"Sculpture Ancient Greece» – a presentation that will introduce greatest monuments ancient Greek art, with the creations of outstanding sculptors of antiquity, whose legacy has not lost its significance for world artistic culture and continues to delight art lovers and serve as a model for the creativity of painters and sculptors.
Ancient Greece sculpture
“Bow before Phidias and Michelangelo, admiring the divine clarity of the former and the stern anxiety of the latter. Admiration is the noble wine for high minds. ... A powerful internal impulse is always discernible in a beautiful sculpture. This is the secret ancient art" Auguste Rodin
The presentation consists of 35 slides. It presents illustrations introducing the art of archaism, classics and Hellenism, with the most outstanding creations of the great sculptors: Myron, Polykleitos, Praxiteles, Phidias and others. Why is it so important to introduce students to ancient Greek sculpture?
The primary goal of lessons in world artistic culture, in my opinion, is not so much to acquaint children with the history of art, with outstanding monuments of world artistic culture, but rather to awaken in them a sense of beauty, which, in fact, distinguishes man from animals.
It is the art of Ancient Greece and, above all, sculpture that serves as an example of beauty for the European view. The great German educator of the 18th century, Gotthold Evraim Lessing, wrote that the Greek artist depicted nothing but beauty. The masterpieces of Greek art have always amazed the imagination and delighted us, in all eras, including our atomic age.
In my presentation, I tried to show how the idea of beauty and human perfection of artists from the archaic to Hellenistic was embodied.
The following presentations will also introduce you to the art of Ancient Greece:
Slide 1
Outstanding sculptors Ancient Hellas
Presentation MHC lesson prepared by teacher Petrova M.G. MBOU "Gymnasium" Arzamas
Slide 2
The purpose of the lesson
form an idea of the development of sculpture in Ancient Greece by comparing masterpieces different stages its development; introduce students to the greatest sculptors of Ancient Greece; develop skills in analyzing works of sculpture, logical thinking based comparative analysis
works of art; to cultivate a culture of perception of works of art.
Slide 3
Updating students' knowledge
-Name the main thesis of ancient Greek art? -What does the word “Acropolis” mean? -Where is the most famous Greek Acropolis? -In what century was it rebuilt? -Name the ruler of Athens at that time. -Who supervised the construction work? -List the names of the temples that are located on the Acropolis. -What is the name of the main entrance, who is its architect? -Which god is the Parthenon dedicated to? Name the architects. -What famous portico with a sculpture of women carrying the ceiling adorns the Erechtheion? -What statues that once adorned the Acropolis do you know?
Slide 4
Ancient Greek sculpture
There are many glorious forces in nature, But there is nothing more glorious than man. Sophocles
Statement of a problematic question. - What was the fate of ancient Greek sculpture? - How were the problem of beauty and the problem of man solved in Greek sculpture? - From where and to what did the Greeks come?
Slide 5
Design a table Names of sculptors Names of monuments Features
creative manner
Archaic (VII-VI centuries BC) Archaic (VII-VI centuries BC) Archaic (VII-VI centuries BC)
Kuros Kora
Classical period (V-IV centuries BC) Classical period (V-IV centuries BC) Classical period (V-IV centuries BC)
Miron
Polykleitos
Late Classic (400-323 BC - turn of the 4th century BC) Late Classic (400-323 BC - turn of the 4th century BC) Late Classic (400 -323 BC - turn of the 4th century BC)
Skopas
Praxiteles
Lysippos
Hellenism (III-I centuries BC) Hellenism (III-I centuries BC) Hellenism (III-I centuries BC)
Agesander
Slide 6
Archaic
Kouros. 6th century BC
Bark. 6th century BC
Stiffness of poses, stiffness of movements, “archaic smile” on faces, connection with Egyptian sculpture.
Slide 7
Classical period
Miron. Discus thrower. 5th century BC Myron was an innovator in solving the problem of movement in sculpture. He did not depict the “Discus Thrower” movement itself, but a short break, an instant stop between two powerful movements: a backswing and a throw of the entire body and discus forward. The discus thrower's face is calm and static. There is no individualization of the image. The statue embodied perfect image
human citizen.
