Emphasized by the proportion and form, this statue not only gives the viewer a clear indication of the boy's social status, but it is also a good example of how the Romans were influenced by Greek culture. In comparison to the Doryphoros, it is apparent that this sculpture was probably based on the Greek canon of proportions. The body is well balanced, and the form is that of a well defined young man. The muscular torso indicates that he must have been participating in rigorous physical activities. It is very possible that these activities could have been training exercises which were common for Roman boys at the time. It was usually in preparation for battle. Young men were groomed to become soldiers, so it was crucial that they were physically fit. The boy's facial features are also idealized. His wide face and hair in particular could even be compared to that of emperor Augustus. These characteristics suggest that this boy was either the son of the region's ruling clan, or the son of a wealthy Roman official stationed on the island.…
The surface of the statue seems untouched by cleaning or weathering. The left foot stands on a rectangular plinth, which took the whole body’s weight. Nonetheless, some of the features missing in this version include the arms, upper part of the support, and the intervening extent of the legs. The…
This object, being placed in the back of a long central hallway, is found in a room containing large sculptures of men and women. There were also many portraits of only the heads of men and women. This placement hints to the wide belief that this head was originally thought to be prepared as a separate piece for insertion in a stature. There was once a veil covering the top and back of the head, but now it is missing. Marble at the summit and back of the head was left roughly worked, since a veil in either marble or stucco, a fine plaster used for moldings and other architectural decorations, would have hidden it. For the development of the ideal form, this sculpture had to accomplish its purpose having had to restrict itself almost exclusively to form giving the viewer a feeling of tranquility and authority.2 Consequently,…
The technique the artist used to construct and design the item relied heavily on symmetry. From the start of the back of the neck down to the start of the tail, a long undecorated line interrupted by a horizontal band of inscriptions around the neck appears to divide the sculpture medially. The simple shapes of the head a sphere with two rectangular ears atop it and a cone like neck below. Including a cylindrical body and legs. The artist’s etching of the lion’s face and body, as well as the three…
A walk around the front, however, gives an entirely different impression. After circumambulating the work, the viewer is unsettled by the warrior’s footing. He stands, evidently, on uneven terrain: perhaps a downward-sloping hill of some sort. He distributes the weight of his massive body onto his front foot in his stance, and yet his right leg remains cautiously tucked behind it, with his right foot sticking out at roughly a sixty-degree angle to his forward-facing left. It is clear from the position of the right arm that the warrior is about to throw a spear; how he planned to do so effectively, however, remains ambiguous. The feet are positioned awkwardly close together for a warrior descending downhill and are inappropriately oriented for the ominous strike that one senses is about to occur. One suspects that he would take much larger strides in the aggressive rhythm of battle, and that his muscular legs would appear significantly more stressed in funding the energy of such a heated charge. The only meaningful indication of exertion on the warrior’s body is the definition of his right bicep, which is itself an inconclusive hint at either pain or vigor. A right-profile view of the statue, though, reveals that the majority of the man’s…
The body of the figure is long and oval shaped. The body of the sculpture is the largest part of the figure. The shoulders are rounded and there is a long oval indentation that resembles a neckline for a dress. Where the neckline is exposed, there is a layer that covers the figures breasts and appears to be similar to an undergarment for the dress that the sculpture is wearing. On the right side of the…
The eyes of this sculpture sink in, to suggest the idea of having eye sockets. The skin under his eyes slightly sink in to show the thinness of his under-eye skin. His nose has a bridge that is well-defined and extrudes. The lips are plump and the corners curl in. There is also a cupid’s bow at the upper lip.…
16. View figure 3.4 on page 69 in the text. What features does the statue borrow from the Greek “Doryphorus” statue?…
This statue differs from others in the past, more natural and life like a rounder thicker realistic version very surreal. Although later in this period you will see this style get more precise this is an outstanding example of the Classical period. Standing tall with head straight a relaxed confidant athlete, arms hanging to his sides with one leg bent as if he is turned around waiting with ease on others that have fallen behind him. Standing 3 foot 10 inches tall smaller than the typical life size statues normally found, the size does not take away it is not missing a single detail from any angle seen. This is a remarkable example of Classical Greek art that we should consider extremely lucky that we are able to few and study it as it was (though missing a few bites and pieces) when it was created so long…
