Sculpture of the Classical Period
Sculpture of the Classical Period
Sculpture of the Classical Period
The Early Classical Period.
About 480 b.c.e., just before the Persians under King Xerxes sacked Athens, someone dedicated a kouros (a Greek male nude statue) on the Acropolis which has been labelled the "Critian Boy" because of the resemblance of its head to a statue group by two sculptors, Critias and Nesiotes, erected a few years after the Persian invasion had been defeated. The Critian Boy faces the onlooker like earlier kouroi, but he stands relaxed, his weight on one leg, his head inclined. His body is skillfully modeled. It is that of an athletic youth aged eighteen or nineteen. There is no vestige left of the "archaic smile," typical of earlier statues, indicating its stylistic alignment with sculpture from the classical period. The sculptors who produced the kouroi and korai (female versions of the kouroi, only clothed) are generally nameless, though one battered kore bears the signature of the sculptor Antenor. The preferred medium of the great sculptors of the classical period was bronze, although copies of the sculptures were done in marble for Roman customers. It is these copies which survived antiquity, since most of the bronze statues were melted down for scrap metal during in the Middle Ages. Unfortunately, marble cannot reproduce bronze exactly because it is a heavier, more inflexible medium, and the sculptor working in marble must distribute the weight of his statue evenly or it will not be stable. Therefore, the copies do not reveal the evolution of sculpture in the classical period from the stiffness of the archaic period, a development made possible by the more flexible medium of bronze. The bronze kouros found in Piraeus which dates to about 525 b.c.e. is already less stiff than contemporary marble kouroi; its head is slightly inclined and its forearms stretch out towards the onlooker. The "Discus-Thrower" of the sculptor Myron whose career began just after 480 b.c.e. shows a naked youth in the act of throwing a discus. Though the original is lost, the survival of several Roman copies reveal that the statue is an action figure, a type developed by early classical bronze-workers. It is still two-dimensional; the onlooker can view it from the figure's right side or from the rear. Other viewpoints are an unsatisfactory jumble of lines. The original in bronze was balanced, though it has been argued that Myron altered the natural stance of a youth about to throw a discus in order to give the statue stability. The copyist, however, introduced a strut to stabilize the figure.
The Bronze Originals.
While it is fortunate that Myron's work was preserved in good marble copies of his "Discus-Thrower" and his statue group of Athena and Marsyas, there are no surviving Roman copies of the work of the other two outstanding sculptors of the period, Pythagoras and Calamis, that can be attributed to them with any certainty. Despite the widespread destruction of bronze works during the Middle Ages, some bronze originals of the early classical period did manage to survive. One is the Delphic Charioteer found at Delphi, where it was preserved by a landslide. Of the chariot, horses, and groom that were part of the statue group, only fragments remain. Another is a bronze statue of Zeus hurling a thunderbolt that is now in the National Museum of Greece in Athens. It was found in the waters off Artemisium at the north tip of the island of Euboea in the Aegean Sea. Zeus strides forward, his right arm raised to hurl the thunderbolt. The sculptor is unknown, but Ageladas of Sicyon, a famous artist who taught both Myron and Phidias, is known to have sculpted a Zeus hurling the thunderbolt. If the Zeus in the National Museum is not his, it may at least have served as the inspiration for it. The sea off southern Italy at Riace Marina also yielded two Greek bronze statues in 1972. They are dated to shortly before 450 b.c.e. Both are nudes and both portray bearded warriors; one has the remains of a shield on his right arm, and the other originally wore a helmet which has mostly disappeared. On the first, the eyes are of ivory and glass paste, the teeth—visible between his parted lips—are inlaid silver. His lips, his nipples, and his eyelashes are of copper, precast and inserted into the mold when the statue was made. The warrior that once had a helmet also has copper for his nipples, lips, and eyelashes, and his one surviving eye is made of marble and glass paste. Both statues were made by the "lost-wax" technique (in which a mold is made from a wax model over a clay core; then the wax is melted out and replaced by molten bronze) and, when found, they still had their clay cores, though these are now removed. Both are about six and a half feet tall, the helmeted one slightly shorter than the other. Better than any other bronze statues that have survived, these powerfully built warriors provide a clue as to what Greek bronzes in the early classical period must have looked like.