Slide 8
Chiasmus is a sculptural technique of conveying hidden movement in a state of rest. Polycletus in the “Canon” determined the ideal proportions of a person: head – 17 height, face and hand – 110, foot – 16.
Miron. Discus thrower
Polykleitos. Doryphoros
Slide 9
Late classic
Skopas. Maenad. 335 BC e. Roman copy.
Interest in internal state person. Expression of strong, passionate feelings. Dramatic. Expression. Image of energetic movement.
Slide 10
Skopas
statue of Aphrodite of Knidos. This was the first depiction of a female figure in Greek art.
Slide 11
Lysippos developed a new plastic canon, in which individualization and psychologization of images appears.
Lysippos. Alexander the Great
Apoxyomenes
Slide 12
Slide 8
“Apoxiomen” - dynamic pose, elongated proportions; new canon head=1/8 of total height
Polykleitos. Doryphoros
Lysippos. Apoxyomenes
Slide 13
Plastic sketch
Slide 14
How the problem of beauty and the problem of man were solved in Greek sculpture. From where and to what did the Greeks come?
Conclusion. Sculpture has gone from primitive forms to ideal proportions. From generalization to individualism.
Man is the main creation of nature. Types of sculpture are varied: relief (flat sculpture); small plastic; round sculpture.
Slide 15
Homework
1. Complete the table on the topic of the lesson. 2. Make up questions for the test. 3. Write an essay “What is the greatness of ancient sculpture?”
Slide 16
Bibliography. 1. Yu.E. Galushkina “World Artistic Culture”. – Volgograd: Teacher, 2007. 2. T.G. Grushevskaya “Dictionary of MHC” - Moscow: “Academy”, 2001. 3. Danilova G.I. World art culture . From origins to the 17th century. Textbook 10th grade. – M.: Bustard, 2008 4. E.P. Lvova, N.N. Fomina “World artistic culture. From its origins to the 17th century” Essays on history. – M.: Peter, 2007. 5. L. Lyubimov “Art Ancient World ” - M.: Education, 1980. 6. World artistic culture in modern school
. Recommendations. Reflections. Observations. Scientific and methodological collection. – St. Petersburg: Nevsky Dialect, 2006. 7. A.I. Nemirovsky. “A book to read on the history of the ancient world” 10
Class:
Presentation for the lesson
Back forward Attention! Slide previews are for informational purposes only and may not represent all the features of the presentation. If you are interested this work
, please download the full version. Target:
contribute to the formation of students' knowledge about the artistic culture of Ancient Greece.
- Tasks:
- introduce the concept of “order” in architecture;
- consider their types; identify the role of ancient Greek culture in the formation;
- European culture
cultivate interest in the culture of other countries; Lesson type:
formation of new knowledge Lesson equipment
: G.I. Danilova MHC. From the origins to the 17th century: a textbook for 10th grade. – M.: Bustard, 2013. Presentation, computer, projector, interactive board.
During the classes
I. Class organization.
II. Preparing to accept a new topic
III. Learning new material The land of Ancient Hellas still amazes with its majestic architectural structures
and sculptural monuments.
Hellas - this is how its inhabitants called their country, and themselves - Hellenes, after the name of the legendary king - the ancestor of Hellen. Later this country was called Ancient Greece.
The blue sea splashed, going far beyond the horizon. Among the expanse of water, the islands were green with dense greenery. The Greeks built cities on the islands. Lived in every city talented people
, capable of speaking the language of lines, colors, reliefs. SLIDE 2-3
Architectural appearance of ancient Hellas “We love beauty without whimsicality and wisdom without effeminacy.” This is precisely how the ideal of Greek culture was expressed, public figure
V century BC. Pericles Nothing superfluous is the main principle of the art and life of Ancient Greece. SLIDE 5
The development of democratic city-states greatly contributed to the development of architecture, which reached special heights in temple architecture. It expressed the main principles that were subsequently formulated on the basis of the works of Greek architects by the Roman architect Vitruvius (second half of the 1st century BC): “strength, usefulness and beauty.”
