By comparing the two sculptures of Khafre, image 3-11 ca. 2520-2494 BCE (1), with the statue of Doryphoros (Spear Bearer), image 5-40 ca. 450-440 BCE (2) you get a true sense of the evolution of art, from Pharaonic Egypt to Classical Athenian Greece two millennia later. This was not just a revolution in art but also philosophy, which transported itself into not only the types sculptures created but also the style used by their creators.…
Ancient Egyptian and Greek statues have many similarities. Hatshepsut in a Devotional Attitude is an Egyptian statue from 1473-1458 BCE. It is almost 8 feet tall and almost 2.5 feet wide. It is made of granite and is a statue of Queen Hatshepsut, the wife of Tutmose III, one of the most dynamic egyptian kings of the eighteenth dynasty. The Marble Statue of a Kouros (youth) is an Archaic Greek statue from 590-680 BCE. It is a little over 6 feet tall and about 20 inches at its widest. It is the representation of a nude male figure and is made of marble. However, the artists of both the statues are unknown.…
The sculpture was assembled to be perceived taller than it really was and stood on top of an approximately 4x4 foot concrete cube that helped signify the importance of the statue. The statue itself was exactly 46-1/8 inches tall, which offered the idea that it was indeed a young boy rather than a man. The color bronze is considerably consistent throughout on the statue. I will add that his eyes are paneled silver, while the lips are copper. I found the color in his face to suggest more humanistic qualities than not. Because the sculptor purposely gave the statue’s eyes and lips a different color than the rest of the piece, it gave me the idea of a human. Additionally, the young boy was wearing a robe that ended at bottom of his knees and had open toed sandals on his feet. Although the boy was in a robe, one could articulate that he does have a rather slim figure. On another note, I found it very interesting how this statue was in somewhat of an open area, thus dominating Gallery 166. I feel as if the curator desired to show the viewer that the Camillus were significant to the Romans throughout this period.…
Standing 4 3/8 inches (11.1 centimeters) tall, the figurine is noticeably rounded. It displays obese and voluptuous women’s body parts. It has large pendulous breast as well as a large middle section, thighs, and a pronounced posterior. Her arms are thin and rested high on her breast. There is a braided pattern around the top of the head. Some archeologists identify it as the hair while others say it is a woven hat. The vulva is very detailed, which led scholars to believe the original sculptor had some knowledge about human anatomy. The statuette does not have feet, so it cannot stand on its own. In addition, it does not have…
The Greek population was increasing and with that new ideas emerged. These ideas developed into new styles used by Greek artists as Greece moves into the Classical period. The classical period was at the height of Greek strength and artists began to touch on any topic, be it historical, mythological or religious. The Greeks began to feel positive after they defeated Persians who tried to invade and this led to a sense of powerfulness. The Persians had established one of the most powerful and developed cultural civilizations in history. Being a cultural icon, the fact that the Greeks were able to conquer this territory gave them a sense of intellectual and artistic power. This power transferred into art and drove the movement towards creating the ultimate civilization. A great period in the arts began during the classical period as made evident in the expanding style that was used. A piece of sculpture known as “Hermes with Infant Dionysus by Praxiteles(350BC) touches on the sentiment of Greek interest in mythology and can be used as a piece to measure stylistic changes against. This sculpture addresses that Greek worship of gods as prevalent in the period and represents one of many myths that were communicated. The style of this piece was in keeping with the mindset of its people. It portrayed an ideal, a beauty and perfection that would have been important characteristics of a…
This sculpture was discovered off the coast of Cape Artemision at an ancient shipwreck. This piece is now being held at National Archaeological Museum in Athens, Greece. This piece belongs in the classical time period because you can see the focus is on the anatomy of the body not particularly how the body looked when it moved. Also, Zeus does not have much emotion on his face, which is another characteristic of classical art. Not only does Zeus have a stoic smile but he also possesses other qualities that make him a classical piece of work. His body is proportioned perfectly and he is aligned in a natural stance, which makes him look life like. It is very interesting to see how the Greeks knew the human body well enough to be able to sculpt the perfect proportions on a medium like marble or bronze. The Atemision Zeus is made out of Bronze, which was one of the preferred methods to sculpting because bronze was fairly easy to mold. The height of this Zeus sculpture is 6’10” and that again demonstrates how these sculptures were made to look very grand and…
Emphasized by the proportion and form, this statue not only gives the viewer a clear indication of the boy's social status, but it is also a good example of how the Romans were influenced by Greek culture. In comparison to the Doryphoros, it is apparent that this sculpture was probably based on the Greek canon of proportions. The body is well balanced, and the form is that of a well defined young man. The muscular torso indicates that he must have been participating in rigorous physical activities. It is very possible that these activities could have been training exercises which were common for Roman boys at the time. It was usually in preparation for battle. Young men were groomed to become soldiers, so it was crucial that they were physically fit. The boy's facial features are also idealized. His wide face and hair in particular could even be compared to that of emperor Augustus. These characteristics suggest that this boy was either the son of the region's ruling clan, or the son of a wealthy Roman official stationed on the island.…
http://en.wikipedia.org/wiki/File:0002MAN-Hermes.jpg Statute of Zeus and Ganymede. [Greek Sculpture]. (2004). Retrieved February 18, 2010, from http://en.wikipedia.org/wiki/File:Zeus-Gany-sculpt1.jpg…