This statue represents a youth adoring his head with a fillet after victory in an athletic contest. The original bronze probably stood in a sanctuary such as that at Olympia or Delphi, where games were regularly held. The Greek sculptor Polykleitos of Argos, who worked during the mid-fifth century B.C., was one of the most famous artists of the ancient world. His figures are carefully designed with special attention to bodily proportions and stance. The figure’s thorax and pelvis tilt in opposite directions, setting up rhythmic contrasts in the torso that create an impression of organic vitality. The position of the feet poised between standing and walking gives a sense of potential movement.…
In the Marble Statue of a Youthful Hercules, the over-life-sized scale shows an idealized body size of a godlike hero, whereas the scale of the Lefem is smaller than life size in representing a mortal figure. Hercules’s body is about the seven heads tall, the perfect proportion of ideal human form that developed by Greek sculptors in the fourth century BCE . Unlike the Hercules the head of which is proportional to the rest of his body, the Lefem has a larger scaled head and making the Lefem looks abstractive and gives the sense of motion. Even though the Lefem doesn’t approach the same ideal human form as Youthful Hercules, his bent arms and open legs make the figure symmetrically balanced. Since the Lefem’s body lacks the balanced contrast of tense and relaxed musculature, the figure appears less lively and stands in an unnatural way. However, Hercules’ left hip is slightly raised outward to the right, and his right leg is reached out to form a gentle S-shape curve, creating the distinctive stance of an off-balanced position, the classical Greece contrapposto pose. This harmonious proportion of the body gives Hercules a naturalistic sense of motion. Though this naturalism “reflected every wrinkle and imperfection of the skin” and “composed of generic bodies onto which realistic form”, it is used to depict a superhuman godlike person . The naturalistic beauty of physical human proportion and idealized body size shows the realistic style in Roman sculpture differ from the abstract style of the African…
There we observed the change in the form of statues. Being able to see the statues and painting we’ve studied and saw in our textbook in real life amused me. Being able to go up to them and look at the details rather than staring at the photographs also made me more interested in the art itself. For this assignment I decided to compare “Seated Statue of Gudea” and “Statue of Eros Sleeping”.…
The Greek artist distributed the weight of the figure as though in the act of walking. They are nude, carved in the round, and liberated from their original stone block. The geometric were been added in the chest muscels and some of the formulus which is used in knees and wrists. Ears placed much too far back and his long curly hair have lovely strings of beads. The room was brigthen enough for people to notice the statue as along with other statues surrounded by Kouros.…
It was discovered in 1996 near the Croatian island of Losini in the northen Adriatic Sea. Both this statue and the Ephesian Apoxyomenos reproduce the same late-fourth-centruy B.C. work, but this replica is better-preserved. On contrary to the small-scaled Alexander the Great sculpture, the athlete sculpture is slightly over life-size by ancient standards. Produced in the first century B.C., it is composed of bronze and copper. The mature, but youthful man stands upright with his weight on the right leg and the left foot set to the side with heel raised with an overly muscular chest and wide shoulders. The smoothly idealized face has wide cheekbones and a rather short chin with copper accentuating the lips and nipples. The most distinct feature of the head is the hair. The rows of smaller and finely chiseled strands surrounding the forehead are swept in different directions, creating a realistically disheveled look of an athlete who has just finished his competition. The most noticeable difference from the Ephesian statue is the position of the head, which is not turned to the left, is inclined further forward, and is somewhat tilted. As a result, the figure’s gaze does not meet the…
I have chosen two statues from different eras to make a comparison, Marble statue of Dionysos leaning on an Archaistic Female Figure from the Roman era and Bronze statue of Artemis and a deer from Greek or Roman, late Hellenistic or early Imperial periods. The reason why I have chosen these two objects are that both of them have one big figure and one small figure which makes eyes of viewers move around. They also depicted gods with smaller figures. These two statues have many differences as they are made of different materials and have different poses even though these have similar composition.…