Order (Latin - order) is a type of architectural structure that takes into account the combination and interaction of load-bearing (supporting) and non-supporting (overlapping) elements. The most widespread were the Doric and Ionic (late 7th century BC) and, to a lesser extent, later (late 5th – early 4th century BC) the Corinthian order, which are widely used in architecture up to our time. SLIDE 6-7
It is characterized by the strict beauty of lines, shapes and proportions. SLIDE 8-9.
The columns of the Ionic temple are taller and thinner. Below it is raised above the pedestal. The fluted grooves on its trunk are more frequent and flow like folds of thin fabric. And the capital has two curls. SLIDE 9-11
The name comes from the city of Corinth. They are richly decorated plant motifs, among which images of acanthus leaves predominate.
Sometimes a vertical support in the form of a female figure was used as a column. It was called a caryatid. SLIDE 12-14
The Greek order system was embodied in stone temples, which, as you know, served as a dwelling for the gods. The most common type of Greek temple was the peripterus. Peripterus (Greek - “pteros”, i.e. “feathered”, surrounded by columns around the perimeter). On its long side there were 16 or 18 columns, on the shorter side 6 or 8. The temple was a room shaped like an elongated rectangle in plan. SLIDE 15
Athens Acropolis
5th century BC - the heyday of the ancient Greek city-states. Athens is becoming the largest political and Cultural Center Hellas. In the history of Ancient Greece, this time is usually called the “Golden Age of Athens.” It was then that the construction of many architectural structures was carried out here, included in the treasury of world art. This time is the reign of the leader of the Athenian democracy, Pericles. SLIDE 16
The most remarkable buildings are located on the Acropolis of Athens. Here were the most beautiful temples of Ancient Greece. The Acropolis not only decorated the great city, first of all it was a shrine. When a person first came to Athens, he first of all saw
Acropolis. SLIDE 17
Acropolis means “upper city” in Greek. Situated on a hill. Temples were built here in honor of the Gods. All work on the Acropolis was supervised by the great Greek architect Phidias. Phidias gave 16 whole years of his life to the Acropolis. He revived this colossal creation. All temples were built entirely from marble. SLIDE 18
SLIDE 19-38 These slides show the plan of the Acropolis, with detailed description architectural and sculpture monuments.
On the southern slope of the Acropolis was the Theater of Dionysus, which could seat 17 thousand people. It played out tragic and comedic scenes from the life of gods and people. The Athenian public reacted lively and temperamentally to everything that happened before their eyes. SLIDE 39-40
Fine art of Ancient Greece. Sculpture and vase painting.
Ancient Greece entered the history of world artistic culture thanks to its remarkable works of sculpture and vase painting. Sculptures adorned the squares of ancient Greek cities and the facades of architectural structures in abundance. According to Plutarch (c. 45-c. 127), there were more statues in Athens than living people. SLIDE 41-42
The earliest works that have survived to our time are kouros and koras, created in the archaic era.
Kouros is a type of statue of a young athlete, usually naked. Reached significant sizes (up to 3 m). Kouros were placed in sanctuaries and on tombs; they had predominantly memorial significance, but could also be cult images. Kuros are surprisingly similar to each other, even their poses are always the same: upright static figures with a leg extended forward, arms with palms clenched into a fist, extended along the body. Their facial features are devoid of individuality: the regular oval of the face, the straight line of the nose, the oblong shape of the eyes; full, protruding lips, large and round chin. The hair behind the back forms a continuous cascade of curls. SLIDE 43-45
The figures of kor (girls) are the embodiment of sophistication and sophistication. Their poses are also monotonous and static. Steeply curled curls, intercepted by tiaras, are parted and fall down to the shoulders in long symmetrical strands. On all faces mysterious smile. SLIDE 46
The ancient Hellenes were the first to think about what it should be like wonderful person, and sang the beauty of his body, the courage of his will and the strength of his mind. Sculpture received particular development in Ancient Greece, reaching new heights in conveying portrait features and the emotional state of a person. The main topic The work of the sculptors was man - the most perfect creation of nature.
