Pottery and other art Flashcards
Prokne and Itys by Alkamenes
The Orientalizing period: architectural sculpture
Prinias, Crete, details of the sculpted decoration..
The Orientalizing period: the sculpture
-Antropomorphic statues made of clay
-Bell-shaped idol made of terracotta, from Thebes, 7th century B.C.
-Extremely high neck; legs are worked separately from
-the bell-shaped body and attached to it by metalic
-wires
-Geometric decoration
-Interpretation: ritual objects, toys, ex voto
A. Xoanon
B. Xoana
C. xeo
The Orientalizing period: the sculpture
A. Sphyrelaton
B. Sphyrelata
C. Sphyra
The Orientalizing period: the sculpture
Bronze warrior from Olympia, c. 700-675 B.C.
The Orientalizing period: the sculpture
Dreros (Crete). Temple of Apollo Delphìnios:
The sphyrelata representing the Apollonian triad. c. 700 B.C.
The Orientalizing period: the sculpture
Bronze winged feminine figure, 590–580 BC. Archaeological Museum of Olympia
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Flat skull
The Orientalizing period: the sculpture
A. Bronze
B. warrior type
C. Panhellenic
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Triangular face
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Arms are held aside
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Low forehead
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Fists are closed
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
The left leg edges forward
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Standing male figure
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Big eyes
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Pointed nose
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Hair is horizontally hooped and falling in heavy masses
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Wears a belt
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Figurine of a youth, from Delphi, c. 625 B.C. It can be regarded as a precursor of the many kouroi that will spread in the 6th century B.C.
Long legs and marked by more naturalistic, although stretched, proportions
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
Female figures represent the clearest examples of the Daedalic style, although beardless youths are also documented.
- Standing position (in some cases, seated position)
- Flatness
- Frontal position
- Rigidity
- A long dress (sometimes showing a incised decoration)
- Triangular face
- Large eyes
- Pointed nose
- Wig-like hair
- A cloak covering both shoulders
- A belt stressing the high, narrow waist
The Orientalizing period: the sculpture
So-called ‘Lady of Auxerre’ (aag·zeer), c. 640 B.C. Limestone, 65 cm c.
The Orientalizing period: architectural sculpture
Prinias, Crete, details of the sculpted decoration..
The Orientalizing period: the sculpture
Examples of Daedalic statues from ancient towns in Crete:
A. Astritsi, fragment of female figure
B. Gortys, Acropolis sanctuary, fragment of seated female image
The Orientalizing period: the sculpture
The marble blocks were worked with hammers, iron points, chisels and were polished through abrasives.
The Orientalizing period: the sculpture
Nikandre statue, from Delos, 640 B.C. (?)
Marble, 1,65 m life-size.
The sculpture is extremely thin (max. thickness 20 cm) and shows a frontal and rigid pose, triangular face, wig-like hair.
Found near the Artemision (Temple of Artemis).
It could represent: The deity; Nikandre / the offerer. An agalma for the god; A generic image of a worshipper.
Inscription: Nikandre dedicated me to the Far Darter, the arrow shooter, outstanding of women, daughter of Deinodikes of Naxos, sister of Deinomenes, wife of Phraxos.
The Orientalizing period: the sculpture
Colossus of the Naxians. Naxians started a new canon for sculpture, connected to the Daedalic style, with over-sized dimensions
A. Hypothesis of restitution of the colossus dedicated by the Naxians.
B. Detail of the basis of the colossus, whose inscription reads : of the same stone, the statue and the base are.
The Orientalizing period: the sculpture
Marble female figure from Sellada (Thera), c. 650 B.C.
2,3 m –> over-life size
Found in a necropolis; final details, smoothing and polishing had not taken place.
The Orientalizing period: the sculpture
Delos, base of a statue, decorated with heads of lion, gorgon, Aries.
The inscription states: “Euthykartides, the Naxian, dedicated me, having made me”.
Mid-7th century B.C.
The Orientalizing period: the sculpture
Colossus of the Naxians, details.
Original reconstructed height 10 m; basis: 5 x 3,5 Standing male figure, holding a bow in the left hand, large shoulders, thin waist, marked by a belt, long curled hair. Belt and bow made of bronze.
The Orientalizing period: the sculpture
Woman at the window relief from Mycene, c. 640 B.C. Limestone, c. 40 cm
The Orientalizing period: the sculpture
A. Deadalic style
B. Daedalus
C. Crete
D. 8th
E. 7th
The Orientalizing period: the sculpture
A. Deadalus
B. Dipoinos
C. Skyllis
D. Crete
E. Peloponnesus
F. 7th
G. Tektaios
H. Angelion
I. Cyclades
J. Daedalic
The Archaic period: Architecture
Athens, Acropolis, Archaic pediment pertaining to Athena Polias’ temple
The Archaic period: Architecture
The pediment offers a different solution for the decoration of the triangular space: lions kill a dying bull; Heracles fights against Triton, whose fishtail writhes the acute angle; a three-bodies monster (so called ‘Barblablù), whose snaky tail, fills the right corner. Three-dimensional, globular eyes, archaic smile, Ionic
influence, polychrome
The Archaic period: Architecture
The Archaic period: Architecture
Aegina, temple of Aphaia, west pediment
Parian marble pediments: Trojan wars presided by goddess Athena.
The west pediment is marked by a centrifugal movement, with the battle moving outward. Polichromy, usage of metallic elements (weapons, details) –> Narrative unity, single subject –> Unity of scale
The Archaic period: Architecture
Paris with the phyrgian cap, depicted as an archer
The Archaic period : the sculpture
Pan-Hellenic sanctuary of Apollo (sport and artistic games, re-organized in 582 B.C., oracle), The temple was reconstructed thanks to the support of Alcmaeonid family, after the fire occurred in 548 B.C., as a Doric, peripteral, 6 x 15 columns –> Competition among Athenian gene
The Archaic period: Architecture
Comparison between the kore of Antenor and the kore from a t Delphi
The Archaic period : the sculpture
Athens, Moschophoros at the time of its discovery
The Archaic period: Architecture
The Archaic period : the sculpture
Athens, Moschophoros, c. 560 BC. Acropolis Museum.
The Archaic period : the sculpture
Rampin Horseman, from Athens. c. 560 BC. Musée du Louvre, Paris.
The Archaic period : the sculpture
Athens, Peplos kore, c. 530 BC. Athens, National Museum
The Archaic period : the sculpture
Athens, kore of Antenor. Acropolis Museum.
The Archaic period : the sculpture
Athens, Acropolis, kore attributed to Endoios; kore pertaining a column signed by Endoios;
The Archaic period : the sculpture
funerary stele with dedication by the ceramist Pamphaios, made by Endoios
The Archaic period : the sculpture
‘Sounion kouros’, from Sounion. 580 B.C. Marble, 3 m, Athens, National Museum
The Archaic period : the sculpture
‘Dipylon kouros’, from Athens, head, 44 cm
The Archaic period : the sculpture
Kouros from Dipylon area; head of the‘Dipylon kouros’, Athens
The Archaic period : the sculpture
Phrasikleia and companion kouros found during the excavation at Merenda, Attica, 540 B.C. Athens, National Museum
The Archaic period : the sculpture
Phrasikleia from Merenda. Athens, National Museum; on the right: hypothesis of the polychrome decoration
Phrasikleia from Merenda. Athens, National Museum; on the right: hypothesis of the polychrome decoration
The Archaic period : the sculpture
Phrasikleia, detail of the head. The inscription reads:
“Sema Phrasikleias: kore keklesomai aiei anti gamou para theon tout’ lachousa onoma. [I am] the tomb/grave marker of Phrasikleia: I will be called a maiden [kore] forever Having received this name from the gods instead of marriage.”
