FEMALE Freestanding Sculpture - page
Summary of Greek Female Sculpture
Typical Examples
Stylistic Characteristics
Artists
Geometric
Period
900- 700 BC
Geometric
900 - 700
Oientalizing
Archaic
700 - 480
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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FEMALE Freestanding Sculpture - page
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J165
Lady fro Auxerrre, c 650 BC
24 1/2"
Archaic Period
700 - 480 BC
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G5-14 IONIAN
Hera, from Samos, c. 560 BC, Marble, apx 6'4"
high.
Louvre, Paris
Kore repeated
until the end of the
Archaic
Perhaps interst in
cloth kept Kore
from evolving
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S05-22
Keratea Kore
570-560 BCE
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L
L R
Geometric
900 - 700
6' 3"
Treasury of Siphinains
530 BCE
G5-17
Peplos Kore,
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
Oientalizing
Archaic
700 - 480
Egypt infl
One of oldest larege freestanfing Grek statues
Skirt = solid, does not reveal
Compare to Myc / Queen
Block concscious
Primitive, rigid, oversimplified
Meso rounded forms
Cylindrical
Frontal Feet together
Right arm tight ot side
Left arm bend to breast(prob to hold a syambol of
authority)
Model of breast
Hera and General Archiac
Hera and Pelplos Kore- drapery forms sheath
that conceals body of the column like figures
KORE = Maiden
Purpose = obscre
votives (perpetual ritual)
Greater variety of dress, pose
decorative potential
More varivable a a type than th eKouros
Marble painted with colored encaustic
Greek Archaic elements of the closed contour,
the grimmacing mask, the frontality.
Greek preoccupation with the harmonious
proportions or idealized humanity.
Immobile
full bodied
crown
thick soled clogs
Poses = similiar to Kouros except for bent left
clothing fluted like a column
arm & lack of extension of left leg
Red paint
often used red paint as a base for gold leaf
Pomegrate = attribute or symbol of Persephone Archaic smile
goddess of underworld and harvets and
= 1st clear expression in western art.
fertility and seaonal cycles of rebirth
Contemporary with Kroisos
Broke tradition (Egyptian) of
frontal, arms at side
Heavy cloth - separate layer over body
Damaged during Persian attack on Athens
Painted eyelids
Dorian Greeks could see female nudes
Prejudice against nudity = barbaric
Ionian elaboration of drapery lines
Female NUDE doe NOT appera in acient
sculpture until 4th century
Kore from Chios and caryatids of Treasury of
Siphnians= archaic drapery with angular
pressed folds
Grace, elegance
Oragnic hair
Play of pleats and folds textures
Gesture shows mobility
Oriental taste for rich ornament
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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FEMALE Freestanding Sculpture - page
Early Classical
(Transitional)
Period
480 - 450 BC
Geometric
900 - 700
Oientalizing
Archaic
700 - 480
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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FEMALE Freestanding Sculpture - page
J210 ; 5-47
PHIDIAS, Three Goddesses,
from the east pediment of the Parthenon, Marble,
over lifesize, British Museum, London,
c 448 - 432 BC
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High Classical
(Mature)
Period
450 - 430 BC
3 Goddesses-drapery folds take on abstract life of their own,
twists and turns are subordinated to the
unifiying voulmes of the bodies
able to capture with great subtlety the complex
poses of the figures, which are revealed by
the diaphanous (translucent) drapery
repeated zigzag of planes
Alternate reveal and conceal
Bodies fluidly relate to each other
Monumenatlity of scale
Simplicity of pose
Drapery unitfies group
Myron- 5th
Polykleitos- 5th- active 450-420
Phidias- 5th - 500-432
Phidian style dominated Athenian sculp until end
of 5th c BC
grace of the Phidian style
PHIDIAN - majestic , "real"
Figures move in 2D
Idealism
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PHIDIAS, Procession,
Freize of the Parthenon, Marble,
c 448 - 432 BC
J208
Dying Niobid - 450-440 BCE
DORIC Pediment
violent movement
nudity = draamtic device
Displays beautiful female in strenuos action
reserved for male nude
PATHOS = suffering
J212
G5-57- Nike
or Late
Classical
--wet
drapery folds that follow
PHIDIAN STYLE, Nike Fastening Her Sandal,
and reveal sensual contours of the body
(or "Adjusting")
drapery CLINGS to body - CONCENTRIC
from parapet of the Temple of Athena Nike,
graceful elegance
Acropolis, Athens, c 410 BC, apx. 42" high,
AcropolisMus, Athens
Geometric
900 - 700
Oientalizing
Archaic
700 - 480
almost transparent drapery
taking off sandal - about to step on sacred
ground
Wings - 1 open, 1 closed to keep balance
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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FEMALE Freestanding Sculpture - page
Late Classical
Period
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Porch of Maidens
421 - 405 BCE
Figure move in 2D
L R
J220
PRAXITELES
Aphrdite of Cnidus
mid 4th c, c 300 BC
New more personal and naturalistic ideal of
physical beauty. Idealization of feminity
430 - 323 BC
Praxiteles- 4th
Lysippos- 4th
Scopas- 4th
Boethos
slender in proportions
emphaisis on the exquisitely smooth modeling
that reproduces tones of resilent
fleshpopularized the nude female statue
By the end of there is the Canon of Lysippos
and figure moves in 3D
REALLISM - wide scope of themes
abandoned traditional concept of figure
occupying rectangular space
depicted nude women in normal situations that
justified their nudity, - bathing, making love,
flute girls, hertairi
Naturalism
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J219
Demeter, c340- 330 BC
mid 4th c
Demeter i shte goddess of grain and agricaulture
Drapery
Textured
Imp volume of its own
s-curves of folds across chest
(infl of Skopas)
deep set eyes gaze into distnce w/intensity
infl of Praxiteles
veiled softness of modeling of head shows
Geometric
900 - 700
Oientalizing
Archaic
700 - 480
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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FEMALE Freestanding Sculpture - page
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Hellenistic
Period
G5-75
Nike of Samothrace, c 190 BC. Marble, apx 8' high.
Louvre, Paris
Samothrace- forward diagonal of torso
slight contrapposto
stone emulates the freedom of painters with
shadows and gradations of shadows by
variations of surface carving
323- 30 BC
Bryaxis
Agesander, Athenadorus, and Polydorus of
Rhodes
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
of action
interdependence between the statue and space
that envelops it
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G5-63
Aphrodite of Cyrene, fromNorth Africa,
c. 100 BC (?), Marble, apx 56" high, Museo
Nazionale Romano, Rome.
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Market Woman
190 BCE
complex movement of drapery-(caused by
forward stride and by wind
wide scope of theme and the visula curiosity of
Hellenistic sculptors
sense of unity disciplines the physical and
emotional violence
Effort to move the viewer with themes of their
work
dynamic integration of the whole compostion i
unlike carefully studied relationships of
separate parts seen in the Early Classical
period
Drapery Movement = more activated
figures no longer live within thier quiet self
contained world but instead are acted on by
envionmental forces
Wide scope of themes
realism
emotional theatrical
Old age, bent, bony frame, wrinkled skin, sunken
cheeks, sagging breasts.
Realism of the Old Market Woman is emphasized
by the treatment of the drapery that reveals
the old and halting body underneath
Geometric
900 - 700
Oientalizing
Archaic
700 - 480
E. Class
480 - 450
High Class
450 - 430
Late Class
430 - 323 BC
Hellenistic
323- 30 BC
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