The images of people by the artists and sculptors of Greece begin to come to life, move, they learn to walk and slightly put their foot back, frozen in mid-step. SLIDE 47-49
Ancient Greek sculptors really liked to sculpt statues of athletes, as they called people of great physical strength, athletes. The most famous sculptors of that time are: Myron, Polykleitos, Phidias. SLIDE 50
Myron is the most beloved and popular among Greek portrait sculptors. Myron's statues of winning athletes brought him the greatest fame. SLIDE 51
Statue “Discobolus”. Before us is a beautiful young man, ready to throw a discus. It seems that in a moment the athlete will straighten up and the disc thrown with great force will fly into the distance.
Miron, one of the sculptors who sought to convey a sense of movement in his works. The statue is 25 centuries old. Only copies have survived to this day, which are stored in different museums peace. SLIDE 52
Polykleitos was an ancient Greek sculptor and art theorist who worked in Argos in the 2nd half of the 5th century BC. Polykleitos wrote the treatise “The Canon”, where he first spoke about what forms an exemplary sculpture could and should have. Developed a kind of “mathematics of beauty”. He carefully looked at the beauties of his time and deduced proportions, observing which one could build a correct, beautiful figure. The most famous work Polykleitos – “Doriphoros” (Spear-bearer) (450–440 BC). It was believed that the sculpture was created based on the provisions of the treatise. SLIDE 53-54
Statue of “Doriphoros”.
A beautiful and powerful young man - apparently a winner olympic games, walks slowly with a short spear on his shoulder. This work embodies the ideas of the ancient Greeks about beauty. Sculpture has long remained a canon (model) of beauty. Polykleitos sought to portray a person at rest. Standing or walking slowly. SLIDE 55
Around 500 BC. In Athens, a boy was born who was destined to become the most famous sculptor of all Greek culture. He deserves the fame greatest sculptor. Everything that Phidias did remains the hallmark of Greek art to this day. SLIDE 56-57
The most famous work of Phidias is the statue of “Olympian Zeus.” The figure of Zeus was made of wood, and parts from other materials were attached to the base using bronze and iron nails and special hooks. The face, hands and other parts of the body were made of ivory - it is quite close in color to human skin. The hair, beard, cloak, sandals were made of gold, the eyes were made of precious stones. Zeus's eyes were the size of an adult's fist. The base of the statue was 6 meters wide and 1 meter high. The height of the entire statue together with the pedestal was, according to various sources, from 12 to 17 meters. The impression was created “that if he (Zeus) wanted to get up from the throne, he would blow the roof off.” SLIDE 58-59
Sculptural masterpieces of Hellenism.
In the Hellenistic era, classical traditions were replaced by a more complex understanding of the inner world of man. New themes and plots appear, the interpretation of well-known classical motifs changes, and approaches to depicting human characters and events become completely different. Among the sculptural masterpieces of Hellenism one should name: “Venus de Milo” by Agesander, sculptural groups for the frieze of the Great Altar of Zeus in Pergamon; “Nike of Samothrocia by an unknown author, “Laocoon with his sons” by sculptors Agesander, Athenadore, Polydorus. SLIDE 60-61
Antique vase painting.
Just as beautiful as the architecture and sculpture was the painting of Ancient Greece, the development of which can be judged by the drawings decorating the vases that have come down to us, starting from the 11th–10th centuries. BC e. Ancient Greek craftsmen created a great variety of vessels for various purposes: amphoras - for storing olive oil and wine, kraters - for mixing wine with water, lekythos - a narrow vessel for oil and incense. SLIDE 62-64
The vessels were modeled from clay and then painted with a special composition - it was called “black varnish”. Black-figure painting was called black-figure painting, for which the natural color of baked clay served as the background. Red-figure painting was a painting for which the background was black and the images had the color of baked clay. The subjects for painting were legends and myths, scenes Everyday life, school lessons, athletic competitions. Time has not been kind to the antique vases - many of them broke. But thanks to the painstaking work of archaeologists, some were able to be glued together, but to this day they delight us with their perfect shapes and the shine of black varnish. SLIDE 65-68
The culture of Ancient Greece, having reached a high degree of development, subsequently had a huge influence on the culture of the whole world. SLIDE 69
IV. Reinforcing the material covered
V. Homework
Textbook: chapter 7-8. Prepare reports on the work of one of the Greek sculptors: Phidias, Polykleitos, Myron, Scopas, Praxiteles, Lysippos.
