Naturalistic Sculpture In Ancient Greece

The works of Patricia March are predominantly charcoal works, with smaller aspects of ink, whilst portraying insight of character, as well as how the body moves over a period of time. March uses the perception of a figure moving, portraying the figure on one picture plane; but moving, as if this were over a period of time. Figures appear walking or picking up an object and this is portrayed as one character becoming three. In each different movement the figure is in a different position, as if moving like in a real life situation. This reinforces the name of her series, Time, as it literally perceives a figure or a few figures and their movements over a period of time. March studied a master in cinematography. She was interested in movement and time, so since, she tried to apply her vision about cinema into drawings. The movement of the people drawn, reminds me her some way to profundity of the human form ad how it

The Greeks’ increased confidence after defeating Persian invaders in 480 BCE is recognized in the artwork of that time. Sculptures evolved from rigid, less lifelike structures to more relaxed and humanlike works, typically evoking self-confidence. The work “Kritios” Boy exemplifies this shift. Assumed to be the work of the Greek sculptor Kritios, “Kritios” Boy was created at the close of the Persian wars. I love how realistic this piece and others like it appear in comparison to the Kouroi before it. These sculptures are visibly relaxed and confident, perfectly emulation the Greek attitude of that era. The way the statue’s weight appears to be shifted onto one leg is the most significant factor in presenting the “Kritios” Boy as self-confident.

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.

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.

The primary focus of ancient Greek sculptures was that of the human body. Almost all Greek sculptures are of nude subjects. As the first society to focus on nude subjects, Greek sculptors attempted to "depict man in what they believed was the image of the gods and so would come to celebrate the body by striving for verisimilitude or true – likeness (realism and naturalism!)."(Riffert) Not only did the Greeks celebrate the human form in their art but also in everyday life. (Riffert) One of the favorite topics for sculptors was that of the athlete. In Greek culture athletes were described as "hero–athletes". (Riffert) This shows that athletes were revered and looked upon as heroes. The influence

Pentelic marble is used in sculptures as well as architecture. (Seth) The figure is 21 inches tall, 3115/16 inches long. (Art) The object is meant to be viewed from the front. In this piece of sculpture, we see a muscular barrel-chested Greek man centered in the middle with a larger rounded shield next to him, while his right arm placed behind his squared faced head. His full chest muscles carefully polished smoothly and delicately. Based on the warrior’s sinking pose, it has been thought that he is falling to the ground after dealing a mortal blow from behind. The strong, solid linear of the large geometric rounded shield is in contrast to the serpentine, subtle and smooth lines appear on this organic body figure of the warrior. It appears as though the sculpture itself is not painted for the most

It granted access for more depth and dimension than earlier methods. Artists began to interpret human form realistically, paying close attention to the model to capture the movements and emotions of the face and body. Women were commonly in reclining positions and draped. Men were typically nude to mirror godlike physiques. Sculptures were now sculpted from clay and then copied in marble or bronze (though very few bronze originals survived) and were no longer chiseled out of marble.

inches to over five feet tall. These statues were highly abstracted representations of the human

The Anavysos Kouros exhibits form in the use of marble. During the Ancient Greek era, new techniques of sculpting and carving caused precise curves and shape to be applied to plentiful rocks such as marble. The sculptures represented power and youth as translated from the word “kouros” in the body curves and stature of the figure. Art historians believe sculptures such as the Anavysos Kouros may have functioned as grave markers, offerings in sanctuaries, or may have even represented a god, specifically Apollo. It may have been possible to see the Anavysos Kouros at either a grave of a powerful elite, or a sanctuary of Apollo.

The statues were often created with what was known as an Archaic smile. Inventions were

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

One last piece of art that shows a significant transformation in the geometric period is the sculpture of Hero and Centaur pictured on the right. It is considered geometric because it is small in scale and the figures have simple stylized shapes. You see again the small torso on the animal-like figure and on the human figure that is shown nude and anatomically correct. The animal figure is actually human in the front and horse in the back with legs on both ends belonging to a different species. This was an animal-human monster the Greek invented called the centaur and the sculpture reveals the scene of a hero battling a centaur depicting an early example of the mythical narrative (Herakles and Nessos). The significance of the earlier mentioned style of painting and this sculpture design is that it marked a turning point from the geometric period into the oriental period because now mythical creatures/monsters are introduced, the natural beauty of the human figure is reintroduced, and the art of storytelling is revived.

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

There were a few people that could make sculpture. They were an inspiring piece that showed everyone how they represented each others during their time. Greek architecture were during the Archaic Period, roughly 600 to 480 BC. This is one of the periods where practice of fine art in ancient Greece. This was the first time that Greek architects learned to make massive temples out of stone, generally using soft white stones like marble or limestone. During the Archaic Period, two orders of Greek architects emerged. First was the Doric Order, with smooth capitals on the tops of each column and decorations in the superstructure that resembled the ends of wooden beams, a nod to earlier temples. After that came the Ionic Order, with capitals that looked like scrolls and thinner columns. During the sculture time there was architect's that learned how to make massive temples out of stone, generally using soft white stones like marble or limestone. These sculptures were impressive and carried an elegant look during their

Artists created their own unique style in Greek culture and with the creation of the Roman Empire, Greek artwork had been spread throughout the region. When the empire eventually split and faded from existence, Greek artwork had left its mark on the remaining civilizations. Because Byzantium had arisen from the ashes of the Roman Empire, Byzantine artwork incorporated aspects of Greek art within their own artwork. The purpose of this investigation is to compare and contrast art in ancient Greece and Byzantium. Recognizing the similarities and differences between two related cultures is vital in understanding the evolution of art from one culture to another. Within this investigation designs/patterns and