Standing Portrait Of Demosthenes

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

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 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.

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.

1. "Grave stele of a little girl [Greek]" (27.45) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000.

This technique, used by Greek sculptors for the head and other parts of the statue began as early as the Archaic Period. ( The period in Greek history lasting from the eighth century BC to 480 BC, post Greek Dark Ages and succeeded by the Classical period.) The work has many signs of damage and decay, among these are missing body parts such as the capital and the right wing. The surface is worn down, although still shows clear creases and details throughout the texture of the piece. The head, wings, and the drapery were carved separately before the work as a whole was eventually assembled. The wings were attached with no external support and it's a marvel that one is still managing to adhere

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

What is the main purposes for humanity? Is it a universal motive, or could it be more than one? You may think it depends who you are talking to, and this idea may have some true to it. There is a divergent range of beliefs of what these goals or

Winged Victory: The Nike of Samothrace The Nike of Samothrace (fig. 1) Charles Champoiseau uncovered pieces of masterfully worked Parian marble in April of 1863.1 On Samothraki, the island from which Poseidon is said to have watched the fall of Troy, these segments of stone came together to form four main sections: a torso, a headless bust, a section of drapery, and a wing.2 The sections were shaped to be assembled though the use of cantilevering and metal dowels, allowing the sculptor to extend beyond medium’s gravitational limitations (fig. 2). Just one year later, the pieces were assembled (and those missing were remodeled), and the Greek goddess Nike was revealed at the Louvre.

In Ancient Greece, the culture and values have been developed over time through tales and artwork. A considerable amount of such works have been marble sculptures of various people and gods. Many of the most famous and valuable sculptures depict a common attribute in ancient poetry, youth or the importance

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

Statue of Venus (the Mazarin Venus) Artist: Unknown Origin: Rome, A.D. 100 200 Height: 72-7/16 inches Material: Marble On display: The Getty Villa Malibu Retrieved: 22 April 2013 from http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=7562 The statue is a Roman reproduction of a Greek work. It shows Venus, the goddess of love, standing bare-breasted and clutching a piece of cloth draped around her hips. At her feet, there is a dolphin that, practically, adds support to the piece and artistically makes an allusion to Venus's birth from the sea. As the notes from the Getty Museum explain, the statue is derived from a very popular Greek statue created by the sculptor Praxiteles around 350 B.C. The statue was so popular that it was copied by many artists.

The next sculpture is in the Pediment sculpture. The Pediment Sculpture is a triangular gable, forming a roof end slope, over two portico doorways. The sculpture is oin both the east and west in the Parthenon. Both of the sculptures are 3.45 meters high and 28.55 meters long. The east pediment depicts Athena’s birth, while the west depicts Poseidon and Athena arguing over who will rule Athens. Both gods are three meters tall. In the middle of the two gods quarreling was Athena’s tree, the olive tree. On the sides were chariots with rearing horses.

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

One very noteworthy statue of the Classical Period was called “Aphrodite of Knidos”. The original sculpture inspired various amounts of copies, but sadly the original itself did not survive. “Aphrodite of Knidos” was created by Praxitele and is thought to be the most famous sculptures of Classical Greece. The sculpture depicts Aphrodite just have taken off her clothes and was about to step into the bath. She may have had an onlooker and she covered her pelvis from their view.