VI. Lesson summary
Outstanding sculptors of Ancient Greece
Smirnova Olga Georgievna MHC 11th grade,
Kuros and Koras archaics
- According to Plutarch, who may have exaggerated slightly, there are more statues in Athens than living people.
- The earliest that have come down to us sculptural works Kuros and Koras, created in the archaic era.
- Figures of kouros (young men) were installed in in public places, especially near temples.
- These young and slender, strong and tall (up to 3m) naked athletes were called “archaic Apollos”, because embodied the male ideal of beauty, youth and health.
- Kuros are surprisingly similar to each other. Their solemn poses are always the same, their facial features are devoid of individuality. They resemble examples of Egyptian sculpture, but in them one can feel the desire to convey the structure human body, emphasize physical strength and vitality
- The figures of kor (girls) are the embodiment of sophistication and sophistication.
- Their poses are more monotonous and static, but how elegant are their tunics and cloaks with beautiful patterns from parallel wavy lines How original is the colored border on the edges!
- The tightly curled locks are caught in tiaras and fall down to the shoulders in long, symmetrical strands.
- A characteristic detail for all cores is a mysterious smile
Polykleitos
Praxiteles
Outstanding sculptors of Ancient Greece
- The works of Polykleitos (second half of the 5th century BC) became a real hymn to greatness and spiritual power.
- Favorite image of the master - slender young man athletic physique, which has “all the virtues.” His spiritual and physical appearance is harmonious, there is nothing superfluous in him, “nothing beyond measure.”
- The embodiment of such an ideal was a wonderful work Polykleitos
- This sculpture uses chiasmus - the main technique of ancient Greek masters for depicting hidden movement in a state of rest.
- It is known that Polykleitos set out to accurately determine the proportions of the human figure, according to his ideas about ideal beauty. The results of his mathematical calculations will be used by artists of future generations
Proportions of the human body according to Polykleitos
- Head – 1/7 of the total height;
- Face and hand – 1/10;
- Foot – 1/6;
- Polykleitos outlined his thoughts and calculations in theoretical treatise "Canon", which, unfortunately, has not survived to this day.
- The sculptor who embodied the ideal of human strength and beauty was Miron(mid-5th century BC). Time has not preserved a single one of his original works; all of them have come to us in Roman copies, but even from them we can judge high skill this artist.
- Let us turn to one of the masterpieces of ancient Greek sculpture, the famous “Discobolus”.
Discus thrower. Miron.
- Traits of a beautiful, harmoniously developed person
- Moral and spiritual purity
- The energy of movement and colossal physical activity are conveyed, but outwardly he is calm and restrained
- Masterfully captured the moment
- Characteristic features of sculpture of the first half of the 4th century. BC. reflected in the creations of these wonderful masters.
- Despite the differences between them, they are united by the desire to convey energetic actions, and most importantly, the feelings and experiences of a person.
- Passion and sadness, daydreaming and falling in love, fury and despair, suffering and grief became the object of creativity of these artists.
Scopas (420-c.355 BC)
- He was a native of the island of Paros, rich in marble. It was with marble that he worked, but almost all of his works were destroyed by time. What little remains testifies to the greatest artistic skill and masterful marble processing techniques.
- The passionate, impetuous movements of his sculptures, seemingly losing their balance, the scenes of the battle with the Amazons convey the fervor of battle and the ecstasy of battle.
- One of the perfect creations of Skopas is the statue of the Maenad - the nymph who raised the young Dionysus.
- Skopas also owns countless sculptures on pediments, relief friezes, and round sculptures.
- He is known as an architect who took part in the decoration of the Halicarnassus Mausoleum
Praxiteles (c.390-330 BC)
- A native of Athens, he went down in art history as an inspired singer female beauty. Images of athletes, in all likelihood, were not very interesting to the artist.