PLINY THE ELDER ON THE SCULPTOR, MYRON
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The High Classical Period.
By the middle of the fifth century b.c.e., Greece had fully recovered from the ravages of the war with Persia. After the Persian invasion was repelled, Persia remained a powerful enemy, and the Greek states in Asia and northern Greece still felt threatened. They willingly joined an alliance under Athenian leadership to continue the fight and make sure that Persia could not launch a counter-offensive. The center of the alliance was on the island of Delos, sacred to Apollo and Artemis, and there the treasury of what was called the "Delian League" was kept, and all members of the alliance contributed to it according to an assessment drawn up by Athens. But more and more the Delian League developed into an Athenian Empire. In 454 b.c.e. the treasury was moved from Delos to Athens, and in mid-century the campaigns which the Delian League had once launched annually against Persian territory came to an end; there may even have been a peace treaty signed at last, though that is a matter of debate. Yet Athens decreed that the yearly tribute to the Delian League treasury should still be paid and used the money not only to maintain the most powerful fleet in Greece, but also to finance a building program in Athens. On the Athenian Acropolis, a splendid temple to the goddess Athena Parthenos was built that was larger than the temple of Zeus at Olympia, and unlike the temple at Olympia which was built of limestone, the Parthenon was built of marble from the Athenian quarries on Mt. Pentele. The architect of the temple was Ictinus, but the artist who oversaw the project and made the great gold-and-ivory statue of Athena to stand inside it was Phidias. It was probably Phidias, too, who drew up the designs for the sculpture that decorated the temple: the sculptures that filled the pediments at the east and west ends, the relief sculptures that filled the metopes, and the frieze that ran around the whole of the cella—inner room of a Greek sanctuary or temple—wall inside the colonnade. An examination of the relief sculpture of the frieze shows that it was done by several hands. The same was probably true of the other sculptures, but much has been lost. In 1687, during one of the wars between the Venetians and the Turks, the Turkish garrison on the Acropolis was being besieged by the Venetians and a Venetian cannon lobbed a shell into the Parthenon. The Turks were using the Parthenon as a powder magazine, and the shell ignited an explosion that blew out the center of the temple. The pedimental sculptures affected by the explosion as well as some undamaged specimens were taken to England in the early nineteenth century before the Greek War of Independence by Lord Elgin, British ambassador to the Ottoman Empire which still ruled Greece. They are now in the British Museum and known as the "Elgin Marbles." There is no agreement about what the pediments of the Parthenon looked like before the explosion of 1687, for most of the sculpture is lost. The frieze is thought to represent the Panathenaic procession that was part of the festival of the Great Panathenaea, but even that is not completely certain. Also uncertain is what part Phidias played in carving the sculptures that do survive, if any, but at least it can be said with confidence that he was the presiding genius who drew up the designs that other stone carvers executed. Phidias' activity extended beyond Athens. In fact, he spent his last years in exile. From Athens he went to Olympia and made the gold-and-ivory statue of Zeus there; Olympia is also the site of the discovery of his workshop and the terracotta molds used to fashion the gold drapery of the statue, which was not pure gold as at Athens but gold inlaid with glass.
The Argive Style.
