2.la Greek Sculpture Classical Period

I.E.S. Francisco de Goya "Department of Geography Molina de Segura. and History.
Item 2: THE PERIOD OF CLASSIC GREEK SCULPTURE

History Course art.2 º Bl. 2008-2009.Tema Course 2: Greek sculpture of the Class
ical period.
1
I.E.S. "Francisco de Goya" Department of Geography Molina de Segura. and History
.
1 .- General characteristics of Greek sculpture. 1.1 Introduction and chronology
. 1.2 Features general. 2 .- Historical Development 2.1 The beginning: the Archa
ic period. 2.2 The transition to the severe style classicism classicism 2.4 2.3
Hellenism (IV-III century BC)
1 .- General characteristics of Greek sculpture. 1.1 Introduction and chronology
The most novel contribution of Greek sculpture compared to the eastern (Egyptia
n, Mesopotamian) is the discovery of aesthetic contemplation. The figures outsid
e their meaning (usually religious), attracted by its own beauty. The art become
s an activity, valuable in itself. Most of the works that have reached us of the
great masters of the classical period are not original but Roman copies which s
hows great admiration for the Roman people Greek art. In the historical developm
ent of Greek sculpture are the same three periods we have seen in the architectu
re: 1 .- Archaic (until the V century BC) 2nd .- Classic and Postclassic: V and
IV centuries BC .. 3 .- Hellenistic: From the late fourth century BC 1.2 Feature
s General General characteristics of Greek sculpture bearing in mind that some o
f these vary depending on the different periods are:
a)
The cult of the man who becomes the center of the sculpture. It is a figure size
"human" even though they represent gods or important figures.
b) The concern for capturing the physical beauty and spiritual balance (what
Greek philosophers called "sophrosyne"). The beauty is conceived as a harmony be
tween the parties, and is an idealized beauty (especially in the classical perio
d).
ical period.
2
. c) The search for the expressiveness of the face is an achievement to get full
the classical period.
d) The representation of movement, also the result of a long evolution and reach
es
to fruition during the Hellenistic period (The reliefs of the Pergamon Altar and
the group Laooconte and their children are two examples)
e) f)
Concern about the volume and appearance of multiple terms. Use of color in the s
culptural decoration. The reliefs and sculptures in the round, whether in stone,
bronze or marble, were living polychromy of which only remains scarce. The cost
umes, lips, eyes, hair and even meat, had a special color to bring realism to th
e figure
g) The use of bronze (cast) as the most common material. However, most
of the works we know are marble copies of the originals in bronze. They used col
ored glass embedded in his eyes and lips painted red. Used on special occasions
chryselephantine technique (gold and ivory materials).
h) But the sculptors did not merely reproduce their models more
naturalist and accurately as possible, seeking the beauty ideal prototypes and n
umerical calculations performed for this very subtle and geometric to get the pe
rfect proportions (eg the Canon of Polykleitos) 2 .- Historical Development 2.1
The beginning: the Archaic period . During the S. IX-VIII a. BC, the Greeks tryi
ng to draw their own language through the first ivory votive offerings, bronze o
r terra cotta in the round, and made the first relief. From this period scarcely
any remains. In S. VII a. C. They get some Expressionism with Xoana (religious
statues made of wood) that resemble tree trunks with a slight narrowing at the w
aist. They looked very hieratic (rigid) as a result of Eastern influence. We kno
w from literary evidence and by later stone sculptures (Lady of Auxerre, Hera of
Samos). The initial phase of Greek sculpture, which was a learning phase, is re
presented by statues of athletes or Kuroi (singular: Kuros) and dressed female r
epresentations or Korai (singular: Kore)
ical period.
3
.