- If he turned to the ideal of a beautiful young man, then first of all he emphasized not physical qualities in his figure, but harmony and grace, joy and serene happiness. These are “Hermes and Dionysus”, “The Dying Satyr” and “Apollo Saurokton” (or “Apollo Killing the Lizard”).
- But they brought him particular fame female images in sculpture
Praxiteles. Aphrodite of Knidos.
- The model for the statue was the beautiful Phryne, with whom many beautiful legends are associated. According to one of them, she asked Praxiteles to give her his most beautiful sculpture. He agreed, but did not name the sculpture, then...
Lysippos (370-300 BC)
- He created about 1,500 bronze statues, among which were colossal figures of gods, mythological characters, and powerful athletes.
- He was the court sculptor of Alexander the Great and captured the image of the great commander in one of the battles.
- In the face of the commander one can discern the character of a strong and strong-willed person, a restless spirit, and enormous willpower. Undoubtedly, before us is a realistic portrait in which his individual features are clearly drawn...
Lysippos' innovation
- Maximum approximation of images to reality.
- Showing images in specific dynamic situations.
- An image of people in a fleeting, momentary impulse.
- He rejected the heaviness and immobility in the depiction of the human figure, striving for lightness and dynamism in its proportions.
Leochares (mid-4th century BC)
- His work is a wonderful attempt to capture the classic ideal of Human beauty.
- Researchers and poets have repeatedly turned to the statue of Apollo Belvedere.
“It is not blood and nerves that heat and move his body, but heavenly spirituality. Overflowing in a quiet stream, it fills all the outlines of this figure... The statue of Apollo is the highest ideal of art among all the works that have been preserved to us from antiquity.”
I.I. Winckelmann (1717-1768) German art historian
An arrow from Apollo's bow rings in my ears,
And the radiant himself, with a trembling bowstring,
Breathing with delight, he shines before me.
A.N. Maikov,
Russian poet XIX V.
- New themes and subjects appeared in the sculpture of the Hellenistic era, and the interpretation of well-known classical motifs changed. Approaches to the image have become completely different human characters and events.
- The excitement and tension of faces, the expression of movements, the whirlwind of feelings and experiences and at the same time the elegance and dreaminess of the images, their harmonious perfection and solemnity - the main thing in the sculpture of this period.
At the hour of my night delirium
You appear before my eyes -
Samothrace Victory
With arms extended forward.
Scaring away the silence of the night,
Causes dizziness
Your winged, blind,
Unstoppable urge
In your insanely bright gaze
Something is laughing, flaming,
And our shadows rush behind us,
Unable to keep up with us.
N. Gumilev
- A wonderful work dating back to the Hellenistic era - a sculptural group "Laocon with his sons", executed by Agesander, Athenodorus and Polydorus (located: Vatican Museums)
... the snakes attacked
Suddenly on him and entangled in strong rings twice,
The womb and chest surrounded him twice
Their bodies were scaled and their heads rose menacingly above him.
In vain he strains his weak hands to break the knots -
Black poison and foam flow over the sacred bandages;
In vain, we torment, a piercing groan rises to the stars...
Virgil "Aeneid" translation by V.A. Zhukovsky
ARCHAIC. KUROS AND KORAS The Archaic era was the time of the birth of ancient realism. However, the artistic culture of the archaic is valuable not only as a harbinger of the realism of the classics. Archaic culture is characterized by both powerful integrity, to some extent lost by the classics, and humanity, unknown to the most ancient cultures.