The Archaic period : the sculpture
Archaic stelai
The Archaic period : the sculpture
“Kouros from Anavysos, Attica, 530 B.C. Athens, National Museum Stop and show pity in front of the marker of Kroisos, dead, whom, when he was fighting in the front ranks, raging Ares hit”
The Archaic period : the sculpture
Aristodikos kouros, from Mesogaia, Attica, 500 B.C. 2 m c. Athens, National Museum
The Archaic period : the sculpture
Funerary stele from Athens
The Archaic period : the sculpture
Grave stele of Aristion by Aristokles, 510 B.C., marble, 2,40 m. Athens, National Museum
The Archaic period : the sculpture
Base of a stele with carved knights, from Athens Kerameikos, Athens, Kerameikos Museum
The Archaic period : the sculpture
The ‘hockey players’ base from Athens Kerameikos, attributed to Endoios, Athens, National Museum
The Archaic period : the sculpture
Grave stele representing a youth and a little girl, 540-530 B.C.
The Archaic period : the sculpture
Grave stelai Representing dead athletes:
- a boxer
- a discus thrower
The Archaic period : the sculpture
Delphi, pan-Hellenic sanctuary of Apollo. Twin kouroi known as ‘Cleobis and Biton’, 580 B.C., 197 cm, marble.
The Archaic period : the sculpture
Delphi, pan-Hellenic sanctuary of Apollo. Twin Delphi, pan-Hellenic sanctuary of Apollo. Twin kouroi known as ‘Cleobis and Biton’. kouroi known as ‘Cleobis and Biton’. Detail of the basis with the inscription
The Archaic period : the sculpture
Samos, extra-urban sanctuary of Hera Colossal kouros, marble, 4,75 m (5 m including the basis) 570 B.C.
The Archaic period : the sculpture
The Archaic period : the sculpture
Samos, extra-urban sanctuary of Hera Kore dedicated by Cheramyes, 600 B.C.
The Archaic period : the sculpture
Samos, extra-urban sanctuary of Hera Marble family group, on a limestone base, by Geneleos
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Archaic period : the sculpture
Samos, extra-urban sanctuary of Hera Marble family group, on a limestone base, by Geneleos, with names inscribed: Phileia (seated), boy (lost), girl (lost), Philippe, Ornithe, […]arches, the dedicator. 560-550 B.C.
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Archaic period : the sculpture
Samos, extra-urban sanctuary of Hera Marble family group, on a limestone base, by Geneleos
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
A. More realistic representations of the human figure
B. More naturalistic and accurate rendering of the body anatomy, muscles, tendons, veins
C. Interest for the reciprocal relations among the different parts of the body, for how these parts are connected and how they react to movement, tension, effort / how movement in one part could cause movement in others
D. Abandonment of frontal poses (turn of the head, movement of the body)
E. Interest for the movement and for the representation of moving figures
F. More compact volumes (also connected to new hairstyle)
G. Abandonment of the ‘archaic smile’, substituted by somehow stern, serious, severe expressions
H. Abandonment of archaic style clothing, substituted by the plain, heavy style of the drapery for female images (peplos)
The Early Classical Period: the Sculpture
Possibility to know the names of the sculptors and to study their production (for instance thanks to ancient sources such as Pausanias and Pliny’ Natural History) Marble was in this period mostly used for architectural sculpture, while free standing sculptures were often realized in bronze we mainly have Roman marble copies of the Greek original works
Athens , Acropolis. Boy of Kritios, marble 1.2m ca.480 B.C.)
Movement of the body, study of the anatomy, turn of the head, severe expression, heavy chin, thick eyelids, hair rolled up over a fillet
The Early Classical Period: the Sculpture
The group was originally placed in the Athenian agora, in front of the Boule, as a symbol of the new democracy and replaced the original sculptures by Antenor.
Bearded Aristogeiton lunges forward, with left arm stretched forward, with hanging cloak, as to protect the young Harmodios moving forward with a raised weapon to kill the tyrant depicting movement
a. Tivoli (Lazio). Group of the Tyrannicides Harmodios and Aristogeiton by Kritios and Nesiotes, copy,
b. Plaster casts of the Tyrannicides.
The Early Classical Period: the Sculpture
“Torso of Miletus” or “Male Torso”,
(perhaps in the manner of Onatas or Pythagoras; 480
B.C.),
Example of the progress made in the representation of the male nude, discovered in the Roman theatre of Miletus.
Fontal, naked, left leg advances, precise anatomical rendering, athletic construction, powerful shoulders, muscle movement (among still Archaic elements: stylized, star-shaped public area Paris, Musée du Louvre.
The Early Classical Period: the Sculpture
Cape Artemision (Euboea), bronze statue of Zeus (possibily with a thunderbolt) or Poseidon (peraphs with a trident).
Athens, National Museum.
Attributed to Onatas or Kalamis (460-450
B.C.).
Over-life figure (209 cm), with arms outstretched to hurl the weapon, weight on the left foot and heel of the right one raises, calm, serious expression, eyes inlaid in other materials, extreme accuracy for the hairstyle, combining braids with smooth hair locks
The Early Classical Period: the Sculpture
Pythagoras of Sam Bronze from Adraos or Rhegion no Siracusa, Museo Archeologico
The Early Classical Period: the Sculpture
Delphi (Phocis). Sanctuary of Apollo, bronze Charioteer dedicated by Polyzalos tyrant of Gela for his victory in the chariots race in 478 or 474 B.C. The statue (1,80 m) is maybe attributable to the sculptor Pythagoras of Rhegium (?)
Hypothesis of restitution with the other fragments found.
Delphi, Archaeological Museum.
The Early Classical Period: the Sculpture
Pythagoras of Samos or Rhegion
Accurate reproduction of muscles, veins, tendons, hair, bone, cartilages
Interest for the male naked body (mainly athlete type) and for the movement
Discobolus Ludovisi,
Rome, Museo Nazionale Romano.
Palazzo Altemps (470 - 460 BC).
The Early Classical Period: the Sculpture
The Charioteer was cast in eight pieces; eyes were inlaid in coloured glass and stone, copper was added for the lips, silver for the eye lashes. The male standing figure wears a heavy chiton, enlivened by numerous folds and by the creases caused by the high belt; holds the reins in his right hand; slightly curves towards the right, maybe towards the public, during the final parade after the victory. Feet are marked by tensed tendons due to the effort made in the race,
Face: stern expression, heavy chin, plump lips
The Early Classical Period: the Sculpture
Hypothesis of restitution of the Auriga group (graphic elaboration byRolley, 1994, D. Laroche); Inscribed base. Delphi, Archaeological Museum.
The Early Classical Period: the Sculpture
Mozia, Ephebe found near the sanctuary in Cappiddazzu in 1979.
The Early Classical Period: the Sculpture.
