Doryphoros Spear Bearer

The evolution of Greek art has expanded over hundreds of years and has contributed to many artistic developments, especially in sculpture. The depiction of the human figure has drastically changed overtime from an undeveloped form to a more detailed rendering. This transformation can be seen from Early Bronze Age figurine models to Ancient Hellenistic sculptures. Examples of early figurines are small with disproportionate and unusual bodies while much later sculptures are large scale showing the importance of corrected bodily proportions. Tiny figures generally had the same poses lacking facial and body definition details while later sculptures have exquisite, clear facial features, and deeply chiseled bodies. The developments of sculptors

Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.

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

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

This Etruscan- Roman piece of art is detailed all around, but also ideal as depictions look influential throughout the generations from the living patrician man holding the lifeless portrait busts of the two very distinct ancestors. The surface of the marble used to carve the male figure, and the portrait heads is very smooth and pale in colour, as the natural agent simulates’ realistic complexion through the veins present within the marble creating a three- dimensional illusion of meticulous naturalistic rendition of the human anatomy engraved with relief detail all around. The function of the portrait sculpture was to have a permanent documentation motivated by the realistic commemoration of one’s ancestors in a religious and ritualistic funeral use of death masks, that would have been cast from the face of the deceased. This became an obvious style of presenting recognizable prestige that conveyed the significance of

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

Both sculptures served as an offering to sanctuaries of Apollo. As a representation of the great god of music, both shrines and temples housed the great sculptures. Additionally, the Anavysos Kouros can be attributed to Doryphoros (Spear Bearer). Both figures share similarities as the Doryphoros is essentially a Roman adaptation of Greek figurative sculptures. The Doryphoros continues the use of marble as bronze’s value and ability to be melted down hindered the implementation of bronze in the Roman sculptures. Both the Anavysos Kouros and the Doryphoros strays away from the stiffness of the archaic period sculptures, instead, using abstract curves and softer tones in the nude

The Eagle-headed Apkallu Guardian Figure is a low relief sculpture from 883-859 B.C. Assyria. Made from gypsum, this sculpture measures approximately 42 1/8 inches tall, 26 inches wide and 1 ½ inches thick. The sculpture is mounted on the wall of the dark, navy-blue painted Antiquities section of the Museum of Fine Arts Houston, dimly lit by the luminance of showcase lights. The guardian figure watches over the room as visitors pass through the archway between two exhibits of the Museum of Fine Arts Houston. In The Eagle-headed Apkallu Guardian Figure, the artist uses compositional choices, stylistic

Polykleitos stood as a renowned Greek sculptor who functioned in the field of bronze; he was as well an art philosopher who established a canon of ratio that is validated in his sculpture of Doryphoros. Numerous of Polykleitos' bronze figurines from the Classical era, as well as the Doryphoros, live on only as Roman replicas implemented in marble. Polykleitos, in the company of Phidias, is rumored to have generated the elegance standard in Classical Greek figurine. Additional sample of Polykleitos' canon at functioning is comprehended in his figurine of Diadumenos, an early stages attempting on a circlet, as well as his sculpture Discophoros, a round bearer. In cooperation Roman marble replicas represent muscular, nude male features. The frames

Polykleitos' sculpture of Diadoumenos similarly relates to some of the most famous sculptors, like Praxitiles' statue of Hermes & Dionysos, in that they both display contrapposto, use struts for support and to make sure that none of the parts of the sculpture that they are balancing and supporting, dont fall off, since marble is very heavy and can easily break apart in bad weather or with physical contact.

Myron created an imperishable pattern of power in his sculpture. The pose gave the statue harmony and balance which were uncommon during the Severe period. He gave the sculpture emotion within the throwers face. His aspiratrion for flawlessness gave him the inspiration to embodie the sculpture had power throughout the pose and release.

The title of this sculpture is a Human-headed winged bull and winged lion. It is often called shedu or lamassu. A lamassu represents a female deity. A shedu refers to the male counterpart of a lamassu. There is no name of the artist. The Human-headed winged bull and winged lion is from the citadel of Sargon II, Dur Sharrukin, Neo-Assyrian. This winged lion stood in Ashurnasirpal II 's palace at Nimrud, one of the enormous stone statues of winged beasts set up at entrances and doorways to protect the king from evil and to impress all thoese who entered. It is excavated at Kalhu (modern Nimrud). The sculpture is dated to ca. 883-859 B.C. and dimensions are H. 10ft. 3 1/2 in. (313.7 cm). It is plain ivory color. It is now situated at the Metropolitan Museum of Art (32.143.1–.2). Medium is gypsum alabaster. The sculpture has the head of a human male, a body of an bull or a lion, bird 's wings, and a long tail that is very long and looks like a broom. Also, the head of a human male has a shaggy beard, big eyes, the thick eyebrows, tall nose, and small lip. It wears a belt, and has  five legs. A belt on the waist signifies power. Their heads are crowned with the horned caps typical of deities throughout the ancient Near East. At the facade of this sculpture, it appears to stand firmly in place. But at the side of this sculpture, it is striding forward. It was carved in colossal size, and placed as a pair. It was predominantly placed at either side of the entrances of cities,

The purpose of this essay is to compare and contrast two sculptures. The Statue of Memi and Sabu, dated back to ca. 2575–2465 B.C., Egyptian; and the Seated Statue of Gudea dated back to 2150–2100 B.C., Neo–Sumerian period.

This interest in the order of nature eventually evolved into a fascination with the human form and the idea of human perfection. The way in which the perfect human form was portrayed by Greek artists was of a highly intellectual nature. The early sculptors of the period explored basic human anatomy and its aesthetic value, creating such sculptures as the Kritios Boy, of the Acropolis. The precision and realism of this sculpture captured a more accurate portrayal of the human form than ever before seen. This accomplishment in itself showed strong advancements in intellectual thought, and inspired future generations to further explore aesthetic and order. Artist such as Polyclitius later envisioned human perfection as a series of mathematical proportions. The

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive