Formal Analysis Of The Apollo Belvedere

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

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

The statues, Heyl Aphrodite and Capitoline Gaul, both contain human-like features, but only one shows the ideal woman figure. By observing Heyl Aphrodite, viewers notice her soft, curvaceous figure. Her body is proportional creating balance and harmony. Fabric hugs the goddess’s body, draping over her right breast, while exposing the left, conveying a sense of sexuality. Her lack of eye contact expresses weakness, while her body posture, with the aid of the fabric, shows movement. Merker compares the artwork in her book, when she writes, “The raised right shoulder gives a sense of movement; although there is no torsion, one feels there ought to be and is reminded of the unstable, twisting movement of the Heyl Aphrodite in

The body of the statue is supported by the left leg while the right leg is bent, in a relaxing state, his head is slightly turned to the right and tilted. It also represents ideal heroic male nude. The Kritios Boy is much smaller compared to the Kouros. It is more relaxed and lifelike figure where the Kouros is a stiff figure. He has soft rounded body form, broad facial features, and calm expression. This work doesn’t include archaic smile, but the significant characteristic of the work is contrapposto, which means that the weight of the statue is concentrated and balanced on one side, there is a “S” shaped curve in his back or spin causing slight shift in hips and subtle drop of one shoulder. It represents more comfortable and realistic pose. So, the use of contrapposto makes the work

The marble statue of Diadoumenos is a copy of the original bronze statue displaying a young man tying a fillet around his head. The original was created in c.a. 430 B.C. by a man called Polykleitos of Argos. Polykleitos was a Greek sculptor who worked during the mid-fifth century B.C. . he was one of the most famous artists of the ancient world. Polykleitos' figures are carefully designed with special attention to bodily proportions and stance. The statue of Diadoumenos has its thorax and pelvis tilt in opposite directions, setting up rythmic contrasts in the torso that create an impression of organic vitality. The position of the feet, (poised between walking and standing), give a sense of potential movement.

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

This Hellenistic style is shown, despite Augustus having quite prominent facial features, which link back to the style of realism. When looking at the statue, one is quick to notice the sombre, dull, and serious tone which is portrayed on Augustus’s face. Augustus is also barefoot in this statue, which combined with the use of cupid riding a dolphin on his armour, is meant to show Augustus’s divine links to Venus, through his adoptive father who also considered himself to have divine

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

The Torso of an Emperor in the Guise of Jupiter was made during the first century with marble. Standing at 56 ½ x 29 ½ x 15 ½ inches. The statue depicts a torso of an emperor’s body with the torso completely exposed and a sheet that could be assumed as a toga (typical clothing during the time period) covering the lower part of the body. People worshipped the gods and many stories, still told today marvel of the complete and utter perfection that the gods were graced with. The artist shows detail directly in the toga to make precise cuts from the marble to show value and create a life like atmosphere. With the chest and torso area you can clearly see that the man was fit with no fat in sight, only muscle. The form of the work uses diagonal lines throughout the toga to imply movement upward towards the chest. The lines point upward causing your eyes to look toward the emperor’s torso. Since the gods were known mainly for

“We’ve got a bad fire let’s get out. . . . We’re burning up.” (Roger B. Chaffee Quotes) The tragedy of the Apollo 1 will haunt our history forever, and though, three brave, American men were lost in the tumult of that day, they put us a small step closer to the moon, and one giant leap closer to a proud America. Forever remembered will be the catastrophe of 1967, our hearts continue to beat red, white, and blue.

Doryphoros by Polykleitos was originally a Greek bronze made around 450-40B.C. The only way we can see it today is through the Roman marble copies (which is common of many Greek statues.) Some supports had to be added for the change in material, resulting in the addition of the form resembling a tree trunk, the support on the left foot, and the small bar bridging the gap between his right wrist and hip. Doryphoros was originally holding a spear in his left hand; appropriate, given that his name means, literally, “spear-bearer.” The sculpture is a well-known and early example of classical Greek contrapposto (the shifting of weight onto one leg and off-axis shoulders and arms.) One leg nearly appears to be lifting off the ground, giving the

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.

His arms are slightly long for his body, and the muscles not as developed as those of a man. His waist is small, and the form of his ribs is sculpted enough to know that he is lacking muscle definition. His stomach seems to pop out a little bit, perhaps suggesting the "baby fat" that he has yet to work off. He has one hand resting limply on his hip, while his other rests on a sword handle. His hair is shoulder length and slightly untamed, while a hat rests slightly tilted atop his head. His head is tilted slightly downward, and a slight upward bend in his lip looks almost like a building smile. One leg is straight, supporting his weight, while the other is propped on the head of the slain Goliath. The bends of his limbs are very natural, and the attention to detail exemplifies Donatello’s understanding of human anatomy. A closer look at the sculpture, however, reveals the details that set it apart from other works of the master.

The overall all renditions are block-like and sculpted with geometric reduction of details. The anatomy is made up of planes, completely symmetrical. The hair, ears, and eyes have been reduced to simple shapes – again, all identically symmetrical. Kouros is depicted nude, symbolic of Archaic Greece's emphasis on the ideal individual male and autonomous Greek citizen. In contrast, Aphrodite is a considerably large female (7 feet tall and substantially wider than the Kouros). Given the larger than real-life scale, this statue probably served as a cult image in a temple. The statue's excellent state of conservation also suggests that it was kept indoors. It is free standing but also in an anatomical, not just mechanical sense. The pose is full and rounded, not solely frontal. You get a sense of the body being relaxed, with one hand extended in a gesture that gives a sense of it moving forward.

Switzerland is best described by conveying an understanding of its geography, political, economic, cultural and social environments. The geography of the country has had a significant impact on its way of life. Switzerland is bordered by Germany in the north, Austria and the Principality of Liechtenstein in the east, Italy in the south and France in the west. This represents many significant European cultures converging on Switzerland – the German speaking region, the French and the Italian. Two thirds of the Swiss population lives in the Plateau, between Lake Geneva and Lake Constance, in 30 percent of the country’s surface area. There are 450 people to every 1 km2 (1,166 per square mile). This makes the country one of