The Kuroi were long regarded as representations of the god Apollo (today they ar
e still called Apollo) owe their existence to the custom which existed among the
Greeks to erect statues in honor of the victors in sporting competitions. They
are therefore Greek statues of athletes. They are not real portraits but its fea
tures are repeated (prominent eyes, ears, unnatural hair is a compact mass, trav
ersed by geometric lines and falls on the back and a fringe of curls on the fore
head, the mouth is represented or a straight line or bending upward in a smile (
smile archaic). Obey the Law of the frontal, rigid arms are attached to the body
, shoulder high and horizontal. They are in a walking position, with left leg fo
rward . The body is naked. Kuroi Among the best known and which meet the specifi
ed characteristics can include: group and Biton Cleobis dating to 600 BC found i
n the Museum of Delphi and is characterized by the strength of the figures The K
uros to Anavyssos representing a young athlete named Krois and represents a clea
r step forward towards naturalism even more evident in the so-called Apollo of P
iombino folding his arms, breaking the frontal and Critias Efebo. Sometimes kuro
i carry on their shoulders a sheep for slaughter (Moscoforo). The Korai female r
epresentations are wrapped or dressed in a long robe that are placed on the wide
covered with a blanket or shawl. The dress appears very geometric folds is the
represents smiling, smiling stereotypical (also called archaic smile) and her ha
ir tied back. They are of varying size. Its evolution towards naturalism is part
icularly evident in the ever more perfect organization of the folds of the garme
nts and the hair, the bulging chest and narrowing of the hips. it was painted an
d were made by different schools of sculpture (Ionian, Attic and Peloponnesian).
Among the korai best known and best preserved we can cite the Lady of Auxerre,
the Hera Samos, the Kore of the Kore Peplos and 675 with abundant remains of pol
ychrome 2.2 The transition to classicism and the severe style in the last phase
of the Archaic period are moving toward greater naturalism and presented to the
human figure in motion to adapt compositions to the triangular shape of
ical period. 4
.
pediments. Of these the most interesting is the Fronton Aphaea temple on Aegina.
This is a collection of the late Archaic period: it is dated 490 BC It is locat
ed in Munich. It represents the struggles of Aeginetans led by Ajax against the
Trojans, chaired by Pallas Athena. Sculpture is an example of dynamic, full of m
ovement and muscle study and knowledge of anatomy. But the faces are still not v
ery expressive (stereotyped smile) One of the first attempts to adapt to the spa
ces sculptural compositions of the pediments. Here the two pediments order their
dynamic battle scenes around the central figure of Athena. After an evolutionar
y process towards naturalism already indicated, this phase begins in the sculptu
res of the first third of SV ac in the style known as severe, which already anno
unced the classical world. The most representative works of this final moment of
transition to classicism is the Charioteer of Delphi, the Ludovisi Throne and t
he rider Rampin The charioteer of Delphi is a very representative example of the
severe style. Its author was probably Pythagoras of Samos. Made of bronze and o
nly figure that remains of a sculpture complex. Represents the driver of a chari
ot victory. Polizalos could be the tyrant of Gela in Sicily, which immortalized
and his triumph at the Games of 474 BC Pythias Of great elegance and beauty, he
still has some stiffness and hair archaic plano.Lo best sculpture is the study o
f the head that presages the Discus Thrower. The treatment of the chiton (tunic)
is more archaic and their folds resemble the striations of the Doric column but
are all different. The materials used are brass, glass eyes and traces of silve
r in the headband. It has 180 cm. Height and comes from the Sanctuary of Apollo
at Delphi. The Ludovisi Throne Artwork clear transition to classicism, it is a m
arble triptych first third of the V a.c's in Rome (Terme Museum) The central mai
n board represents the birth of Aphrodite from the sea helped by two maids and f
oreshadows the technique of wet cloths, leaving transparent anatomical forms of
Aphrodite, and the two maidens holding it. This technique was brought to perfect
ion by Phidias in the reliefs of the Parthenon The two side plates are two femal
e figures sacred symbols of love and profane love in similar positions, playing
a double flute naked and one clothed and burning incense. Rampin Rider (or Rampi
n Caballero)
ical period.
5
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As a final example of this transition to classicism cite one of the few equestri
an portraits of Greek sculpture: it is the rider Rampin archaic traits that repr
esents an important personage (laurel crown, beard and mustache carefully.) It w
as painted and is approx. 560 year A.C.