Works attributed to Kalamis:
- Apollo Alexikakos in Athens;
- Chryselephantine statue of Asklepios at Sicyon;
- Chart at Olympia for the tyrant of Syracuse Hieron in 468 BC;
- Aphrodite Sosandra on the Acropolis of Athens;
Zeus Ammon for the poet Pindaro who died in 440 BC.
a. On the left: so called ‘Hestia Giustiniani’
b. On the right: so called ‘Aphrodite Sosandra’
The Early Classical Period: the Sculpture
Apollo of the Omphalos.
Athens, Theater of Dionysus, statue of Apollo, copy of an original by Kalamis, Athens, National Archaeological Museum. The weight of the piece rests upon the right leg, while the left is slightly held away from the body. The slight outward projection of the right hip is balanced by the outward movement of the arms. The figure’s head turns to the right, displaying the god’s long, oval-shaped face. The god’s large, deeply set eyes and soft, full lips dominated his face. His head is crowned by a mass of hair arranged in thin, orderly locks that fall onto his forehead. A thin double-braid runs around Apollo’s head.
Other possible interpretations:
- Apollo Alexikakos, always by Kalamis
- Apollo by Onatas
The Early Classical Period: the Sculpture
The Discobolus of Myron or ‘discus thrower’ is known from several Roman copies of the original bronze work, to be dated back at the end of the Severe period Myron from Eleutherai established a new scheme for the representation of the figure caught in movement. The athlete (maybe to be identified with Hyakinthos) is represented while coiled like a spring and ready to throw the discus and to achieve the victory: narration of a victory Maximum concentration, both physical and psychological Detailed study of the anatomy Documented portrait of muscles, veins, tendons Single viewpoint
Roma,Esquilino, Copy, so called Discobolus Lancellotti. Roma, Museo Nazionale
The Early Classical Period: the Sculpture
Myron group of Athena and Marsyas.
Rome, Museo dei Gessi, Sapienza University of Rome Hypothesis of restitution of the group of Athena and Marsia (graphic elaboration by Rolley1994
The Early Classical Period: the Sculpture
Stele representing mourning Athena 48cm, 470 B.C.
The goddess shows a weight leg and a free leg; she wears a heavy peplos, whose folds and creases are carefully carved, and a helmet; her face has a serious expression and she leans against a spear, gazing at a stele in front of here, maybe a grave-marker or a list of Athenian dead in battle.
The Early Classical Period: the Sculpture
Bronze statues found in the sea of Riace (1972) and detail of the bronze A.
The bronze statues probably come from a shipwreck. According to some scholars, bronze A is more ancient and static than bronze B, that is maybe more influenced by Polycleitus’ art. Bronze B, wearing a helmet, seems stylistically more advanced and more engaged in movement. They both offer free leg/tensed arm and weight leg/relaxed arm scheme; carry a shield in the right arm and maybe a spear in the left (or a olive branch, if they are winning athletes); Eyes are made in ivory and colored stones or glasses, the lips and nipples in copper, the teeth in silver. Some of the possible interpretations:
- Phidias’ Marathon dedication at Delphi (in this case, bronze B is interpreted as Miltiades)
- Onatas’ group dedicated by the Achaeans at Olympia
- Group representing the Seven against Thebes in the agora at Argos
- Athletes who won the hoplites’ race contest, maybe by Myron Eteocles and Polynices by Pythagoras of Rhegium Group of Eponymous Attic heroes in the Athenian agora
The Early Classical Period: architecture
The temple of Zeus was planned by the architect Libon of Elis, between 470 and 450 B.C. The Spartans donated a golden shield to be placed in one of the pediment as a offering for a victory in 457 B.C. It was one of the greatest expression of Doric order, with 6 columns on the front and the rear and 13 on the flanks (one more the double that of the facades), a pronaos, a cella and a opisthodomos.
The Early Classical Period: architectural sculpture
The oriental pediment, Archaeological Museum of Olympia
The eastern pediment shows the chariot race between Pelops, the founder of the pan Hellenic games, and King Oinomaos, who stand on either side of the central figure of Zeus. The gesture of Hippodamia, unveiling herself (=wedding), indicates that Pelops will win (through a trick) the race and will marry the King’s daughter: synoptic vision, different moments of the same tale are represented simultaneously, the scene is full of foreboding. Beyond the chariots, there are reclining figures, one of which to be identified with the seer Iamos (sign of age are evident in the full, heavy flesh of the torso and the balding head) and the other one with the personification of a river. Movement, variety of gestures, study of the male anatomy, both young and old ones, female figures are now wearing the peplos
The Early Classical Period: architectural sculpture
The oriental pediment, Archaeological Museum of Olympia
The eastern pediment shows the chariot race between Pelops, the founder of the pan Hellenic games, and King Oinomaos, who stand on either side of the central figure of Zeus. The gesture of Hippodamia, unveiling herself (=wedding), indicates that Pelops will win (through a trick) the race and will marry the King’s daughter: synoptic vision, different moments of the same tale are represented simultaneously, the scene is full of foreboding. Beyond the chariots, there are reclining figures, one of which to be identified with the seer Iamos (sign of age are evident in the full, heavy flesh of the torso and the balding head) and the other one with the personification of a river. Movement, variety of gestures, study of the male anatomy, both young and old ones, female figures are now wearing the peplos
The Early Classical Period: architectural sculpture
The oriental pediment, Archaeological Museum of Olympia
The eastern pediment shows the chariot race between Pelops, the founder of the pan Hellenic games, and King Oinomaos, who stand on either side of the central figure of Zeus. The gesture of Hippodamia, unveiling herself (=wedding), indicates that Pelops will win (through a trick) the race and will marry the King’s daughter: synoptic vision, different moments of the same tale are represented simultaneously, the scene is full of foreboding. Beyond the chariots, there are reclining figures, one of which to be identified with the seer Iamos (sign of age are evident in the full, heavy flesh of the torso and the balding head) and the other one with the personification of a river. Movement, variety of gestures, study of the male anatomy, both young and old ones, female figures are now wearing the peplos
The Early Classical Period: architectural sculpture
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
The western pediment, Archaeological Museum of Olympia. The west pediment shows the Centauromachy, the fight between the Lapiths and centaurs at the wedding of king Perithoos, allusion to the fight between the rational, organized world of the polis and the barbaric, irrational world of the centaurs. Theseus is represented as well (maybe in connection with Elis synoecism promoted by Athens around 468 B.C.). The central figure of Apollo raises his left arm to proclaim Lapiths’ victory. His face is marked by typical features of the Sever period: stern, calm expression, big chin, flat cheeks, heavy eyelids. The rest of the composition shows a restless struggle, with fighters combating in groups of two or three; centaurs try to grasp Lapith women (one tries to grips a woman from the hair, one from the ankle etc.), centaurs are engaged in animalistic actions, such as biting Study of how muscles, flesh, limbs react to movement and how clothes react to the movement of the body
The Early Classical Period: architectural sculpture
We know from Pausanias (Paus. 5.10.9) the subjects of the metopes of the pronaos and the opisthodomos: the Twelve (canonic) Labors of Herakles which he performed for King Eurystheus of Argos during the years he spent in the king’s service, as the Delphic oracle ordered, i.e.: Slay the Nemean lion. Slay the nine-headed hydra. Take the Stymphalian birds. Capture the Cretan Bull. Capture the Cerylian hind. Obtain the belt of Hippolyta, Queen of the Amazons. Capture the Erymanthian Boar. Steal the Mares of Diomedes. Obtain the cattle of the monster Geryon. Steal the apples of the Hesperides. Capture and bring back Cerberus. Clean Augean stables in a single day.
