos canon.
Michelangelo spoke of the sculpture being
in the stone and that the task of the
artist was to release it.
In the Apoxymenos we see Lysippos
moving the sculpted figure into the viewers
space. Another innovation in the sculptors
work is the introductions, as can be seen
here, of a spiraling or twisting affect in
his compositions.
Lysippos’ Hercules at Rest , is found
at the Archeological Museum in Naples,
Italy. The museum is one of the great
repositories of Classical (Greek and
Roman) art. It and the great
Capodimonte Museum make a trip to
Naples very rewarding . . . then have
a pizza. Naples is the birth place of the
pizza.
The emotion captured by Lysippos in
this sculpture is astonishing. Through
the formal devices used by artists to
communicate Lysippos captures the
exhaustion of this Classical giant.
Hercules at Rest
ca. 320 BCE
Hellenistic
323 – 31 BCE
The Hellenistic Period begins with the death of Alexander the Great and
ends with the defeat of Mark Anthony and Cleopatra at Actium.
In the art of the period we see an expansion of subject matter from
the young through the old. The figures are no longer idealized but
are more naturalistic. Complex dramas also emerge in this period.
In the Hellenistic Period Athens becomes less influential and power
shifts to the cosmopolitan cities of the East.
Epigonos, Dying Gaul, ca. 230 – 220 BCE
Dying Warrior, ca. 490 – 480 BCE
Comparing these two sculptures is
very interesting. The Dying Warrior
is a product of the Archaic Period,
the piece by Epigonos is an example
of what is often called the Hellenistic
Baroque style. The Dying Gaul shows
the intense drama that characterizes
many Hellenistic sculptures. The pose
of the Dying Gaul, the realism of the
face and the expression of total
exhaustion creates a vividly theatrical
piece which is the essence of the
Hellenistic Baroque Style.
As your text says, “The
Hellenistic statues interact
with their environment
and appear as living,
breathing, and intensely
emotive human (or divine)
presences.”
The Dying Warrior is
more stylized adhering to
the principles of the Archaic
Period.
The Nike of Samothrace
is one of the glories of
the Hellenistic Baroque
Style. As with some of
the other sculptures of
the period the
compositions become
complex. “The fountain’s
flowing water created the
illusion of rushing waves
dashing up against the
prow of the ship. The
statue’s reflection in the
shimmering water below
accentuated the sense of
lightness and movement.
The sound of splashing
water added an aural
dimension to the
visual drama. Art
and nature were
here combined in
one of the most
successful
sculptures ever
fashioned.” This
same aesthetic is
seen in the great
Italian Baroque
artist, Bernini. Many
of Bernin’s most
moving works use
nature as an artistic
tool.
Nike of Samothrace
ca. 190 BCE
One of the most beautiful aspects
Of the “Winged Victory” is the sensitive
play of the complex ins and outs of the
contour. As the piece was to be seen
from a distance the contour is extremely
important.
The Farnese Bull was carved in
the 2nd century BCE. This
“mountain of marble,” as it has
been called, was discovered in
Rome in 1545.
The narrative comes from
Classical mythology. Dirce was
tied to a bull as punishment for her
ill treatment of Antiope.
Apollonius and Tauriskos,
The Farnese Bull
2nd century BCE