Lizzy Spock
Art History 111
Work of Art Analysis
December 14 2012
Apollo Sauroctonus
Over the course of this first semester, we have discussed works of art
comprised of many mediums over thousands of years in history. One of the more
interesting periods that we have discussed, in my opinion, is the Classical Greek
era for several reasons. Not only were the pieces created during this time
beautiful, but also innovative and cutting edge. Sculptures, being the main focus,
took on a more naturalistic and detailed appearance. In addition, these works
also served a widened variety of usage such as political propaganda with the rise
of democracy, decoration as seen in friezes, and religious purposes when
depicting Grecian gods. One particular piece that I feel would be worth examining
is Praxiteles’ “Apollo Sauroctonus” because of its many defining characteristics
that incorporates everything that Classical Greek sculpture set out to accomplish.
From its trademark Classical stylistic components to cultural value and historical
significance when compared to other works we have analyzed in class, “Apollo
Sauroctonus” is an exemplary model of Grecian sculpture of its time.
At first glance, we see a striking marble sculpture standing at 1.49 meters
above the ground. While Apollo is the focal point of the piece, there are three
components working together to create a scene frozen in time: a portion of a
tree, a large, curvy lizard climbing up the side, and the young god himself. In this
scene, Praxiteles has decided to depict Apollo in his youth, as made apparent by
his stature and lack of distinguished definition in his muscles. As the sculptor was
most famous for his work with the female nude, we see Apollo possessing
several attributes suggesting a more feminine structure such as his graceful
pose, structured hipbones, and smooth contours- all also adding to his
representation as an adolescent. While his body isn’t fully matured, we are still
able to distinguish the detailed definition in his abdominals. In addition, the highly
stylized hairdo complete with a headband accessory and distinct creases around
his facial features speak to the intricate and elaborate characteristics of Classical
sculpture. Another aspect specific to this era is the contrapposto stance in which
Apollo is shown portraying. Famous for his utilization of this position, Praxiteles
was known for his use of the “Praxitilian curve,” or extreme contrapposto. Not
only does he utilize a non-linear position, but he goes a step further to add
additional twists in the torso, legs, and extended arms to create a sense of
balance in the position. The positioning is so extreme that the tree to the right of
Apollo is incorporated into his stance as a sort of crutch, allowing his body to
contort even further. Along with providing support, the sculpture of the tree is also
another aspect of the piece that is purposely stylized as well. Because it is
immediately next to Apollo, the viewer is able to easily compare the rigidity of the
bark to the smoothness of the skin of the young god, thus emphasizing the
attention to detail that was so crucial to other works of the time. The last
component to this sculpture is the lizard seen winding up the side of the tree.
While Apollo’s gaze is somewhat vacant, he is clearly focused on the lizard and
positioned in such a way that suggests he is poised to catch it. This sculpture is
so extraordinary in the respect that not only does it incorporate all aspects that
characterize Classical Greek sculpture, but is also able to unify three different
subjects into one comprehensive scene.
During the 5th century, the time in which this sculpture was created,
Greece was on the rise as a democratic nation producing some of the greatest
artists, philosophers, politicians, and scientists. This flourishing society boasted
the achievements of great thinkers like Aristotle, Plato, and Socrates, discoveries
in medicine by Hippocrates, and cultural innovation in the form of dramas from
playwrights such as Aeschylus and Euripides. As literacy and creation were the
most prominent aspects to this period, it makes perfect sense that Praxiteles’
sculpture was so widely revered. As the god of music and poetry, Apollo was the
shining beacon of progression for Greek culture. As an individual entity, he
represented everything that Athenians valued most at the time, so its no surprise
that he became the most widely associated god with the ideals and values of the
culture. As the deities of Mount Olympus have been widely revered by Greeks
since the beginning of their existence, it is customary that one should outshine
the rest at certain periods in time where their values match up to what the god
exists to represent. It was no mere coincidence that Praxiteles chose Apollo as
the subject of his famed sculpture at this period in time. In fact, it was a strategic
career move that solidified his work as a milestone on the culture and
progression of 5th century Greece.
Although we did not study this specific work in lecture, we have examined
other works both by Praxiteles himself and other artists that share a lot of the
same characteristics. The most striking similarities between sculptures can be
seen when comparing “Apollo Sauroctonus” with another famous piece done by
the same artist- Praxiteles’ “Hermes.” Standing at 3.7 meters, “Hermes” was
sculpted with the same characteristic Classical attributes as “Sauroctonus.” Both
sculptures include not only a powerful and revered god as the central focus, but
also incorporate other subjects as well. Similar to “Sauroctonus,” “Hermes”
involves two additional components. To the right of the god, Praxiteles includes a
silk robe, suggested by its intricate folds and smooth contours, that doubles as a
support to Hermes’ “Praxitelian” curved stance. Again, this incorporation allows
the figure to twist his body in the “S” like fashion without coming across as
uncomfortable or awkward. Hermes’ gaze is similarly vacant, however fixed on
what is believed to be the infant Dionysus perched atop his robe, creating the
same three-way dynamic we see in “Sauroctonus.” Because of these parallel
characteristics that remain constant in Praxiteles’ style of sculpting, there is no
doubt that these two pieces are the product of the same period in time.
As a whole, Praxiteles’ “Apollo Sauroctonus” is an exemplary model of
Classical Grecian sculpture. Its combination of highly stylized features, cultural
significance, and relevance to other prominent works discussed in class and
noted in history solidify it as a worthy representation of the ideals and beliefs of
its time. Not only does it illustrate the progression of art through history, but also
works like this allow us greater insight into the lives and mindset of a culture so
vastly different than our own and those that preceded it. Being able to analyze
works that remain so crucial to a culture’s history makes it possible to bridge the
gaps between eras and watch as the progression of man conveyed through art
has evolved over the course of history.