The Early Classical Period: architectural sculpture
We know from Pausanias (Paus. 5.10.9) the subjects of the metopes of the pronaos and the opisthodomos: the Twelve (canonic) Labors of Herakles which he performed for King Eurystheus of Argos during the years he spent in the king’s service, as the Delphic oracle ordered, i.e.: Slay the Nemean lion. Slay the nine-headed hydra. Take the Stymphalian birds. Capture the Cretan Bull. Capture the Cerylian hind. Obtain the belt of Hippolyta, Queen of the Amazons. Capture the Erymanthian Boar. Steal the Mares of Diomedes. Obtain the cattle of the monster Geryon. Steal the apples of the Hesperides. Capture and bring back Cerberus. Clean Augean stables in a single day.
The Early Classical Period: architectural sculpture
The metopes of the pronaos and the opisthodomos representing Herakles’ labours
The Early Classical Period: architectural sculpture
Statue of Zeus at Olympia
The Early Classical Period: architectural sculpture
Statue of Zeus at Olympia
Hypothesis of restitution of the statue of Zeus according to Victor Laloux (1883) on the basis of the description of Pausanias
The Early Classical Period: architectural sculpture
Statue of Zeus at Olympia
The matrices for the realization of glass inserts to be applied on the statue’s garments (Archaeological Museum of Olympia).
The Early Classical Period: architectural sculpture
Black painted pot with the name “Phidias” engraved on the bottom. Olympia, Archaeological Museum.
The Early Classical Period: architectural sculpture
Group of a sphinx attacking a Theban, Copy of a detail of the throne of Zeus. Greywacke of the Wadi Hammamat. Vienna, Kunsthistorisches Museum.
The High Classical period: sculpture
Phidias’ chryselephantine statue of Athena Partenos, dedicated in 438/437 B.C. and housed inside the cella of the Parthenon Made of gold and ivory, 12 m tall Standing on the right leg (while the left slightly bends), wearing a peplos, with a gorgoneion on the aegis over the breast, she holds a statue of Nike in her right hand and a spear on the other hand; nearby a shield and a snake (personification of Erichthonius). Known from literary sources (e.g. Pausanias, Pliny), numismatic objects and later copies.
Marble copy of Phidias’ chryselephantine statue of Athena Parthenos, known as ‘Varvakeion’ statuette, 2nd century AD, Athens, National Museum
The High Classical period: sculpture
Phidias’ chryselephantine statue ofAthena Parthenos, reconstruction, Toronto, Royal Ontario Mu s eum
The High Classical period: sculpture
1st century AD copy of Phidias’ chryselephantine statue of Athena Parthenos, attributed to the neo-Attic sculptor Antiochos
The High Classical period: sculpture
‘Lenormant Athena’, 1st /2nd century AD copy of Phidias’ chryselephantine statue of Athena Partenos. On the right, detail of the shield.
The High Classical period: sculpture
3rd century BC Roman marble reduced-scale copy of the statue’s shield, London, British Museum
The Orientalizing period: pottery
Reconstruction of Phidias’ Athena Promachos on the Athenian Acropolis (by G.P. Stevens 1936)
The High Classical period: sculpture
Reconstruction of Phidias’ Athena Promachos on the Athenian Acropolis (by G.P. Stevens 1936)
The High Classical period: sculpture
Phidias’ Athena Lemnia on the Athenian Acropolis (on the left: Furtwängler’s reconstruction, Dresden; On the right: copy of the Athena Lemnia head, Bologna, Civic Archaeological Museum, Pelagi collection)
The High Classical period: sculpture
Roman copy of the 2nd century CE of Phidias’ statue representing the poet Anacreon on the Athenian Acropolis Copenhagen, New Carlsberg Glyptotek
The High Classical period: sculpture
Riace bronzes also called the Riace Warriors, are two full-size Greek bronze statues of naked bearded warriors, cast about 460–450 BC[1] that were found in the sea in 1972 near Riace, Calabria, in southern Italy. The bronzes are now in the Museo Nazionale della Magna Grecia in the nearby city of Reggio Calabria. They are two of the few surviving full-size ancient Greek bronzes (which were usually melted down in later times), and as such demonstrate the technical craftsmanship and artistic features that were achieved at this time.
The High Classical period: sculpture
Phidias’ Apollo Parnopios on the Athenian Acropolis
The High Classical period: sculpture
Pan-Hellenic sanctuary of Apollo at Delphi. Location of the monument in memory of the Battle of Marathon with statues by Phidias. Below, heads of Athena and Miltiades found on the Athenian Acropolis and may be copies of the bronze statue of the Delphi group.
The High Classical period: sculpture
Polycleitus, sculptor from Argos, was first active in the Peloponnesus and, starting from 465 B.C. in Athens. He is the author of a book named Kanon, studying the ideal male figure, to be based on mathematical perfect proportions depending on the symmetria of the various parts of the body. The statue exemplifying the theory illustrated in the Kanon is probably the bronze statue of the Doryphoros (literally ‘the one who carries the spear’), made around 440 B.C. and known from several later copies. The standing athlete intends to represent the ideal, perfect male body.
Roman marble copy of Polycleitus’ Dopyphoros from Naples, National Museum
The High Classical period: sculpture
A. Possible copy of the Kyniscos, London, British Museum
B. Reconstruction of the Kyniscos, Dresda, Antikensammlung
C. Kyniskos’ basis from Olympia
The High Classical period: sculpture
A. Bust in greywacke of a copy of the Doryphoros by Polycleitus from the Wadi Hammam at Florence, Galleria degli Uffizi
B. Head a copy of the Doryphoros by Polycleitus from Herculaneum, Villa dei Pisoni. Naples, National Archaeological Museum
The High Classical period: sculpture
Polycleitus’ Diadoumenos (the athlete tying a fillet around his head), made in bronze around 430 B.C. and known from later Roman marble copies, shows several features similar to the Doryphoros. Nevertheless, the more complex pose, the more stressed turn of the head, the arms both raised, the richer and more plastic treatment of the hair may suggest the statue was a later work. It possibly represents the athlete after a victory in a Pan-Hellenic contest; the figure is carefully designed with special attention to proportions. The thorax and pelvis tilt in opposite directions, setting up rhythmic contrasts in a meditated, calculated pose.
Roman marble copy of Polycleitus’ Diadoumenos from Delos. Athens, National Museum
The High Classical period: sculpture
Wounded Amazons for the Ephesus’ contest (438-435 B.C.)