Realistic vitality, an inextricable fusion of philosophical and aesthetic principles in artistic image, heroic typification of the image real person These are the main features of the emerging art of the classics. A new understanding of the tasks of art was reflected in a new understanding of the human image, in a new criterion of beauty. The birth of a new aesthetic ideal is revealed especially clearly in the image of the “Delphic Charioteer” (second quarter of the 5th century BC). Severe simplicity and calm greatness of spirit are diffused throughout the charioteer’s entire figure. “The Delphic Charioteer” expressed the characteristic classical idea of sculpture as a harmonious and vitally convincing depiction of the typical features of a perfect person. CLASSIC Frontal composition
At the end of the 6th and the very beginning of the 5th century. BC. a number of masters are trying to rework the design of the archaic kouros statue and solve the problem of depicting natural, organically integral movement. Heroic character aesthetic ideals early classics was embodied in the bronze statue of “Zeus the Thunderer,” found in 1928 at the bottom of the sea off the coast of the island of Euboea. This big statue(more than 2 m high) along with the “Delphic Charioteer” gives us a clear idea of the remarkable skill of the sculptors of the early classics. " Zeus the Thunderer"compared to "Arioteer" is distinguished by even greater realism in modeling body shapes and greater freedom in conveying movement.
WITH greatest strength creative quest early classics, its search for heroic, typically generalized images was expressed in the activities of the great Greek sculptor Myron from Eleuther. Myron worked in Athens at the end of the second and beginning of the third quarter of the 5th century. BC. Miron's original works have not reached us. They have to be judged by marble Roman copies. Striving for the unity of the harmoniously beautiful and directly vital, Myron freed himself from the last echoes of archaic convention, from the angular sharpness of movements and at the same time from the sharp emphasis on details, which was sometimes resorted to by the masters of the second quarter of the 5th century. BC, who wanted in this way to give special truthfulness and naturalness to their statues. Miron became a master who synthesized the main qualities in his work realistic art early classics. "Aren't you talking about a discus thrower who bent over in the throwing motion, turned his head looking at his hand holding the discus, and slightly bent one leg, as if preparing to straighten up at the same time as the blow" Lucian
The statues of Polykleitos are also full of intense life, although, unlike his contemporary Myron, Polykleitos liked to depict athletes not during exercise, but at rest. “Spearman” or “Doriphoros”, 5th century. BC e. This powerfully built man is full of feeling self-esteem. He stands motionless in front of the viewer. But this is not the static peace of ancient Egyptian statues. Like a man who skillfully and easily controls his body, the spearman slightly bent one leg and shifted the weight of his body to the other. It seems that a moment will pass and he will take a step forward, turn his head, proud of his beauty and strength. Before us is a man free from fear, proud, reserved, the embodiment of the virtues of a warrior and a citizen.
Skopas. Maenad. 335 BC e. Roman copy.) SCOPAS BC. e years BC representative late classic. One of the first masters Greek classics, who gave preference to marble, refusing to use bronze, the favorite material of previous masters, in particular Myron and Polycletus. Rejecting the characteristic art of the 5th century. harmonious tranquility of the image, Skopas turned to the transmission of movement, strong emotional experiences, and the struggle of passions. To realize them, Skopas used dynamic composition and new techniques for interpreting details, especially facial features: deep-set eyes, folds on the forehead and an open mouth. Scopas, Praxiteles and Lysippos are the greatest Greek sculptors of the late classics.
Hermes with the infant Dionysus, 4th century. BC e. Marble. Museum in Olympia, Greece. Praxiteles was an ancient Greek sculptor who worked in the late classical era. This was the period of formation of the ideas of Socrates and Plato in philosophy, the time of the formation of new forms and a new language of Greek visual arts. In sculpture, the masculinity and severity of images of strict classics is replaced by an interest in peace of mind a person, and his more complex and less straightforward characteristics are reflected in plastic. In the marble statue of Praxiteles, the beautiful youth Hermes is depicted in a state of peace and serenity. He looks thoughtfully and tenderly at the baby Dionysus. To replace the manly beauty of the 5th century athlete. BC. beauty comes more graceful, refined and more spiritual.
Another work of Praxiteles enjoyed particular fame - the statue of Aphrodite of Knidos (the original has not survived). This was the first depiction of a female figure in Greek art. The relationship between the sculptor and his model, the beautiful Phryne, was of great interest to his contemporaries. It was reported, for example, that Phryne asked Praxiteles to give her his best sculpture. He agreed, but left the choice to her, slyly hiding which of his works he considered the most perfect. Then Phryne decided to outsmart him. One day, a slave sent by her ran to Praxiteles with the terrible news that the artist’s workshop had burned down... “If the flame destroyed Eros and Satyr, then everything was lost!” Praxiteles exclaimed in grief. So Phryne found out the author’s own assessment...
