Zeus (or Poseidon), from the sea off Cape Artemision, Greece, ca. 460–450 BCE. Bronze, 6’ 10 high. National Archaeological Museum, Athens.

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Zeus (or Poseidon), from the sea off Cape
Artemision, Greece, ca. 460450 BCE. Bronze, 6
10 high. National Archaeological Museum, Athens.
Greek Sculpture
By the beard of Zeus! -Ron Burgundy
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Kroisos, from Anavysos, Greece, ca. 530 BCE.
Marble, 6 4 high. National Archaeological
Museum, Athens.
Why did Greek artists render the male form in the
nude?
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Peplos Kore, from the Acropolis, Athens, Greece,
ca. 530 BCE. Marble, 4 high. Acropolis Museum,
Athens.
Notice traces of encaustic paint on the Peplos
Kore. Most Greek stone statues were painted.
Notice also that the Peplos Kore is clothed.
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• They also have the Archaic smile

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Aegina and the Transition to the Classical Period

• Notice that the pediment of Temple of Aphaia
  utilized sculpture in the round, similarly sized
  figures throughout, and a unified narrative.

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Temple of Aphaia, Aegina, Greece, ca. 500490
BCE.
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GUILLAUME-ABEL BLOUETS 1828 restored view of the
façade of the Temple of Aphaia, Aegina, Greece,
ca. 500490 BCE.
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Dying warrior, from the west pediment of the
Temple of Aphaia, Aegina, Greece, ca. 500490
BCE. Marble, 5 2 1/2 long. Glyptothek, Munich.
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Dying warrior, from the east pediment of the
Temple of Aphaia, Aegina, Greece, ca. 480 BCE.
Marble, 6 1 long. Glyptothek, Munich.
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Kritios Boy, from the Acropolis, Athens, Greece,
ca. 480 BCE. Marble, 2 10 high. Acropolis
Museum, Athens.

• Kritios Boy is the earliest known example of
  contrapposto, a relaxed and natural stance.
• Notice how his weight shifts to his left leg and
  how his head turns slightly to his right.
• Notice the absence of Archaic smile!!!!

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Warrior A, from the sea off Riace, Italy, ca.
460450 BCE. Bronze, 6 6 high. Museo
Archeologico Nazionale, Reggio Calabria.
This Riace Warrior, like most Classical Greek
statues, was sculpted in bronze. Most Classical
bronzes have not survived. Much of the Classical
Greek sculptures today are Roman marble copies.
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Early High Classical Periods5th C. BCE

• Understand the significance of the Persian
  invasions of the early 5th century to the
  development of the Classical period.
• Examine the development of human representation
  in sculpture and the philosophy and principles
  behind its form.

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Perfection in Sculptural Form

• Understand the concepts of contrapposto,
  Polykleitos canon, and the expression of the
  Greek ideal of human form in the work of
  Classical sculptors.
• Examine the art materials, techniques, and
  individual artists that made the sculptural forms
  possible.

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MYRON, Diskobolos (Discus Thrower). Roman marble
copy of a bronze original of ca. 450 BCE, 5 1
high. Museo Nazionale RomanoPalazzo Massimo alle
Terme.
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Charioteer, from the Sanctuary of Apollo at
Delphi c. 470 BCE Bronze, copper (lips and
lashes), silver (hand), onyx (eyes), 511 H
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• Commissioned to commemorate an athletic victory
  (chariot race)
• Sportsrevered in Ancient Greece
• Sports hero sculpted in bronzehighly regarded
• Seen as godlike status. In hometown given a
  pension and free meals for life!

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POLYKLEITOS, Doryphoros (Spear Bearer). Roman
marble copy from Pompeii, Italy, after a bronze
original of ca. 450440 BCE, 6 11 high. Museo
Archeologico Nazionale, Naples.

• Doryphoros (Spear Bearer), POLYKLEITOS
• Originally titled Canon
• Established Polykleitos canon of proportions,
  setting ideal correlations among body parts
• Contrapposto
• Notice the harmony of opposites

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Late Classical Period (4th century BCE)

• Late 5th century was marked by the devastating
  Peloponnesian War between Athens and Sparta
• Macedonians invade Greece and defeat the united
  city states at the Battle of Chaeronea in 338
  BCE.
• 4th century Greece political turmoil
• Affected appearance of art wet drapery, more
  down-to-earth context
• 1st free-standing female nudes!

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• Aphrodite of Knidos
• by Praxiteles
• Composite of two Roman copies
• after the original marble of
• c. 350 BCE
• Marble, 68H
• Vatican Museums, Rome

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PRAXITELES(?), Hermes and the infant Dionysos,
from the Temple of Hera, Olympia, Greece. Copy of
a statue by Praxiteles of ca. 340 BCE or an
original work of ca. 330270 BCE by a son or
grandson. Marble, 7 1 high. Archaeological
Museum, Olympia

• Hermes and the infant Dionysus
• By follower of Praxiteles (son or grandson
  possibly)
• Notice S-curve of the body (pronounced
  contrapposto)
• New standard of adult and child interaction

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Hellenistic Period (323 30 BCE)

• Begins after the death of Alexander the Great
  (323 BCE) lasts through the defeat of Cleopatra
  and Mark Anthony by the Romans at the Battle of
  Actium (30 BCE)
• Relate the influence on Greek architecture as a
  result of the expansion of the Greek world.
• Observe the different qualities and values of
  Hellenistic art compared to the Classical period
• Hellenistic sculpture has dynamic motion and
  emotion!

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EPIGONOS(?), Dying Gaul. Roman marble copy of a
bronze original of ca. 230220 BCE, 3 1/2 high.
Museo Capitolino, Rome.
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Dying Gaul

• Enemy Celt warrior
• Faces death with dignity

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Nike of Samothrace, from Samothrace, Greece, ca.
190 BCE. Marble, figure 8 1 high. Louvre,
Paris. Artist possibly Pythokritos
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ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite
(Venus de Milo), from Melos, Greece, ca. 150125
BCE. Marble, 6 7 high. Louvre, Paris.
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Sleeping satyr (Barberini Faun), from Rome,
Italy, ca. 230200 BCE. Marble, 7 1 high.
Glyptothek, Munich.
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• Portrays sleepno Archaic smile, no looking away
  from viewer like Classical times
• Hellenistic sculptors like to portray sleep!
• Shows drunken, restlessly sleeping satyr
  (man/goat or horse) who is a follower of Dionysos
  (PARTIES!)
• Known also as Barberini Faun after the Italian
  cardinal who once owned it
• Homosexuality prevalent in Ancient Greece

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ATHANADOROS, HAGESANDROS, and POLYDOROS OF
RHODES, Laocoön and his sons, from Rome, Italy,
early first century CE Marble, 7 10 1/2 high.
Musei Vaticani, Rome. La-ah-koh-won
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Laocoön and his Sons

• Greek Myth--Life and death struggle between a
  father, his boys, and two vicious sea serpents
• Laocoön warned his fellow Trojans against the
  wooden horse presented to the city by the Greeks.
  
• God, Apollo punishes him for it by sending in the
  serpents
• In 1957, the original right arm of Laocoön with a
  snake coiled about his wrist was found in a
  builder's yard in Rome
• It was in the position which had been suggested
  by Michelangelo. The arm has now been rejoined to
  the statue. The restored portions of the
  children's arm and hand were removed.