A–Sciarra type
B–Mattei type
C–Sosikles type
The High Classical period: sculpture
Copy of the wounded Amazon attributed to Polycleitus, compared to the Doryphoros by the same author
The High Classical period: sculpture
Kresilas’ Protesilaos, MET Museum
The High Classical period: sculpture
Copy of Kresilas’ portrait of Pericles, (Berlin, Staatliche Museen)
The High Classical period: sculpture
Possible representation of Alkamenes’ Aphrodite of the Gardens (Aphrodites ἐν κήποις)
The High Classical period: sculpture
Alkamenes’ Ares
The High Classical period: sculpture
Alkamenes’ Hermes Propylaeus
The High Classical period: sculpture
a. Alkamenes’ Prokne and Itys
b. Sculptures (on the left: Sterope, on the right: Hippodamia) from the Eastern pediment of the temple of Zeus at Olympia
The High Classical period: sculpture
Hephaestus temple on the Kolonos Agoraios, Athens. Hypothetical reconstruction of cult statues by Alkamenes
The High Classical period: sculpture
Athens, Acropolis, Erechteus, Porch of the Carytids
The High Classical period: sculpture
Nemesis temple at Rhamnous. Nemesis cult statue attributed to Agorakritos
The High Classical period: sculpture
Eleusinian Demeter cult statue attributed to Agorakritos
The High Classical period: sculpture
Nike of Paionios (425-420 B.C.) dedicated by the Messenians and Naupaktians in the pan-Hellenic sanctuary of Olympia after the victory over the Spartans
Periclean Acropolis
Periclean Acropolis: The templar sculptures
Athens, Parthenon, East Pediment
Subjects of the pediments:
East pediment: Athena’s birth
West pediment: dispute between Athena and Poseidon regarding who would become the protector of Attica
The pediments, once containing 50 statues, were perfectly worked even on not visible, rear parts; they were the last decorative sculptures to be placed on the building (437-432 B.C.)
Most of the original statues are now in the British Museum; among those retained in the Athenian Museum of the Acropolis, the best preserved is the Kekrops and Pandrosos group from the west pediment.
The High Classical period: sculpture
So-called Lysimake by Demetrios from Alopece
Periclean Acropolis: The templar sculptures
Athens, Partenon. East pediment (located above the Parthenon’s main entrance): Athena’s birth from the head of his father Zeus, assisted by Hephaistos, in the presence of other Gods. The statue of Athena and Zeus, who occupied the central position do not survive. The figure to the right of the lost central group is identified as Hera. The other Gods observed the scene standing, sitting or half-reclining, probably on Mount Olympus.
Periclean Acropolis: The templar sculptures
The pediments’ corners contained the chariot of Helios (on the left) emerging from the waves of Ocean and Selene (on the right) and her horse-drawn chariot sinking below the horizon. Extreme accuracy in the rendering of the horses.
Periclean Acropolis: The templar sculptures
Parthenon, Details of the sculptures of the east pediment.
Two female figures, identifiable with Dione and her daughter Aphrodite, lying in her mother’s lap.
–>drapery clings to the body as if wet, following the contours of the flesh.
Periclean Acropolis: The templar sculptures
Model of the reproduction of the lighting in the cella and Model of the west chamber.
Periclean Acropolis: The templar sculptures
Parthenon, details of Eastern Pediment: The chariot with the rising sun, a reclining male figure (Dionysos?), two seated goddesses (Demeter and Kore) and a messenger (Iris?)
Periclean Acropolis: The templar sculptures
Parthenon, Details of the sculptures of the east pediment.
Reclining male figure of Dionysus.
Periclean Acropolis: The templar sculptures
Reconstruction of the west pediment. Pandrosos embraces the shoulders of his father, the mythical king Kekrops, whose legs ended in snakes. Herse, Aglauros and Erysichthon would have been behind their sister Pandrosos. The figures are extremely damaged. To the right of the central group, Oreithya, daughter of king Erectheus, is represented with her twin sons (Zetes and Kalais); next to her Kreousa, another daughter of Erectheus, is portrayed with her son Ion, progenitor of the Ionians, to which the Athenians belonged. The pediment’s corners are filled with personifications of the two rivers that delimited ancient Athens, the Kephissos (on the left) and the Ilissos (on the rights), next to Kallirrhoe, the natural spring that originated from its western bank. Glorification of the poliadic deity protecting the city. Exaltation of the mythical origins of Athens Reference to the physical places of Athens (the Acropolis, the rivers etc.)
Periclean Acropolis: The templar sculptures
Parthenon. Detail of Eastern Pediment with Aphrodite and Dione. The bodies of the goddesses are outlined by deeply carved garments; the drapery is extremely thin and adherent to the body, so to reveal its shapes. The deep carving creates a sense of light and shadow. ‘Wet garnments’ cling close to the skin, clasping the body, allowing the nudity of the latter to be perceived.
Periclean Acropolis: The templar sculptures
Pandrosos embraces the shoulders of his father, the mythical king Kekrops, whose legs ended in snakes. Herse, Aglauros and Erysichthon would have been behind their sister Pandrosos. The figures are extremely damaged.
Periclean Acropolis: The templar sculptures
Athena Lenormant. Athens, National Museum
Periclean Acropolis: The templar sculptures
Athens, Parthenon. Western pediment: competition between Athena and Poseidon for the ownership of Attica. The contest took place on the Acropolis, in the presence of the mythical kings of Athens, Kekrops and Erechteus, and other local heroes, who deseeded the victory of Athena, who offered as a gift the olive three (while Poseidon offered the salty water). The two contesting gods spring apart in a great X-shaped composition and their outward movement is contained by the chariot groups behind them (Athena’s chariot was driven by a Nike, while the one of Poseidon by his wife Amphitrite), while seated and reclining figures occupy the triangular space of the pediment. The two messengers of the gods, Iris and Hermes, are hasting to announce the competition’s result.
Periclean Acropolis: The templar sculptures
Periclean Acropolis: The templar sculptures
Varvakeion’s Athena. Athens, National Museum. Athena Parthenos reconstruction, Toronto, Royal Ontario Museum.
Periclean Acropolis: The templar sculptures
Frieze of Athena Nike temple
Periclean Acropolis: The templar sculptures
Parthenon: Athena Parthenos, shield and hypothesis of restitution
Periclean Acropolis: The templar sculptures
Athens, Propylaia. Architect: Mnesikles. 437-432 B.C. Monumental entrance to the Acropolis sanctuary.
Periclean Acropolis: The templar sculptures
The Nike bastion before restoration
Periclean Acropolis: The templar sculptures
Athens, Acropolis. Athena Nike’s Temple frieze
Periclean Acropolis: The templar sculptures
Periclean Acropolis: The templar sculptures
Kallimachos: Athena Nike balustrade, details
Periclean Acropolis: The templar sculptures
Athens, Acropolis. Athena Nike balustrade.
A. Section of the entrance
B. Slab of Athena Nìke’s balustrade with Nìke unfastening a sandal.
Periclean Acropolis: The templar sculptures
Kallimachos: Menaeds
Periclean Acropolis: The templar sculptures
Kallimachos: Menaeds
Periclean Acropolis: The templar sculptures
Kallimachos: Aphrodite.
Periclean Acropolis: The templar sculptures
Athens, Acropolis. Erechtheum
Periclean Acropolis: The templar sculptures
Hypothesis of restitution of the Erechtheion north-western front. Watercolor by Peter Connolly (from Camp 2001)
Periclean Acropolis: The templar sculptures
Athens, Acropolis, Erechtheum:
B) Plan;
C) Eastern side;
D) Western side. (graphic elaborations from Stevens G.P., The Erechtheum, 1, Cambridge [Ma.] 1927.
