A Comparison OfThe Winged Victory Of Samothrace?

The Winged Victory of Samothrace, also referred to as the Nike of Samothrace, is a marble Hellenistic sculpture of The Greek goddess of victory, Nike. Created in 190 BC by an unknown artist and constructed with parian marble, it stands at 5.57 meters although the goddess herself stands only at 2.75 meters. The sculpture was discovered in 1863 on the island of Samothrace on a French exploration led by amateur archaeologist Charles Champoiseau. In its original setting, the Nike was mounted on the prow of a stone ship in a temple, and was assumed to be overlooking the sanctuary of the great gods on the island of Samothrace. The sculpture has been displayed at the most distinguished museum in the world, the Louvre, in Paris, since 1884. Even in its current condition, this sculpture continues to inspire many across the globe with its vision of victory and triumph.

Ancient Greek art is something to be admired; the accuracy of the figures, compared to Egyptian art is commendable. The art works show great depths of emotion and detail. The “Grave stele of a little girl” is a beautiful relief of what appears to be a small child holding two birds. The forearm resembles a young child’s arm because it seems that the “baby fat” is still present, but it is strange that the face has less-childish features. The figure is in strict profile, which possibly suggests a Greek sculptor, in addition to the intricate detail and the contrapposto. Egyptian sculptors did not have

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

It is important to first begin with the basics of each piece of artwork. The graywacke statue of Menkaure and a Queen was made between c. 2490-2472 BCE during the Old Kingdom period in Giza, Egypt. Although the artist is unknown, it is understood that the time during which this artwork was made was during the Old Kingdom period, which lasted from c. 2575-2150 BCE. This statue is smaller in height than the average human being, being 51 ½ inches tall, which is a little over four and a quarter feet tall (Stokstad and Cothren: 60). The stone that it is made from is a rocky, rough stone, that took a considerable amount of sanding to get the statue to look as smooth as it is. The second set of statues I will be comparing and contrasting to the Menkaure and Queen are the limestone statues, Anavysos Kouros and the Peplos Kore. Both were made in c. 530 BCE during the Archaic period in Athens, Greece. Similar to Menkaure and a Queen, the Anavysos Kouros and the Peplos Kore do not have a known artist, however it is known that the time period in which the statues were made was during the Archaic Period, which lasted from c. 600-480 BCE. These statues are more life-like in size. The Kouros statue is around the size of a tall male, six feet four inches tall. On the other hand, the Kore statue is smaller in stature, about four foot tall . Both statues were made from carved marble, although some of the other kouros and kore statues that were made were from terra cotta, wood, or limestone

The study of Greek sculpture is a complex relationship of Roman sculpture. And a large number of Roman sculpture, especially in the stone, survives more or less intact, it is often damaged or piecemeal; life-size bronze statues are much more rare, because as most have been recycled for their metal. The

The Venus of Willendorf is a sculpture that was sculpted out of limestone and stands to be 4 ½’’ tall. The figurine was most likely carved out of limestone because early pre-historic artists generally had to create art out of whatever materials they had available. The figurine is only 4 ½” tall is because it was common for pre-historic artists to carve small, hand held, portable figurines. The sculpture was found on the banks of the Danube River, an area where pre-historic hunter-gatherers were thought to have lived and traded goods with other civilians. The use of this piece of artwork is to portray the importance of women and fertility in pre-historic times because these features are ones that ensured the survival and future of mankind.

The Torso of Aphrodite was constructed in the 1st century A.D. and is made entirely of marble. The torso used to belong to a life-sized version statue of The Greek goddess of love Aphrodite. From the moment I saw this piece, I knew I was attracted to it in a deeper way. It

Greek art, especially sculpture, was a common way to explore and reach past the confines of mankind’s natural appearance be it through penises, huge muscles, or generalized unrealistic body standards. Hercules and the Hydra, a sculpture by Mathias Gasteiger, presents an image of masculinity through the expressive posture and form of Hercules once you look past those gleaming bronze pectorals, and into the intricate details of the piece.

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

This paper will discuss relative points and insights relating to sculpture of the Paleolithic era, specifically the Venus of Willendorf, through the essays of Christopher Witcombe.

The sculpture that we have observed has been dated to the first half of the first century C.E. This places the portrait during the Julio-Claudian period in Roman history. From the information we have gathered about the time period, the woman's style of dress and of the types of sculpture prevelant during the period, we have formed a possible profile of the daily life of the subject.

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

Charles Champoiseau uncovered pieces of masterfully worked Parian marble in April of 1863.1 On Samothraki, the island from which Poseidon is said to have watched the fall of Troy, these segments of stone came together to form four main sections: a torso, a headless bust, a section of drapery, and a wing.2 The sections were shaped to be assembled though the use of cantilevering and metal dowels, allowing the sculptor to extend beyond medium’s gravitational limitations (fig. 2). Just one year later, the pieces were assembled (and those missing were remodeled), and the Greek goddess Nike was revealed at the Louvre.

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.

One very noteworthy statue of the Classical Period was called “Aphrodite of Knidos”. The original sculpture inspired various amounts of copies, but sadly the original itself did not survive. “Aphrodite of Knidos” was created by Praxitele and is thought to be the most famous sculptures of Classical Greece. The sculpture depicts Aphrodite just have taken off her clothes and was about to step into the bath. She may have had an onlooker and she covered her pelvis from their view.