2.3 The Classic:. (V and IV centuries BC) a) V Century BC:. Myron, Phidias Polyc
leitus and artistic production of the Classical period is characterized by ideal
ization (ideal human type, according to Plato's ideas), the equilibrium (not int
erested in violence but Serenity), and dignity in the treatment of gods, both of
which summarize the ideals of the sculpture of S. V. Will look for a canon of b
eauty. (That is, the beauty ideal). The three great sculptors of this period are
Myron, Phidias Polycleitus and whose output coincides with control of Pericles
on the Athenian polis. Athens was the main (though not sole) artistic center of
Greece. 1 .- Miron is chronologically the first sculptor of classicism why his w
ork still has some archaic tone. Myron was a bronze-smith and worked in the firs
t half of S. V. He was interested mostly to the study of human body in motion, s
o do not hesitate to put the figures in violent attitudes, as in the "Group of A
thena and Marsyas" and especially in his most famous and copied: "The Discus Thr
ower" representing an athlete in the time prior to the release of the album, lea
ning forward in an unstable equilibrium and supported only on the sole of his ri
ght foot and left toes But despite what is innovative composition, treatment of
the anatomy is not fully achieved: your muscles are flat her face is expressionl
ess and her hair is archaic in its treatment (geometry). 2.-Polykleitos
ical period. 6
.
Polykleitos was a native of Argos in the Peloponnese where there was a very pres
tigious school bronzesmiths. He was a contemporary of Phidias and was interested
in the theoretical foundations of the sculpture: for him, the human body is cal
culated and proportion. Each body part should be of adequate size in relation to
the others. He wrote a treatise in which he explained the Canon, or proportiona
l system had developed in his sculptures: established the canon of seven heads,
in which the proportion of the human body should contain seven times that of the
head. The work in which she put into practice the aesthetic ideas Doryphoros li
terally "spear carrier." It was cast bronze copies but only preserved in marble.
Made approximately to the 450-440 A.C. Ms measured 2'12 tall and depicts a youn
g under way, with smooth movement. The overall height is between 7 and 8 head to
this harmonious relationship of parts with other symétrie called. Another novel
ty is the way to move the figure to counterbalance or contraposto. The bronze fi
gure facilitates lean on one foot. The left arm is bent, so the figure gains in
depth. The right arm (in opposition) verticalmentev falls. Left leg forward and
the figure is based on the right. The head is off to the left of the viewer. The
other major work for which is recognized as one of the Polykleitos peaks of cla
ssicism is "the Diadumenos" who is an athlete win Adhering tape (although it has
been said that is a representation of the god Apollo). It a.C. 440-430 His tors
o is bent more than the Doryphoros, his legs are shorter and the expression on h
is face is sweeter. Also expresses here the Greek ideal of beauty in both the an
atomy and proportion. 3 .- FIDIA is the most important sculptor of the classical
Greek.His work culminated earlier attempts to achieve the ideal balance expres
sive anatomic as Athens had been sharing the cultural and artistic leadership of
Magna Graecia, Sicily and the Peloponnese, but eventually imposed on them due t
o the economic prosperity achieved by the victory of Salamis against the Persian
s. The role of art director penthouse is in relation to the figure of the great
Phidias, whose influence determines Greek art over a long period.
ical period.
7
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Phidias masterfully served all branches of art. His work represented a breakthro
ugh because it decided how to decorate the lower corners of the pediments, he tu
rned the body so that the movement was observed from different points of view, e
tc. But it was in the treatment of drapery which revealed Phidias fertility and
refinement of his visual imagination. The abundant and sinuous folds of the fabr
ics that cling to the body as wet cloths to the artist did not stop a study of t
he anatomy are in fact an excuse that it uses to achieve an effect of naturalnes
s in the treatment of human body . . Pericles (495-429 BC) commissioned Pheidias
address the work of the Parthenon and several sculptures in the round to the Ac
ropolis, where his major works. He made several sculptures of the goddess Athena
, the only known copies: Promachos Athena, goddess of war, with helmet and spear
. It was huge (15m high), made in bronze to be placed in front of the Parthenon.