Periclean Acropolis: The templar sculptures
Athens, Erechtheum, the frieze reassembled in the New Acropolis Museum
Periclean Acropolis: The templar sculptures
Details of the frieze sculptures
Periclean Acropolis: The templar sculptures
Athens, Erechtheum
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
A. Interest for the representation of the individual’s emotions, character, age, mood;
B. Influence of 5th c. sculptors, noticeably Phidias and Polycleitus, although there is a decreased interest for the representation of ideal, calm, somehow emotionless figures;
C. Individualism à physiognomic portrait
D. Attention for secondary deities, who are connected to concrete human issues
E. In some cases, new ways to portrait gods and heroes, humanizing them
F. Figures are involved in the surrounding space
Classical archaeology: the 4th century
Timotheos: Hygieia; Leda and the swan
Classical archaeology: th
Athens, Agora, Eirene and Plutos of Kephisodotos, 370 B.C., commissioned by the Athenian Statee 4th century
Classical archaeology: the 4th century
Praxiteles: Pouring Satyr (370/60 BC). The original statue was in Athens.
Classical archaeology: the 4th century
Praxiteles: Statue of Apollo Sauroktònos (lizard-killer), 360 B.C., copy (Paris, Musée du Louvre). The original, in bronze, was probably a cult statue placed in Apollonia al Rindaco (Misia) brought to Rome in 73 B.C. from Lucullo. Novel, unusual representation of Apollo, far from the V century: the god is represented as an adolescent, looking at the lizard he’s about to slay with his arrow. The body shows a S-curve; the gaze excludes the observed and appears concentrated on the lizard.
Classical archaeology: the 4th century
Athens Acropolis, female head interpreted as original of the Artemide Brauronia cult statue by Praxiteles (Athens, Acropolis Museum). 8
Classical archaeology: the 4th century
Statue of Aphrodite of Knidos by Praxiteles, copy (Rome, Vatican museums). The statue (350 B.C.) shows a full-scale female nudity for the first time. The goddess stands naked, her left hand over the drapery on the nearby water jar, her right hand brought across in front. Her S-shaped pose is stressed by her right hip pushing out; her face has shadowy, dreamy eyes, straight nose and small mouth. Ancient sources praised the beauty of the statue, located in a open shrine within the sanctuary of the goddess in Cnidus. Again, the deity is represented as a mortal, engaged in a human activity.
Classical archaeology: the 4th century
Olympia, Temple of Hera, statue of Hermes with infant Dionysus (Olympia, National Archaeological Museum). Hermes holds the child Dionysus in his left arm and
inclines his head toward the child. The latter tries to reach the bunch of grapes that Hermes, teasing him, held in his right arm. Their gazes intersect, excluding the viewer, in a personal, playful dialogue. They are represented as mortals engaged in human activities.
Classical archaeology: the 4th century
Praxiteles (?): Ephebus of Marathon, 340 B.C., 1,30 m, boronze, found in the sea near Marathon.
Classical archaeology: the 4th century
A. Statue of Athena found in the excavation in the Pireus,
B. Statue of Artemis, attributed to Euphranor, bronze. Piraeus, Archaeological Museum.
Classical archaeology: the 4th century
Mausoleum, the funerary monument of Mausolus (367-353 BC) in Halicarnassus, Caria (hypothesis of reconstruction by Krischen 1938).
Classical archaeology: the 4th century
Olympia. Head of the Satyros boxer (344-340 B.C.) of Sylanion. Athens, National Archaeological Museum
Classical archaeology: Lysippus
Lysippus. Agias from the sanctuary of Delphi, copy of a statue already existent in Pharsalos. Agias was the great-grandfather of Daochos II, who dedicated the monument at Delphi
Classical archaeology: the 4th century
Reconstruction of the Porticus Metelli. In the foreground, the ‘Turma Alexandri’ or ‘Granicus Group’ , Alexander surrounded by 25 of his close companions that died in the battle of Granicus, removed from the sanctuary of Zeus at Dion and brought to Rome after the Macedonian war of Q. Caecellius Metellus Macedonicus.
Classical archaeology: Lysippus
Classical archaeology: Lysippus
Copy of Eros with the arch by Lysippus, dedicated in the sanctuary of Thespiae
Classical archaeology: Lysippus
Portrait of Alexander the Great, maybe realized at Ephesus in 335 B.C.
a–bronze statue from Alexandria, Egypt, representing Alexander with the spear. Paris, Louvre Museum
b–Azara herm, Roman copy of a bust of Alexander the Great by Lysippus. Paris, Louvre Musesum.
C. On the right, detail of a painting showing the marriage of Alexander and Statira as Ares and Aphrodite fresco ca. 69 A.D. copy after Aetion. Antiquarim Pompeii. 20 Classical archaeology: Lysippus
Classical archaeology: the 4th century
Alexander Sarcophagus from Sidon
Classical archaeology: Lysip the 4th century
Pentelic marble copy of the Apoxyomenos (the “Scraper”) by Lysippus, Vatican Museums. Maybe commissioned by the Achaean League, it represents an athlete (maybe Cheilon of Patrai, who died in 322 B.C., during Lamia Battle) while scraping oil, sweat and dust from his body with the strigil, a small curved instrument.
One arm is stretched out directly in front of the figure, while the other one, holding the strigil) at right angles to it. Hence, the broad front of the torso is broken and the visual space of the figure extended. The athlete stands on his left leg, while the right one is turned out.
The figure appears slender, tall, with a small head and a new canon of proportions (abandonment of Polycleitus proportions and chiasmo). The figures engages in the surrounding space, allowing the observer to appreciate it from many sides (abandonment of the Classical frontality): three-dimensionality, conquer of the spacepus
Classical archaeology: Lysippus
Portrait of Socrates, from Ephesus.
Classical archaeology: Lysippus
Statuette of seated Herakles from Ratiaria (Bulgaria), copy of Lysippus’ Zeus at Taranto. Vidin, Museum.
Classical archaeology: Lysippus
Statuette from Taranto (II c. B.C.), Maybe inspired by Lysippus’ Zeus. Taranto, National Archaeological Museum.
Classical archaeology: Lysippus
Statue basis, with dedication to Heracles by Titus Septumulenus. Taranto, National Archaeological Museum.
Classical archaeology: Lysippus
Reconstruction of Heracles head of Lysippus. Taranto, National Archaeological Museum
Classical archaeology: Lysippus
Farnese Hercules, 3rd c. AD copy, signed Glykon, of the original by Lysippus.
Classical archaeology: Lysippus
Relief representing the Kairos
Classical Archaeology. Hellenistic Art
Classical Archaeology. Hellenistic Art
Sanctuary of Zeus at Olympia, Philippeion
Classical Archaeology. Hellenistic Art
Coin issued under the reign of Attalus I, depicting the head of Philetaerus and on the obverse the image of seated Athena
Classical Archaeology. Hellenistic Art
Attalid dynasty, founded by Philetaerus, eunuch and guardian of Lysimachus’ treasure preserved in Pergamon, in 282 B.C. His adopted nephew EumenesI (263-241) defeated Antioch I and established the Pergamon realm. The realm of Attalus I, who defeated the Galatians twice, and of Eumenes II constitute the most flourishing period of the Pergamon kingdom. Attalus III bequeathed the kingdom to Rome in 133 B.C.
Classical Archaeology. Hellenistic Art
Dying Galatian.
