Discobolus By Myron, Or The Discus Thrower

Myron’s Discobolus Sculpture is one of the most famous sculptures that came from this period. This Sculpture had many copies made due to its popularity. It captures the brief moment right before the discus is released and is a perfect picture of an athlete in action

They began to paint and sculpt human bodies which needed specific techniques of scaling and math. Historian William J. Connell, La Motta Chair in Seton Hall University, describes the common artistic features between Classical age and Renaissance. He explains, “Freestanding, larger-than-life-size statues of human beings were sculpted for the first time since antiquity” (3). During the Classical age, huge statues of human could be found in the history in which scientific ideas were required to design and to sculpt it appropriately. Artists of Renaissance revived the way of sculpting as well as painting of Greek and Roman culture where they used techniques from math as well as science. The influence of classical culture transformed the art and the way of making it by using scientific knowledge of drawing and sculpting, and provided it a sense human importance on the artistic works.

Dissection of human bodies became popular during the Renaissance time as people started to redraw and disprove previous beliefs about human anatomy. Interest in anatomy grew for artistic and medicinal purposes. Artists such as Raphael and Michelangelo began “integrating their knowledge of surface and deeper anatomy into their paintings” (Wear). However, the majority of anatomical knowledge at this time was based on Greek and Medieval Italian dissection of animals (Ghosh). Comparing animal bodies to the human body provided its’ inconsistencies, and anatomists like Andreas Vesalius pointed them out and disproved what was considered factual. His studies inspired scientists years to come to venture into anatomy and dissection as well.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

Ancient sculptures bring on endless philosophical arguments regarding what is an appropriate form of perfection, defined as a fit body guided by a keen mind. This paper will approach a visual essence of the sculpture of The Lansdowne Athlete, by Lysippos, Rome 340-330 B.C. marble after a bronze original, that I viewed at the LACMA. This sculpture is located in the left wing of Greek exhibition Building, 3rd floor. I selected this sculpture as an example of an idealized body. Therefore, I will be explaining the historical background of the sculpture and address why I think it would make a good addition to our text. I will provide an analogy with other sculpture of idealized body from our textbook chapter 12 on “Mind and Body” mainly. I will impart more information about the essence of idealized human form as well as cultural ideals during this time period in Greece.

These pieces were chosen for the Greek room for different reasons. Discobulos is a fantastic example of Greek art, with its muscular body and action of the highly regarded games, frozen in time. The masks are something that are not often thought of or seen in museums. Items that resemble popular plays and literature are not portrayed enough. Such items may be found in a museum of music or literature, but Plays are a form of art, so using pieces from that play is a good way to bring visitors to truly envision how the actors might have felt on the theater stage. The Greek’s expressive masks show each sad eyed, mourning mother, each glowing bride, and each strong, brave warrior.

In writing this report I hope to find out how Leonardo Da Vinci, contributed to the medical world. What he did that may have helped us in Madison today? "Leonardo Da Vinci was born on April 15th, 1452 in Vinci, Italy during a time known as the Renaissance" (Cool Kid Facts), he was born out of wedlock the son of Sir Piero from Vinci. Not much is known about Da Vinci's youth. He spent his first five-years in Tuscany near Florence, after that he lived in the household of his father, and grandparents. His father San Pierro, married a number of different times only to end in divorce, but he finally met and married a lady from a wealthy family where 5-year old Da Vinci was a welcome addition. As a child Da Vinci was very smart with a big talent for arithmetic as well as singing. His early schooling was done at home in Vinci, where he lived on a big estate with his new stepmother, his father, and several of his brothers and sisters, and his Uncle Francesco, who was a farmer and nature lover. Young Da Vinci spent a great deal of time with his uncle working outdoors and drawing. When Da Vinci was just a young teen he began a long apprenticeship with the artist Andrea del Verrocchio in Florence, There "he learned a

Though within his art journey, his interest in antomaty was not unique amongst artists. He was obessed with the structure and the valves of the heart. Although he kept his antomatic studies to himself, He did shared some of his proportion of the human drawings.

The focus of the hydria is the appliqué directly under the vertical handle. The addition of a separate appliqué was a new development Late Classical period where artists would “work the applique in a delicate repoussé technique,” or separately from the body of the hydria. Through this technique, bronze artists began to expand the range of ornamental elements and started “to show more complex mythological scenes that involved one or two human figures, often actively engaged with an object or one another.” The flamboyant style became more popular in various forms of art during this era, and being able to add more detail and dimension to their figures allowed some bronze artists to either pioneer or adopt these techniques. The MFA Eros vase artfully demonstrates these innovations. The main applique depicts two figures, with Eros leaning on a smaller statue of Aphrodite. Eros’ drapery is represented in the flamboyant style, with it dynamically wrapping around his thighs and pooling on top of the Aphrodite statue’s head. His wings are large and sumptuous with comprehensive detailing throughout. Eros’ body is arranged in contrapposto, and the artist skillfully foreshortens his leg to account for his leaning motion. Eros gazes into a mirror and rearranges his hair, delicately picking strands up. On his wrists are two bracelets made of silver, drawing attention to this

Myron's and Townley's Discobolus discus thrower shows an comparison and contrast between the stylistics and their historical periods. The sculptures prodives a great deal of knowledge and relevant background information about their art work. The aspects of the sculptures of the statues.

Discus Thrower (Discobolos) by Myron is a modern plaster replica of a Roman copy. The replica stands approximately five and a half to six feet tall, portraying a standing male nude. This rendition possesses a masculine, idealized athletic physique. Discobolos has a broad chest, wide shoulders, toned torso, sturdy legs, and a patterned hair style with a proportional sized head containing an expressionless face. With an expressionless face and blank eyes it provides further evidence of the artist depicting an idea rather than a specific individual. Overall, the artist did a stunning job at capturing the subtle details of the human body starting from the tensed muscles in the neck, shoulders, torso, back, and legs to clasped toes on the base

It seems sculpture in Early and High Classical period was a big jump in developing and making a different style. Sculptures during this time follow the contrapposto post and many another pose which made a dramatic story. When combining all them together, we can see the story that belongs to the sculpture such as Chariot race of Pelops and Oinomaos (ca 470-456 BCE). In contrast, in the Hellenistic period, the whole story can be understood

From far away, one could see the skill of Rodin being displayed fully by seeing the texture of the statue. The texture is dark, but the outside layer is shiny, by looking at this, one could conclude that the material that Rodin used was bronze cast, and the way he architect the statues is magnificent.

The Greeks of Greece have an emotional verifiable pattern in figure generation. These dynamic endeavors can be very much followed in the three elaborate times of their creative advancement as arranged by craftsmanship history specialists. These periods are the Old time frame, the Traditional period and the Greek time frame. The main material for model creation was marble in light of its plenitude in old Greece. Be that as it may, different materials, for example, ivory, bronze and gold were sparingly utilized.

As artistic styles and techniques developed during the Renaissance, Baroque, and Rococo periods, they became increasingly reliant on scientific knowledge and experimentation. Two of the major factors of this trend were the continuing improvements in the understanding of human anatomy, and a well-documented understanding of the geometry of linear perspective. Examples for each period will be discussed in relation to these scientific achievements.