Polykleitos Research Paper

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.

There are two sides to every story, a formal analysis is one side of these sculptures’ story, and content is the other side of their story. Just as human beings experience different phases throughout their lifespan, so did Ancient Greece. These phases greatly influenced and inspired Greek artworks. Although the styles changed over time, the Greek’s Humanistic philosophy that “man is the center of the universe, the greatest creation of the Gods” became the focus of their culture. Ancient Greece evolved through three periods of art: Archaic, Classical, and Hellenistic. The Archaic period (c.600 B.C.), was a time of discovery and wonder for the

The ancient Greeks believed in a strong mind and a strong body. Their celebration of the physical beauty and ability of the human body can be seen in their sculpture, writings, and sporting events. The physical beauty of the human body is shown in the marble sculpture “Kraisos” (Benton and DiYanni 64). The sculpture shows a male with a defined muscular mid-section, broad shoulders, and thick legs. There is more detail and a more natural appearance in this sculpture compared to a similar statue from approximately 60 years earlier. The face of the sculpture is realistic and the left foot is forward, as seen in Egyptian sculpture. The art of thought was established by the philosophers of ancient

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.

Greek mythology played a large role in Greek artistic styles and functions. In the case of this study, the mythological god Apollo is the subject of the artistic works of the votive known as the “Mantiklos Apollo” and the statue of “Apollo” that was found in Pireaus. These figures show a natural progression in style and technique. They are important because they represent the sacred beliefs and superstitions of their respective cultures and time periods.

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

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.

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

Herakles has the upper hand. The giant’s face is a mask of pain. His eyes roll and his teeth are bared. His right arm is paralyzed, with the fingers limp.” This vase is the most expensive vase ever purchased. Euphronios’s panel is not creating a two-dimensional one; instead, his panel is to bring imagines moving into three-dimensional space—a new conception of what a picture is supposed to be. It shows a very detailed story connected to the gods. According to the Britannica, “Euphronios experimented with new ideas, forms, and designs within the context of the Archaic tradition, especially the adoption and exploration of the new red-figure technique. Generally, Euphronios’s earlier works were signed as painter and his later works as potter.”(Euphronios, Britannica, http://www.britannica.com/EBchecked/topic/195461/Euphronios)

Finally, the last important observation that can be made is the details, but they are not ostentatious details. Typical of a Classical Greek sculpture (and of Polykleitos), this figure has many humanistic details. His hair is curled delicately and there is not a stray out of place, even with the fillet or band around his head. This alludes to a sense of youthfulness, handsomeness, and perhaps elegance. As previously mentioned, one can see the muscles in his torso and arms. You can also see his collar bones, his ribs, and his elbow bones. Upon close inspection, one can also notice his toenails and the tiny wrinkles in his belly button. However, most of the details are from his face. This statue does not have abstract features or the Archaic smile. His facial features are more pronounced: plump lips, high bridged nose, and lidded eyes. The emphasis on his features gives off a calm, loss-in-thought expression. Also emphasized by the slight tilt of his head, Diadoumenos is also looking away from the viewer; he seems to be staring at the cloth of the fillet he used to tie his head (the ends of the fillet band are not shown in the sculpture, because it is fragmented). However, he does not look too

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.

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

One of his most famous sculptures, Apoxyomenos, shows the new proportions of being taller, slimmer, and the head totaling one-eighth of the entire height, rather than one-seventh, which Polykleitos used ("Sculpture of the Classical Period"). Gardner and Kleiner write, "Because Lysippos represented the Apoxyomenos with his right arm boldly thrust forward, the figure breaks out the shallow rectangular box

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

Marble, limestone, bronze, terra-cotta, wood and a combination of gold and ivory known as chryselephantine were mediums of ancient Greek sculptures used in the fifth century BCE. Statues were often adorned with pearl, gold, jewels and accessories to give them a more vivid appearance. Most statues were of male men athletes (naked), entities and mythological creatures such as centaurs. Many statues of significant figures were created after their death. Interest in the female nude body (divinity) later became more popular amongst Greek sculptors. In the fourth century, characterization came into play. Characterization focused on creating sculptures that were of no real person.