Pergamon, statuary group celebrating the Attalids victory over the Galatians. Attalus I reported two victories over the Galatians, celebrated in Pergamon, in the sanctuary of Athena Nikephoros, and in Athens, on the Acropolis: international propaganda Above, dying Galatian. On the right, a Galatian prefers to die rather than surrender and commits suicide after having killed his wife (to prevent her becoming a slave)
Dying Galatian (on the right). Slow twist of the torso, careful rendering of the wound, multiple viewpoints, pathos and drama. The characteristic hairstyle and moustache, together with the presence of the torque around his neck marks him as Galatian (see description of Gauls in literary sources)
Classical Archaeology. Hellenistic Art
A Galatian prefers to die rather than surrender and commits suicide after having killed his wife (to prevent her becoming a slave)
Pergamon, statuary group celebrating the Attalids victory over the Galatians. Attalus I reported two victories over the Galatians, celebrated in Pergamon, in the sanctuary of Athena Nikephoros, and in Athens, on the Acropolis: international propaganda Above, dying Galatian. On the right, a Galatian prefers to die rather than surrender and commits suicide after having killed his wife (to prevent her becoming a slave)
Classical Archaeology. Hellenistic Art
Pergamon, Galatians’ group (Large Gaul dedication), reconstruction (above)
Classical Archaeology. Hellenistic Art
Pergamon, Galatians’ group (original 220 B.C. ca.) Multiple-viewpoints; contrast between the vigorous, alive, male body and the female one collapsing to death. Twisting posture, exaggerated musculature, representation of a highly pathetic and dramatic moment ‘Hellenistic baroque’
Classical Archaeology. Hellenistic Art
Menelaos and Patroclus group (also known as Ajax and Achilles group), copy a Hellenistic bronze original, dating to ca. 200–150 B.C.
Classical Archaeology. Hellenistic Art
Artemis and Iphigenia group
Classical Archaeology. Hellenistic Art
Achilles and Penthesilea group, replica of a Hellenistic original
Classical Archaeology. Hellenistic Art
Two-figures groups marked by the same scheme
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena
Classical Archaeology. Hellenistic Art
Sculptures celebrating the Attalids’ victories: Lesser Attalid dedication, Roman copies of the bronze originals that once adorned Athens: sculptures of the Dying Gaul, an Amazon, a Persian and a Giant. The group belonged to a famous monument (the ‘lesser Dedication’) commemorating victory over the Gauls that was dedicated on the Athenian Acropolis in Athens around 200 BC by Attalus I. The monument depicting mythological and historical battles with the enemies of Pergamon and the Greek world– fight with Giants and Amazons, the historical victories over the Gauls and over the Persians– became known as the Lesser Dedication, because it was of smaller size than the Greater Attalid Dedication set up in Pergamon. The Lesser Dedication group was identified on the basis of an account from Pausanias.
Classical Archaeology. Hellenistic Art
Pergamon, Acropolis, altar of Zeus and Athena, westward oriented, consisting of a π shaped wall over an high basement, surrounded by a Ionic colonnade. The two projecting walls flank the stairs that bring to the platform level, a sort of yard where the actual bomos used for sacrifices stood. Commissioned by EumenesII (maybe on the occasion of a successful crushing of a rebellion of the Gauls occurred in 167 B.C.), the sculptural decoration praises the Attalid dynasty, by celebrating– through the myth– the victories over the Galatians and stressing the divine origin of the dynasty.
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena On the roof of the altar there were various small statues of gods, horses, centaurs and lion griffins
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, that are probably the divine addressees of the structure, as they appear in prominent locations of the Gigantomachy frieze
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the external frieze with Athena. The frieze, 2,40 m tall, in extremely high relief, is pervaded by movement, strengthened by oblique or parallel lines. The X compositions recalls the fight between Athena and Poseidon depicted over the Parthenon pediment connection with Greek culture through proposed subjects and artistic composition
Massive dramatic figures with expressions of pain, horror and pathos Inscriptions Classicism + baroque
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the external frieze (2,30 m high) over the podium depicting the Giantomachy (here a detail with Zeus), by proposing once again the theme of the fights against the ‘barbarians’ already introduced by the sculptural group commissioned by Attalus I. The representation follows Hesiod’s Giantomachy and the different gods are distributed over the monument according to a sophisticated genealogy. Zeus fighting by hurling lightning bolts, sending rain and massedclouds over giants, east side
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the external frieze with a giant. The frieze consisted of circa 200 figures in such high relief that they appear almost in the round sculptures. The physical and emotional fight is underlined by exaggerated and tenses musculatures, in-depth set eyes, disclosed mouths, violent gestures. Clothes’ movement strengthens the dramatic effect. Zeus and Athena overthrow the giants, whose faces express horror and despair.
Classical Archaeology. Hellenistic Art
The three-faceted goddess Hecate fights, on the east side, in her three incarnations with a torch, a sword and a lance against the Giant Clytius. Next to her is Artemis, fighting with a bow and arrow against a Giant (Otos?). Her hunting dog kills another Giant with a bite to the neck. Artemis’ mother Leto fights at her side using a torch against an animal like Giant.
Classical Archaeology. Hellenistic Art
Herakles and the infant Telephus suckled by a lioness
Figures are relatively small in relation to the overall frieze’s dimension, thus creating a sense of atmosphere, strengthened by the presence of landscape elements such as trees or rocks or by the insertion of columns, altars, architectural settings etc.
Classical Archaeology. Hellenistic Art
Telephus receives weapons from Auge
Pergamon, altar of Zeus and Athena, detail of the internal frieze (on the inner court walls which surround the actual altar on the upper level of the structure at the top of the stairs) with Telephus. Telephus, son of Herakle and Auge (daughter of Aleus, king of Tegea) is the mythical founder of the Attalid dinasty
Classical Archaeology. Hellenistic Art
Over the south frieze, the fight begins with the great mother goddess of Asia Minor, Rhea/Cybele, who rides into battle over a lion, with bow and arrow
Classical Archaeology. Hellenistic Art
Magnesia at the Meander, altar of Artemis
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the internal frieze with Telephus: Herakles at the court of the king of Tegea and the battle by the river Kaikos
Classical Archaeology. Hellenistic Art
Priene, altar of Athena
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the internal frieze with Telephus: carpenters make a boat to send Auge away; king Teuthras of Mysia finds Auge on the shore
Classical Archaeology. Hellenistic Art
Kos, altar of Asklepios
Classical Archaeology. Hellenistic Art
Tyche of Antioch by Euthychides. Romancopy of an original bronze dating back to 300 B.C. c. Vatican Museums, Rome
Classical Archaeology. Hellenistic Art
Marble copy of the portrait of Demostenes by Polyeuktos, erected in the Athenian agora around 280 B.C. NY Glyptotheck, Copenhagen
Classical Archaeology. Hellenistic Art
Pergamon, Galatians’ group (original 220 B.C. ca.) Twisting posture, exaggerated musculature, representation of a highly pathetic and dramatic moment –> ‘Hellenistic baroque’
Classical Archaeology. Hellenistic Art
Pergamon, altar of Zeus and Athena, detail of the external frieze with Athena.
