Nike Of Samothrace Greek Goddess Comparison

Figurine of a Woman, circa 2500-2300 BCE, was represented in the Cycladic art from Syros, Greece. It is made of marble, eighteen inches high, and can be found in the National Archaeological Museum in Athens. This artwork wraps their arms around their belly, is highly collectable, and lacks contrast. A work like this is commonly known as a guardian in the afterlife and protects their people. The body is attenuated in that it is elongated and

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

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

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.

Power and Pathos uses 50 absolute masterpieces to tell the story of the spectacular artistic developments of the Hellenistic era (4th to 1st centuries B.C.), when new forms of expression began to prevail throughout the Mediterranean basin and beyond. There was an extraordinary leap forward in the development of techniques to form the first instance of globalization of the language of art in the known world. Art was in effect, going international. This exhibit has gathered together some of the most spectacular ancient bronze sculptures that still exists today. It displays monumental life sized figures of Gods, Heroes, Athletes and rulers. Ancient cultures invented bronze. They discovered that making an alloy of copper and tin produced a strong metal that could hold great detail and objects cast with it can easily be reproduced. The ancient Greeks prized bronze for its visual worth and they used it create statue of the human body. Unfortunately, because bronze is a metal that can be cast and is expensive, it can also be melted down. Hence, large bronze statues have rarely survived from antiquity, as most were melted down so that their valuable metal can be reused. The ones that are still preserved today are mostly the same ones that were either lost at sea or buried underground.

In 1903, British archaeologist Arthur Evans found the faïence figurine, which is known as, “The Snake Goddess,” in Minoan archaeological sites in Crete. The faïence figurine was made between 1600-1580 BCE and the creator remains unknown. What is the meaning of the “The Snake Goddess?” That question is the exact reason why I chose for this artwork to be my topic. This artwork has many theories behind it and I want to go into depth and view all the theories about this faïence figurine. My interpretation of “The Snake Goddess” is that it represents the renewal of life and the empowerment of women.

A similar work to Isis-Aphrodite is the Statuette of Isis-Fortuna. It is another mixture of Egyptian and Roman Goddesses from the second century, though this piece is actually from Rome. This sculpture is much smaller at only 4 3/16 inches and is made of bronze. It is also seen wearing a calathos with Isis’s horn and disk symbol, though this one’s crown is not nearly as exaggerated. Her dress features the Tyet on the front.

2) Snake Goddess, Greece (Minoan culture). 1600 BCE. The true function of this statue is unknown but it is believed that, due to her bare breasts and connection with snakes and the feline on her head, that she was either a priestess or an earth goddess. Some would interpret this statue as a fertility deity however, not necessarily fertility on the human perspective, but more associated with the fertility of the earth and growth of the crops. The Minoan Snake Goddess would be called on for plentiful crops and production of kids from the goats and

Both of these civilizations enjoyed using white marble and bronze to sculpt nude human or human-like figures. For example, Figure 4.15 on page 92 and figure 5.56 on page 143 show a similar naturalistic style, yet drastic difference in how they display it. Aegean art used simplistic, yet distinct small statues made of bronze to represent their goddesses. The snake goddess is half nude with thin arms holding two snakes. These nudist figures most likely held miscellanies items to symbolism what goddess she is. However, there is very few of these and probably means that they didn’t focus on sculpting their goddesses in their art. While Ancient Greek art fancied it and even took it to a whole new level. The naked Aphrodite marble sculpture is human-like in height and

The Snake Goddess figurines depict some women holding snakes. Evans believes that theses figures are goddesses. However, it has also been suggested that they are priestesses. The Boston Goddess also depicts a woman holding

One of the most valued pieces of art in the ancient Greek world is that of Athena Parthenos. The original statue was designed and sculpted by Phidias and placed in the parthenon in 438 B.C. The original chryselephantine statue was almost 40ft tall and was made out of ivory with gilded features. The sculpture stands tall, while wearing a tunic, an aegis, and helmet, while holding the god of victory, Nike, in her right hand and holding a spear in her left hand. There have been many replications of this statue, including one created during the Roman Period in the 2nd or 3rd century A.D. sculpted from stone and bronze. Details include a helmet with pegasoi on each side with the remains of a sphinx in the center. Athena’s hair falls in curls down her shoulders and snakes encircle her waist and tie in the

This statue, located in room thirty-five, shows the goddess Aphrodite preparing to bathe thanks to the help of an adjacent statue and the god Eros while she holds onto a golden apple. This statue, upon comparison to other Greek pieces of art, bares a strong resemblance to two Greek pieces of art. The first is Nike adjusting her sandal, which displays a goddess showing movement while also showing a form of vulnerability. The second is Aphrodite of Knidos, which shows Aphrodite in private preparing to bathe herself. Although the statue of Aphrodite was found in room thirty-five, many speculate that she would have originally been located in a shrine or in the garden.

The dying trumpeter marble statue is a huge feat when it comes to Greek development in male form. This statue is seen lying down on his leg, “who collapses upon his large oval shield as blood pours from the gash in his chest” (Kleiner, F. 2014, 155). This statue’s posture is realistic in the way he is turned and also in the way is arms and legs are laying. His right arm is hold him upright, while his left arm is on his right leg. His upper body is turned in order for him to place his hand on his left leg. There are lines in his stomach, where a human would have if they were sitting down and turned. There is also lines and ridges in his feet, showing that he has joints in his toes. This statue portrays the correct human anatomy by having a rounded

The Peplos which first appeared in ancient Greece was considered an attire for women in ancient Rome. This statue which was discovered bordering a swimming pool, and exhibited alongside 4 other bronze statue of women (statue 2, statue 3, statue 4, statue 5), gives us an indication of how the dressing code for women at this age, and also that ancient Greece had a huge impact on most of the Roman

The ship is carved from a blue-grey type of Rhodian marble and stands 10’6½“ tall. When found, the ship was in several pieces which have been plastered together to recreate the whole sculpture for display purposes. On it are very small traces of paint which indicate the base of the sculpture along with the goddess Nike were most likely at one point painted, however the paint traces are unintelligible. The form of the ship includes heavy shapes with very hard lines that also have a very sensual feel to them. The ship itself is very realistically represented with its shape and its apex, along with its many attachments including an oar box, doubled rows of oar slots, and a battering ram that extends outward and upward off the front of the prow. Using the warship as the base of the Nike aids in portraying her sense of motion. The naturalism and the drama of The Nike of Samothrace and her warship are intensified further by the physical setting of the pair. The ship was originally placed on top of 6 tiles of rippled marble which most likely represented seascape and movement. Evidence implies that the sculpture as a whole may have been used as a part of a fountain which would also enhance the realistic effect of movement, presence, and drama surrounding The Nike of