Lemnians Athena, in bronze, in the shape of Athenian girl wearing a simple robe
. For Athena Parthenos inside the Parthenon, which was a large-scale sculpture c
risoelefantina. It represents Athena standing, victorious, giving an impression
of movement. His attributes (shield, spear and helmet surmounted by sphinxes and
winged horses) are decorated with reliefs and paintings. It appears that Phidia
s was accused of being left with gold and ivory for this sculpture and have dare
d portray the shield. However, their major program is the set of sculptural reli
efs made to decorate the Parthenon and which can be grouped as follows:
a)
The two gables: the East represents the birth of Pallas and the West reflects th
e struggle between Athena and Poseidon for dominance of Athens, in the presence
of the families of Cecrops and Erechtheus and where are represented the Fates ex
ample of adaptation to the environment and the Wet clothes technique
b) The exterior frieze of the naos or cella. (160 ms. In length, 1.06 ms high an
d 5 cm deep) Let's look at some of the most significant works of this great set:
1. Panathenaic Procession (maidens or ergastinas) is part of the exterior friez
e of the cella of Athena in the Parthenon. This is a scene that is achieved, as
all the frieze in low relief, the procession of the Panathenaic represents
ical period. 8
.
Athenian maidens, daughters of the best families, offering a robe, woven by them
to the goddess Athena's ideal of beauty, the serene balance and the treatment o
f the folds is perfect. Each year, ergastinas repeated this ceremony. This fragm
ent, which is in the Louvre Museum, presents the Archons setting the pace that t
he damsels are in pairs, with step and gesture often modest. All healthy ideal o
f beauty and freedom, is reflected in these Athenian girls. The scene opens at t
he apex of the west and south walls and then splits in two directions that conve
rge on the eastern side, where the Assembly of Gods of Olympus provides the scen
e. 2.-The horsemen of the Parthenon frieze. Dealing with their horses the north
of the frieze and are reliefs of high quality. The animalistic study of horses i
n various positions, as well as human anatomy, show a considerable mastery of sc
ulpture. Other participants in the procession, carrying offerings, water, young
men with cattle and utensils for sacrifices. The relief presents a perfect drive
and has a plastic model insurmountable. Two thirds of the frieze are in the Bri
tish Museum., Since 1801. 3.-Gods of the exterior frieze of the naos. This is th
e scene on the eastern side of the frieze ran around the naos. We referred to th
at scene when dealing with the procession of the Panathenaicwhich is regarded b
y all the gods of Olympus, at the time of the offering to the goddess of the rob
e. The court of Zeus, invisible to mortal eyes, is the scene. Is divided into tw
o groups of six gods to each side. On the right are Athena, Hephaestus, Poseidon
, Apollo, Artemis and Aphrodite, with her son Eros, and Zeus placed his left han
d, Demeter, Dionysus and Hermes. Along with the gods is a group of men standing,
which could be heroes, noble-looking Phidias effortlessly seems to have opened
the gates of Olympus to summon the sacred citadel, but his respect for the Olymp
ics, has made him stop here . The positions of the gods are apathetic, indolent.
In the detail of frieze depicting Apollo, Poseidon and Artemis (Acropolis Museu
m), the first two talking languidly, as Artemis, wrapped in a thin robe, his pla
cid gaze directed elsewhere. c) The metopes of the temple exterior. Reliefs were
made in the 92 metopes. Were grouped into four series: The Centauromachy, the T
rojan War, the Amazonomachy. and Gigantomachy.
