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Ancient Greece Classical and Hellenic Sculpture “The Nude Dudes” - PowerPoint PPT Presentation

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Ancient Greece Classical and Hellenic Sculpture “The Nude Dudes” New Vocab: -Contrapposto -Pathos Recovered from ruins of the Acropolis-differs significantly from earlier Kourous- stands in a realistic way- with weight shifts-no more symmetry- faint s-curve

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Ancient Greece Classical and Hellenic Sculpture “The Nude Dudes”

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Ancient Greece

Classical and Hellenic Sculpture

“The Nude Dudes”

New Vocab:



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Recovered from ruins of the Acropolis-differs significantly from earlier Kourous- stands in a realistic way- with weight shifts-no more symmetry- faint s-curve

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  • 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

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  • 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 cloth- shows the pull of gravity

  • Animated expression, very solemn

Charioteer, 470 BC

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  • 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

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  • - 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

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  • 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

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Pathos- suffering conveyed with nobility and restraint- meant to touch us rather than horrify us


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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

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Characterized by great sense of rhythm

Horsemen, west frieze of Parthenon c. 440 BC

Phidian Style-

Phidian was the chief overseer of artistic enterprises sponsored bu Pericles- Parthenon sculpture fits under this category, but many different artisans worked on them

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  • 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

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  • 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 un-Classical

Scopas, Battle of the Greeks and Amazons, east frieze

Mausoleum, 359-351 BC

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  • 1st completely nude figure of Aphrodite

  • Statue became a synonym for absolute beauty

Cnidian Aphrodite (Roman copy) 300 BC

Done by Praxiteles

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  • Sense of complete relaxation

  • S-curve of body

  • Faint smile

  • Probably Praxiteles’ greatest accomplishment

Hermes, by Praxiteles, c. 300-320 BC

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  • 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 hair- freedom of 3-dimensional movement

Apoxomenos (Scraper)Roman copy of a Greek bronze, c. 330 by Lysippus

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  • 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

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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

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  • 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

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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

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  • 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

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  • 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

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  • Produced for private ownership

  • Broader range of subject matter than monumental sculpture

  • Everyday subjects

  • Same love for movement and action

Veiled Dancer c.200BC

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