Late Classical Period (Dionysus and Pan) Based on the visual observations and analysis conducted on paper assignment one, I would classify the sculpture, Dionysus and Pan, under the Late Classical period. This sculpture depicts Dionysus, the god of the grape harvest, winemaking and wine, together with Pan, his follower. It is sculpted from the finest marble which was created in the Roman period A.D. 50-150. Artists from this period of time drew a lot of attention to the statues’ expression of emotion and gesture form. The three dimensional perfect human body also contributed to the factor of determining the culture of the sculpture. It is said that there was a revolution in Greek statuary and art, the Late Classical period made a massive changes in the style and function of sculptures. Ancient Greek artists did have profound effects throughout the ages and contributed a lot to the Western civilization.…
Hermes with the young Dionysus by Praxiteles vs. David by Michelangelo Hermes with the young Dionysus was made by Praxiteles around 340 B.C.E. This marble statue represents Hermes, which was the messenger of the Greek Gods, holding the young Dionysus (Gombrich). This freestanding Greek statue was made during the Golden Age of the Classical Style, and it features the key characteristics of this period (realism, harmony, and proportion). Hermes appears nude leaning against a tree trunk draped with material which is wrapped around his arm. He is leaning in a relaxed pose with most of his body positioned on the left side of the artwork. Praxiteles balances the overall composition by putting the young Dionysus on Hermes’ arm which connects the figure to the supporting tree trunk on the right side. Like other sculptures from this period, Hermes with the young Dionysus…
The Greek artist distributed the weight of the figure as though in the act of walking. They are nude, carved in the round, and liberated from their original stone block. The geometric were been added in the chest muscels and some of the formulus which is used in knees and wrists. Ears placed much too far back and his long curly hair have lovely strings of beads. The room was brigthen enough for people to notice the statue as along with other statues surrounded by Kouros.…
This piece of art depicted the interaction between Dionysus and Pan in a form of sculpture. The sculpture was created from beautiful marble in A.D. 50 – 150. The work is three dimensional and still in excellent shape. There is almost no sign of physical or visible damage on sculpture which is rare because it has been created about two thousand years ago. This durability of the piece must be credited to the sculptor for having engineering intelligence to make the sculpture stay intact for so long. The artwork includes organic and fluid lines because each body feature of Dionysus and Pan is smooth, graceful, and very close to the natural form. The way Dionysus’ left leg is crossed over his right leg conveys that both were just standing and not moving. It is not telling a specific story; rather, it is just taking a moment out of the life of two people which are of a god and his follower in this case. The texture is smooth since it was created from marble.…
On each side of Dionysus there are two male figures carved with profile view positions and have its own deputation. The Four figures (from left to right, Winter, Spring, Summer, and Fall) are holding fruit baskets and one of the four figure is even holding an animal (rabbit) in his right hand. The sides and front of the sarcophagus are decorated with forty human and animals figures. There are covered with fruits basket around at the sarcophagus. On the rounded end of the sarcophagus, there are two other groups of large figures which the scale almost same with the four season. On the left end is Mother Earth, it is portrayed reclining on the ground and accompanied by youths with carrying fruit. On the right end is bearded male figure reclining in front of two winged youths. It may identify with the personification of a river god. These two sculptures are probably representing two additional Seasons.…
It was during 480 - They thought of the gods as people, but bigger and more beautiful than any human being. The early Greek statues were stiff and flat, but that changed in the 6th century BC when the sculptors began to study the human body and work out its proportions. The Greeks wore no clothing when they practiced sports, and the sculptor could observe their beautiful, strong bodies. The most famous sculptor is Myron. Myron is famous for the definition in the body of his famous 'Discobolus', or Discus Thrower. The 'Doryphorus', or Spear Bearer, of Polyclitus was called by the ancients the guide or model in sculpting. The Spear Bearer was believed to follow the true proportions of the human body perfectly. The greatest name in Greek sculpture is that of Phidias. The sculptures that decorate the Parthenon were planned and done by him. His great masterpieces were the huge gold and ivory statue of Athena which stood in this temple, and the one of Zeus in the temple at Olympia. These earlier forms influenced many Greek sculptures, such as the 'Aphrodite' of Melos, commonly known as the 'Venus de Milo', which is a beautiful marble statue which is presently in the Louvre, Paris. The name of its sculptor is unknown; experts say that it dates between 200 and 100…
He was my first attempt at greek art and I carved him out of marble stone and I tried my best to shift the weight of the body. However, my client said that to bring a foot forward isn’t what’s required to make his stance contrapposto. I then attempted to have Dionysus hold grapes over his head as the client asked for, but I was told that the arms had no muscle features and that muscles are more than just the outline shape. I was also told that arms rarely stick out straight from their side and rather come in at an angle. During the creation of the robes I had them fall flat and straight but was yelled at for not creating the folds and crevices. For the body, I made him fit and muscular, which I was applauded for though once again the muscles were a bit off. As for the head, I thought I thought gods were supposed to have headdresses and false beards, but it turns out most are well shaved and only wear a wreath if at all on the head. My clientele was not happy with the end product as I have yet to gain the years of observation and skills as many Greek artists have…