Classical Archaeology. Hellenistic Art
Nike of Samothrace, attributed to Pythokritos of Rhodes, c. 180 B.C. Paris, Louvre Museum
Classical Archaeology. Hellenistic Art
Eros and Psyche. Roman copy of an original dating back to 150-100 B.C. Capitoline Museums, Rome
Classical Archaeology. Hellenistic Art
Cleopatra and Dioskourides, from the peristyle of their house at Delos. 140 B.C. a. Delos Museum
Classical Archaeology. Hellenistic Art
Nymphandsatyr. Roman copy of a marble original of c. 100 B.C. Capitoline Museums, Rome
Classical Archaeology. Hellenistic Art
Barberini Faun or Sleeping Satyr, c. 200 B.C. Staatliche Antikensammlungen, Munich
Classical Archaeology. Hellenistic Art
Aphrodite, Pan and Eros marble group dedicated by Dionysios of Berytos (Beirut) at Delos around 100 B.C. Athens, National Museum
Classical Archaeology. Hellenistic Art
Portrait of Euthydemosof Bactria. Roman copy of an original of c. 200 B.C. Villa Albani, Rome
Classical Archaeology. Hellenistic Art
Crouching Aphrodite attributed to Doisalsas, Capitoline Museums, Rome
Classical Archaeology. Hellenistic Art
mid-Imperial age (110-160 AD) copy of a famous original of the Hellenistic period, ascribed to the sculptor Boethos and representing a child strangling a goose
Classical Archaeology. Hellenistic Art
Aphrodite of Melos, c. 150-100 B.C. Paris, Louvre Museum
Classical Archaeology. Hellenistic Art
Dwarf from the Madhia shipwreck. Bronze. C. 150-100 B.C. Tunis, Bardo Museum
Classical Archaeology. Hellenistic Art
Romancopy of a original of the Hellenistic period, representing a Boy with Thorn (so calles ‘Spinario’), Rome, Capitoline Museums
Classical Archaeology. Hellenistic Art
Sleeping hermaphrodites
Classical Archaeology. Hellenistic Art
Alexandrine sculpture. Realistic representation of old women
Classical Archaeology. Hellenistic Art
Alexandrine sculpture. Realistic representation of old men
Classical Archaeology. Hellenistic Art
Lacoon group, attributed by Pliny to Hagesandros, Athenodoros and Polydoros. Vatican Museums, Rome
Hellenistic and Roman Athens
Classical Archaeology. Hellenistic Art
1. agora;
2. Hadrian’s library;
3. Roman agora;
4. Ptolemaion;
5. Diogeneion;
6. Theseion ?;
7. Anakeion;
8. Aglaurion;
9. archaia agora;
10. Prytaneion;
11. choragic monuments street;
12. Serapeum;
13. Hadrian’s arch;
14. Olympieion;
15. Pericles’ Odeion;
16. sanctuary and theatre of Dionysus Eleuthereus;
17-20 heroic cults (?)
Classical Archaeology. Hellenistic Art
Marble sculptural group representing the myth of Dirce, by the Rodhian sculptor Apollonius of Tralles, Naples, Archaeological National Museum
Classical Archaeology. Hellenistic Art
Relief representing the apotheosis of Homer, by Archelaos of Priene. C. 125 B.C. London, British Museum
Classical Archaeology. Hellenistic Art
Tanagra figures. Terracotta
Classical Archaeology. Hellenistic Art
Choregic monument of Nikias (320/319 B.C.), in the form of a small Doric temple with six columns on the front and, probably, with a tripod over the top of the pediment. The inscription reads: Nikias, son of Nikodemos, of Xypete, dedicated this after having won as a choregos in the boys’ chorus of Kekropis. Pantaleon of Sikon played the flute. The song was Elpenor of Timotheos. Neaichmos was archon.
Classical Archaeology. Hellenistic Art
Choregic monument of Lysikrates (335/334 B.C.), in the form of a small cylindrical building of the Corinthian order, on a high podium. Above the Corinthian columns was a sculpted frieze depicting Dionysus, captured by pirates, turning his captors into dolphins. Above the roof, a floral finial supported the tripod itself. The inscription reads: Lysikrates, son of Lysitheides of Kykynna, was the choragus. The tribe of Akamantis won the boys’ chorus. Theon played the flute. Lysiades the Athenian directed. Euainetos was the archon.
Classical archaeology: the 4th century
Tegea, Athena Alea Temple, west pediment:
a) head of Heracles (Tegea, Archaeological Museum);
b) Head of Telefo (already at the Museum of Tegea) east pediment:
c) head of a warrior (Athens, National Museum);
d) acroterio.
Classical Archaeology. Hellenistic Art
Choregic monument of Thrasyllos (320/319 B.C.), making use of a natural cave at the top of the auditorium of the theatre of Dionysus. A façade of three piers supported a sculpted frieze of wreaths, with the tripod displayed above. According to Pausanias, in the cave, Apollo and Artemis were represented while killing the children of Niobe. The inscription reads: Thrasyllos, don of Trasyllos of Dekeleia, dedicated this, after having won in the men’s chorus for the tribe of Hippothontis. Euios of Chalkis played the flute. Neaichmos was archon. Karidamos son of Sotios directed.
Classical Archaeology. Hellenistic Art
Hellenistic grave-markers in Athens: trapezai (mensae) and columellae behind
Classical archaeology: the 4th century
Statue of Menade by Skopas, copy (Dresden, Albertinum).
Classical archaeology: the 4th century
Skopas (?): Temple of Artemis at Ephesus.
Classical archaeology: the 4th century
Skopas: Pothos
Classical archaeology: the 4th century
Skopas (?): Meleager, 340 B.C. Actually, no literary source explicitly mentions a statue of Meleager by Skopas, but the number of copies suggest the existence of a Greek original and the style of the work is consistent with the one of Skopas.
The torso shows a slow torsion and strong modelling, with soft transitions from plane to plane and more clear-cut musculature; the line of hip and groin are clearly demarcated. The head turns toward the left and shows deep-set eyes and disclosed mouth.
Classical archaeology: the 4th century
Statue of Apollo, so-called “del Belvedere” of Leochares, copy (Rome,Vatican Museums)
Classical archaeology: the 4th century
Euphranor, statue of Apollo Patroos. Athens, Agora Museum
Classical archaeology: the 4th century
Leochares (?): Philip II
Classical archaeology: the 4th century
a. Olympia, Philippeion: plan, current remains and reconstruction.
b. Athens (Attica). Acropolis, portrait of Alexander the Great attributed to Leochares (Athens, Acropolis Museum).
Classical archaeology: the 4th century
Halicarnassus Mausoleum, statues interpreted as Mausolus (3 m) and Artemisia (London, British Museum)
Classical archaeology: the 4th century
Lion, from the Mausoleum
Classical archaeology: the 4th century
Sculptures, from the Mausoleum.
Classical archaeology: the 4th century
Classical archaeology: the 4th century
Classical archaeology: the 4th century
A. Frieze with Amazonomachy from the Mausoleum of Halicarnassus, attributed to Skopas of Paros.
B. Copy of the Skopas Menade, now in Dresden (330 BC).
Classical Archaeology. Hellenistic Art
Classical Archaeology. Hellenistic Art
Nike of Samothrace
Classical Archaeology. Hellenistic Art
Sculptures from the Hieron’s pediment
Classical Archaeology. Hellenistic Art
Copies of the cult statue of Artemis of Ephesus
Classical Archaeology. Hellenistic Art
Marble statue of Apollo Patroos by Euphranor, c. 350-330 B.C.
Classical Archaeology. Hellenistic Art
Copy of the Athena Parthenos made for the library
Classical Archaeology. Hellenistic Art
Pergamon, marble sculptural group probably representing Herakles freeing Prometheus (who stole the fire from the gods and gave it to humans)by shooting the eagle through bow and arch, found in the debris of the north colonnade of the sanctuary of Athena
