The Kritios Boy

Then there is a sculpture called ‘Kouros/statue of Standing Youth’ which represents the meant back in the day and age. The sculpture is a very young, athletic, toned man. This man has the body every man wants. This sculpture is desirable to every women. This man represents power, and desire. Unlike the sculpture of the woman this man has a face and a very powerful looking

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In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

The Winged Victory of Samothrace is the best-known sculpture of a goddess and personification of the victory. Her role is told conveying a victory rather than giving a victory as soon as possible (Sacks). She has fascinated people around the world with her elegant and dynamic existence. One of the masterpieces of Greek sculpture, the Winged Victory of Samothrace possess a lot of intriguing points which can be seen through the brief information, subject matter, sculpture in the Hellenistic period, speculation of the age and author, and the reasons for lacking of her some body parts.

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.

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.

“What are you talking about!” Fifteen year old Kreios Dev stuttered to the two six foot men in deep blue suits towering over him, in shock. His arms were trembling. Never once in his life has a cop approached him. Never once has he felt so speechless. This must just be the worst day of Kreios’ life. What’s going on? How did this happen? Well let’s take it back a little bit for a better understanding.

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

Both the Statue of Menkaura and Queen Khamerernebty II and the Marble Statue of a Kouros depict an idealized type of art that focuses on the ‘wanted’ physique of men during these time periods. Both Menkaura and Kouros portray a man ‘standing at attention’ as if they were giving commands to those below them. From a military stand point, this stance shows others dedication, and allows the surrounding men to be commanded by their leader easier. Both men are standing forward, almost as if they are looking into the lives of those within their community. Both statues lack facial expressions, allowing the viewer to question why the artist portrayed them this way. As a viewer, the facial lack of facial expressions between the statues allow us to gain

Standing at a small, but significant ten inches, this sculpture is reminiscent of the late Roman portraiture style, but delving into the symbolic expression of the early Byzantine provincial portraiture period. This portrait is from the fifth century, estimated sometime from 400-420 AD. Originally from Syria, Asia by an unknown artist, it currently is held at the Minneapolis Institute of Arts and credited to The Putnam Dana McMillan Fund. The elements within this portrait all are noteworthy in the sculpture contributing toward the creation of this artwork. This piece with will be analyzed first from a general overview and then the features moving from the top then moving to the base of the portrait. Due to the Head of a Young Man not being on display, this analysis will be solely from a picture.

Polykleitos’ is a Roman statue. It is made out of marble and it is 6 feet 6 inches tall. The statue is of a male who looks to be athletic someone who works out. The statue is standing in a contrapuntal position; it has its left leg slightly bent witch causes his foot not to be flat on the platform under him. That position helps the statue stay balance. It is not rigid. The statue has no facial expression. It is serious. It eyes are deep and expressionless. The statue’s head is facing to the left. His right arm is bent half way and his hands are balled up into a fist his hips are leaning towards the left side to help give him balance. His left arm is straight down by his side. It

Created sometime around 480 BCE, the marble sculpture Kritios Boy is a significant piece of ancient Greek art. Although it was recovered in a mutilated state over one thousand years after its creation, the sculpture still manages to showcase detail of the human body in a more naturalized form than the similar pieces of art that had came before.

Ancient Greek vase painting is rich in content, it mostly about myths and heroic legends, to reflecting Greece lives very broadly, such as war, hunting, manufacturing, home, entertainment, sports and so on. The styles of painting vase are very dramatic, humane with rich hospitality feeling to represented the beauty and elegance, in order to shows the Greeks confident and optimistic spirit. I found interested on painter Exekias and Leagros Group’ amphora with the same theme of Achilles and Ajax playing a board game. Exekias who was called the greatest black- figure artist, his black- figure technique is proficiency particularly on curving heroes. Moreover, he painted a scene of Achilles and

Initially, it is very preeminent the fact that this old sculpture is a decapitated and dismembered woman; besides, it is easy to note that it has a height between two and four meters. Afterward, it is intuitive to think that it is apparently made of Parian marble, and dark blue Rhodian marble because its shapes, colors and texture. Talking about the structure, in the sculpture it can be seen, from top to down, a torso without arms connected to legs with a slanting predisposition, and its dresses. Anyway, this piece of art is known as "The Niké of Samothrace", does not has an known author, and give the idea of does not being finished; moreover, the details of the piece are so realistic and so laborious that little features can be seen. The lack

The phrase “kalos kagathos” has been on my mind since reading “The Aesthetic Ideal in Ancient Greece” in History of Beauty, a few days ago. Of the small yet existing knowledge of Grecian sculpture, I know that when employed by wealthy aristocrats, the sculptor would sculpture the subject’s head as so but then the body of the sculpture would be in response to what a God’s body; muscular and perfect in every way. I respect the idea that the Greeks believed in the harmonizing of the body and the soul however it maybe my misunderstanding but to me the way they approached sculpture it somewhat misleading. It is as though Grecians speak of beautiful so eloquent and efficiently but they do not strive for it in their personal life. Also of the readings

The ancient civilization of Greece thrived as a great Democracy for over 500 years. The Greeks celebrated works of art and took pride in their art's ever changing forms. Most notable of Greek art forms are the architecture of temples and the realistic statues. Statues were initially made from marble, which was readily available in Greece. During the Archaic period of Greece (600-480 BC), statues and sculptures usually showed people standing, though sometimes portrayed figures reclining or sitting. They resembled Egyptian statues in that the figures were very straight and were rarely shown in action positions. Usually life-size or larger, these statues were meant to show the ideal body. They did not look like real people; often their hair looked wig-like and most statues were smiling closed lipped, which is known as the Archaic smile. Traditional statues of the time were mostly canon in appearance. The female statues were called korai (singular kore) and the male statues were called kouroi (singular kouros). The main difference in the way male and females were represented is in their clothes. "The Archaic korai were always clothed and are thought to have represented deities, priestesses and nymphs, the young female immortals who served as attendants to the gods. The kouroi, nearly always nude, have been variously identified as gods, warriors, and victorious athletes." (Stokstad, p. 169) This theme of Greek