ical period. 9
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In its implementation is aware of the hand as disciples of Phidias and Myron Cri
tias. In the best preserved metope see a Lapita, attacked by a Centaur, which ta
kes him by the neck with an attitude of attack with the sword. In metope appears
an old man with energy of Titan, which could be Phidias. The composition is wit
hin the classic lines. The relief is very large and are really sculptures in the
round, which touch the bottom level. Not all space is filled. Thus, most figure
s highlight gaps. In addition to the reliefs of the Parthenon is also attributed
to Phidias or campus decorating the frieze of the Temple of Athena Nike is curr
ently at the Museum of the Acropolis in Athens. The temple was built in 421 a. C
. and relieves stresses between their representation of Athena unleashing a sand
al. One of the most famous classical reliefs. Probably the author was the sculpt
or Phidias Kallimachos disciple. Ideally represented his garments, conveys the s
ame restless movement and is another example of the technique of wet cloths. b)
The fourth century A.C. The Peloponnesian War marked the political collapse of A
thens. It had faced Sparta and its allies. The social and political changes tran
sformed the religious sentiment and philosophical thought. All this impacted on
the art, which echoed the worries and concerns and addressed existing issues dif
ferently. Idealization, serenity and balance, constant in S. V. BC, led to the s
earch for naturalness and the interest in showing the feelings and moods of the
subjects. Increased expression and emphasis of the movement are also features of
the sculpture of this stage appears at this time realistic portrait type as opp
osed to the SV ac purely archetypal or ideal. Faced with the stylistic unity of
the previous century, there is a greater diversity of schools. The major sculpto
rs of this period are Praxiteles, and Lysippus Scopas whose important works we w
ill analyze 1.PRAXITELES
History Course art.2 º Bl. 2008-2009.Tema Course 2: Greek Sculpture Classical pe
riod 10.
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Athenian. Modeled his figures in marble and bronze, composing soft forms, smooth
ing fine lines with gently curved. His relationship with the courtesan Fine, mod
el and companion of the artist, makes this the sculptor of Aphrodite, the goddes
s of love and beauty. The gods of Praxiteles indolent attitudes towards describi
ng soft curves and long known as Praxitelean, is recreated in the model helps to
give their figures a vague and dreamy. Praxiteles breath worried about psycholo
gical influence their work. He preferred the bodies of adolescents with extreme
delicacy modeled on a technique that matches the sfumato in painting and helps t
o give the feeling of lassitude is so characteristic. One of his most significan
t works is Hermes and Dionysus child. This sculptural group was discovered in th
e excavations of Olympia in the S. XIX. Some think that is the original and othe
rs say is a Roman copy. Completely naked with a slight bend forming arching his
hips Praxitelean the gentle curve shows a bunch of grapes he had in his right ha
nd to Dionysus a child, you want to catch it. The piece of cloth that covers the
trunk where Hermes supports, contributes,with its quality and vertical folds,
to enhance the value of the modeling of his body, while the trials of her hair,
and fairly intense, shows, by contrast, the youthful face sfumato. It also highl
ights in its production a curious work: it is Apollo Sauroctonos representing a
youthful Apollo, god of light, winner of the night and that is about to launch a
n arrow on the lizard (symbol of the night), located in the trunk of a tree on w
hich it relies Apollo himself. Praxiteles giving here a characteristic of the sc
ulptor solution: separating both legs of the figure which if not based on strong
support, the figure would fall. Is this the curve Praxitelean. The original was
bronze. The copies that remain are marble (Louvre and the Vatican) and bronze (
Villa Albani). His most important female representation is the Aphrodite or Venu
s of Cnidus. In ancient times it was considered the most beautiful statue in the
world. It is the first time that represents a naked goddess. To do this he soug
ht the guise of the goddess is out of the bath, a fully human act. Thus, natural
ism justifies the nudity. With a smooth movement of the jar making the cloth on
his left, which is a resource that ensures the stability of the figure. It is th
e perfect expression of female beauty. The work was painted and had blond hair.
History Course art.2 º Bl. 2008-2009.Tema Course 2: Greek sculpture of the perio
d 11 classic.
.
Are known fifty copies. For the first time in the history of the great sculpture
reveals the nature of the goddess of love, which displays Praxiteles unveiled:
fully developed breasts, wide hips, shapely legs and finely articulated ankles.