According to Pliny, Lysippos said that, unlike his predecessors, who depicted people as they are, he, Lysippos, sought to depict them as they appear. The human figure is constructed by Lysippos in a new way, not in its plastic synthesis, as in the sculptures of Myron or Polykleitos, but in some fleeting aspect, exactly as it appeared (appeared) to the artist at a given moment and as it had not yet been in the previous and already will not happen in the future. Lysippos was the only sculptor whom Alexander the Great recognized as worthy of capturing his features. “Alexander’s gaze, full of courage, and his entire appearance, Lysippos poured out of copper. It’s as if this copper lives. It seems that, looking at Zeus, the statue says to him: “I take the Earth for myself, you rule Olympus.” Lysippos destroys the old Polykleitan canon of the human figure in order to create his own, new one, more suitable for his dynamic art. In this new canon, the head is no longer 1¦7 but only 1¦8 of the total height.
"Apoxiomenos" (Rome, Vatican). This is a young athlete, but not at all like in the sculpture of the previous century, where his image radiated a proud consciousness of victory. Lysippos showed us the athlete after the competition, carefully cleaning his body from oil and dust with a metal scraper. The not at all sharp and seemingly inexpressive movement of the hand reverberates throughout the entire figure, giving it exceptional vitality. He is outwardly calm, but we feel that he has gone through great excitement, and fatigue from extreme stress is visible in his features. “Hercules with a Lion” (Hermitage). This is the passionate pathos of a life-and-death struggle. The entire sculpture seems to be charged with a violent, intense movement, irresistibly merging the powerful figures of man and beast into one whole.
LEOCHAR Leochar is an ancient Greek sculptor of the Early Hellenistic era, who worked in the middle of the 4th century. BC. in Athens, Olympia, Delphi. “Apollo Belvedere”: a marble Roman copy of a bronze original by Leochares (last third of the 4th century BC), so named after the gallery where it was exhibited for a long time (Rome, Vatican). This statue once caused a lot of admiration. We recognize in the Belvedere "Apollo" a reflection of Greek classics. But it’s just a reflection. Despite all its undoubted effectiveness, the statue of Leochare seems to us internally cold, somewhat theatrical. Although Leochares was a contemporary of Lysippos, his art, losing the true significance of its content, smacks of academicism and marks a decline in relation to the classics. Leohar. Artemis the hunter.
HELLENISM With the death of Alexander the Great, the time of Hellenism begins: the Hellenic world is reborn into the Hellenistic one. The artists were to spread the achievements of Greek art throughout all the territories conquered by Alexander. Customers, kings and nobles, wanted to decorate their palaces and parks works of art, as similar as possible to those that were considered perfection at the great time of Alexander’s power. It is not surprising that all this did not attract the Greek sculptor to the path of new searches, prompting him only to make a statue that would seem no worse than the original of Praxiteles or Lysippos. And this, in turn, inevitably led to the borrowing of an already found form. i.e. to what we call academicism. Unknown artist "Nike of Samothrace" (Paris, Louvre)
But however... At the end of the 2nd century. BC e. A sculptor named Alexander or Agesander worked in Asia Minor: in the inscription on the only statue of his work that has come down to us, not all the letters have been preserved. This statue, found in 1820 on the island of Miloe (in the Aegean Sea), depicts Aphrodite Venus and is now known throughout the world as the “Venus de Milo”. Under this whimsical canopy of slightly raised hair, How much proud bliss spilled into the heavenly face! So, all breathing with pathos passion, all flowing with the foam of the sea And wafting with all-victorious power, You look into eternity before you. A. Fet in this statue everything is so harmonious and harmonious, the image of the goddess of love is at the same time so regally majestic and so captivatingly feminine, her whole appearance is so pure and the wonderfully modeled marble glows so softly that it seems to us: the sculptor’s chisel herself great era Greek art could not have carved anything more perfect! Lacoon with his sons. 40 BC