Everything about her proclaims love. But in the noble head there is the slightes
t hint of lewdness. Only a great artist could perform this miracle. The top righ
t arm and left sex takes the cloth to dry. Left leg forward and bend the knee. S
copas 2.SCOPAS is another of the great sculptors of S. IV a. C. He was born on t
he island of Paros. It belongs to the school of Praxiteles of Athens as it was c
ontemporary yet he has more ability to display the most exalted sentiments as lo
ve, sensuality, despair, longing, anxiety, desire, ultimately what the Greeks ca
lled Pathos. I felt pathetic predilection for expressions, with parted lips and
anguished, bitter grin, pointed to the valuation of chiaroscuro, which begins ar
ound the eyes to highlight the brow bone. The Maenad his best known work is a co
py of something over half a meter that is in the Dresden Museum. Represents the
priestess of Dionysus (the Roman Bacchus) in religious delirium, agitated by vio
lent convulsive movements, her hair loose and exposing much of his body. In one
hand he takes the knife to be opened to channel the kid that was in the other. T
his work begins a frenzied expressionism called Pathos scopásico, which influenc
e both Hellenism, the Renaissance and the Baroque. Scope was also an architect a
nd participated in the decoration of the Mausoleum of Halicarnassus, with Leocha
res, Bryaxis and Timothy. Lysippus 3.LISIPO part of the second half of S. IV a.C
. and it is very clear the influence of Scopas and Praxiteles. It was an extraor
dinary bronze-smith and sculptor preferred by Alexander the Great, who was the o
fficial portraitist. He brought elegance and flexibility in the representation o
f athletes (it was his favorite subject). He repeated the type of athletes matur
e at the time of transition from movement to stillness (eg your "Farnese Hercule
s") amended the Canon adopted by Polykleitos, establishing a more slender (9 hea
ds), which achieved great success.
d 12 classic.
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The Apoxyomenos (Vatican Museum), which is his most famous work of an athlete in
a situation unheroic removing dust and oil, which cover his body with a scraper
after finishing their competition. Bronze was performed in 330 a. C. but retain
the copy is made of marble. It measures 2'05 and slender proportions, the head
is rather small and flexible body, with arm outstretched, his figure includes mo
re laterally than the front. The composition varies completely, as we turn aroun
d it. His face is full figure, mouth and small eyes do not reflect the passion o
f Scopas or the dream of Praxiteles. Compared Doryphorusoffers a full body musc
le mobility vibrant. The movement is more suggested than real, more internal tha
n external c) Hellenism (IV-III century BC) The conquests carried out by Alexand
er the Great and his successors assumed the diffusion of Greek culture over a wi
de area. The artistic evolution continued after the death of Alexander the Great
, and even after the conquest of Corinth by the Romans. At the end of S. IV a. c
there was a sudden change: Greek art he had pursued in his work balance between
reality and ideal beauty, began to abandon these ideals. The sculpture off the
traditional spirit of the V and IV a. C., and adopted other features: •
• •
1-Tendency to orientalization. (Influence of Oriental art) 2-syncretism (mixture
of various influences) that is an example of the Venus de Milo. 3-accentuation
of the movement, the pathos and the tensión.Ej. Dying Gaul, which is characteriz
ed by its great expressiveness. 4-Special predilection for fantastic themes. 5-I
ntroduction scenes from everyday life. Eg El Niño de la Espina (d) 6-Development
of realistic tone pictures that recreate themselves in the physical defects in
the ugly, in old age. Eg Demosthenes, Diogenes, Seneca. 7-Dispersion of sculptur
al centers. There are four schools of sculpture: Pergamon, Rhodes, and Alexandri
a Tralles.
•
• •
•
Among the most important works of the Hellenistic period we will highlight and a
nalyze the following: 1.La Victory of Samothrace.
riod 13.
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It belongs to the School of Rhodes. Is believed to date from the beginning of S.
II (190 BC) and was part of the figurehead of a ship, hence the clothes go back
as windswept. It is in the Louvre Museum. His body is wrapped in a thin chiton
and a mantle shaken by the wind. Roll is very characteristic that makes up the m
antle on the right thigh after falling between the legs in a provision figures l
ook much the same time. Until now it has been considered statue commemorating th
e victory in a naval battle that took place in 305 BC Eastern 2.Friso Altar of Z
eus at Pergamum. This Altar dedicated to Zeus built in the first half of the II
century BC when Pergamum reached its greatest expansion and wealth under Eumenes
II. It is decorated with large reliefs of 2'30 m. high that surrounded three si
des by a frieze of 112 m. length. The best preserved reliefs belong to the easte
rn frieze. They are kept in the Berlin Museum and represent the struggle between
gods and giants, children of Gaia. Zeus and Athena battling their opponents for
ming a figure comparable to the fury of the unchained elements. . There is a fan
tastic mix of old and young men. The background of the relief disappears behind
the tangle of human bodies floating robes, weapons, cars and animals. The sculpt
ural technique reveals the influence Scopas style look in those faces visionary
and eager mouth. 3.Laocoonte and their children. The best known copy is in the V
atican Museum in Rome (first century AD marble). Agesander is the work of Rhodes
and their children and Atanadoro Polidoro (the original was a bronze century BC
). It represents one of the most dramatic moments of Greek mythology, when two s
nakes curl the body of Laocoon and his sons. Poseidon is the punishment sends th
e Trojan priest by fear of the Trojan horse that the Greeks wanted to introduce
in the city. It is a very realistic scenario in which we have tried to make a re
presentation of pain, with superhuman stress. The pain is physical and moral pri
est to see innocent children suffer. There are psychological and plastic unit in
this composition. When it was discovered the group lacked the right arm of Laoc
oon and one of their children. The rebuilt a Renaissance author who led them int
o the sky. In the epitome of the baroque in the
History Course art.2 º Bl. 2008-2009.Tema Course 2: 14 Greek sculpture of the cl
assic period.
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Greek sculpture and its influence on the Renaissance sculptor Michelangelo (See
the Moses) is more than evident.
GREEK SCULPTURE (1)
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riod 15.
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ARCHAIC PERIOD: THE "kuroi" Greek sculpture (2)
d 16 classic.
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ARCHAIC PERIOD: THE "Korai"
THE TRANSITION TO THE CLASSIC: THE TEMPLE OF AFAI FRONTON (EGIN)
assic period.
.
GREEK SCULPTURE (3)
EL ESTILO SEVERO (Charioteer of Delphi, Rampin And Ludovisi Throne CABALLERO)
2.3 The Classic:. (V and IV centuries BC) a) V Century BC:. Voyeurism, and Phidi
as Polykleitos
assic period.
.
MIRON: Apollo and Marsyas and the Discus Thrower
GREEK SCULPTURE (4)
riod 19.
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Polykleitos: CANON, Doryphoros And Diadumenos
Phidias (1) Athena Promachos, Athena Parthenos and the Fates (Elgin Marbles).
GREEK SCULPTURE (5)
Phidias (2) Elgin Marbles: Panathenaic Procession
assic period.
.
Phidias (3) Elgin Marbles: Horsemen
Phidias (4) Elgin Marbles: THE ASSEMBLY OF THE GODS
GREEK SCULPTURE (6)
Phidias (5): metopes of the Parthenon
riod 21.
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Phidias (6): METOPA the Parthenon (CENTAURO old) and tying his sandal ATENEA
The fourth century A.C.
Praxiteles: Hermes and Dionysus, Aphrodite of Cnidus (2) Y APOLO art.2 Saurocton
os History Course No. Bl. 2008-2009.Tema Course 2: Greek sculpture of the period
22 classic.
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GREEK SCULPTURE (7)
Scope: Menad, the Mausoleum at Halicarnassus and Portrait of Meleager
Leochares: APOLO.
Lysippus: Hercules Farnese and Apoxyomenos
History Course art.2 º Bl. 2008-2009.Tema Course 2: Greek Sculpture Classical Pe
riod 23.
.
GREEK SCULPTURE (8) Hellenism (IV-III century BC)
Victory of Samothrace
RELIEF OF THE ALTAR OF ZEUS (Pergamon)
assic period.
.
LAOOCONTE AND THEIR CHILDREN
MOISES (M. Angel)
riod 25.

2.la Greek Sculpture Classical Period

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2.la Greek Sculpture Classical Period

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I.E.S. Francisco de Goya "Department of Geography Molina de Segura. and History.

Item 2: THE PERIOD OF CLASSIC GREEK SCULPTURE

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