Although Athens was the dominant center of art and literature in Greece from the mid-fifth century b.c.e. on, one other center retained its artistic independence: Argos and its neighbor Sicyon. While the Parthenon was being built in Athens, in Argos the workshop of the sculptor Polyclitus was perfecting its own idea of what the proper proportions of a male nude should be. Polyclitus also made statues of deities, and though he was primarily a bronze-caster, he made a chryselephantine statue of Hera for her temple at her holy site in the Argive countryside. Chryselephantine statues (from the Greek khrysos meaning "gold" and elephantinos meaning "ivory") were made of gold and ivory: the drapery was made of gold and the flesh of ivory, and the statue was supported on a wooden frame. They were considered the pinnacle of Greek sculpture. Polyclitus, however, was especially known in the ancient world for his bronze statues of athletes, two of which survive as good Roman copies: the Doryphoros or "Spear-bearer," and the Diadoumenos, a youth adjusting his diadema or headband. These male nudes form the climax of the long development towards naturalistic form. Both statues portray arrested motion: the Spear-bearer, for instance, is in the midst of a step forward, with all his weight on his right leg and the musculature of his torso responds to the movement of the body. The right hip that supports the Spear-bearer's weight is slightly raised, and the left hip droops while the left shoulder is tensed and slightly raised to compensate for the weight of the spear that the Spear-bearer holds in his left hand. In these two nudes, Polyclitus achieved a balanced, harmonious, and naturalistic whole. He was particularly interested in proportion; in fact, he wrote a book on the proper proportions of the body titled the Canon. Polyclitus' Canon would be recycled in the Roman Empire for imperial statuary. Statues from this era showed the emperors as military leaders wearing armor, but under the armor their physiques adhered closely to the proportions which Polyclitus set forth.
In the late fifth century b.c.e. sculptors turned their artistic energy to exploiting the wind-blown style of drapery which the sculptors of the Parthenon pediments had developed. Figures were portrayed as having cloaks blown by the wind. The drapery sometimes appears almost transparent as the wind presses it against the body, showing the anatomy underneath. The style stressed both elegance and technical virtuosity. One example of this style was found at Olympia, an original sculpture by the little-known sculptor Paionius of Mende, who carved a figure of Nike (the goddess of Victory) for a victory monument dating to about 420 b.c.e., erected by the Messenians at Naupactus to commemorate a defeat they had inflicted on the Spartans. Messenia was a region west of Sparta that the Spartans had subjugated in the early archaic period, reducing the Messenians to serfdom; the Messenians who erected this monument had escaped from the Spartan yoke and had been settled on the Gulf of Corinth at Naupactus by Athens. To mark the victory, they erected this victory monument at Olympia where all the Greeks who came to the Olympic Games could see it. The Nike of Paionius stood on a high triangular base some 9.14 meters (thirty feet) high before the front end of the Temple of Zeus. To viewers below, it looked as if the Nike was alighting on the pillar as the air swirled around her, pressing her chiton (tunic) against her body, while her himation (outer cloak) billowed out around her. The himation is now largely broken away, but it is still possible to appreciate the technical virtuosity which this statue displays. Battered though it is, this is a masterpiece of the "flying drapery style."
PHIDIAS' GOLD AND IVORY STATUE OF ZEUS AT OLYMPIA
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Scopas of Paros.
Early fourth-century sculpture retained the artistic conceptions of the fifth. Figures stand with the same easy balance, their facial expressions have the same calm serenity, and the drapery is transparent though it is often combined with heavier, agitated folds. The fourth century did develop its own style, however, in introducing a more human quality. Poses became more sinuous, drapery was more naturalistic, and a dreamy gentleness appeared in the faces. Three sculptors dominated the period: Scopas of Paros, Praxiteles of Athens, and Lysippus of Sicyon. Of Scopas little remains to form a judgement of his art. He worked on three important monuments of the first half and middle of the fourth century b.c.e.: the temple of Athena Alea at Tegea, the temple of Artemis at Ephesus, and the great Mausoleum of Halicarnassus (modern Bodrum in Turkey). From the pediment of the temple at Tegea, some battered heads survive and they are arresting, with deep-set eyes that gaze upwards and furrowed brows. While they cannot be attributed with certainty to Scopas, he was the architect of the temple and these sculptures must have been approved by him at the very least. The sculptural remains from Halicarnassus and Ephesus add little to modern knowledge of Scopas although Roman copies do exist of one famous free-standing sculpture of Scopas, the so-called Pothos ("Yearning"). The statue is of a youth standing with crossed legs, leaning on a pillar, with a goose at his feet. He stands with raised head, looking upwards with a melting gaze. The upward gaze seems to have been a mark of Scopas' sculpture.
The most famous work of Praxiteles was his statue of Aphrodite which he made about 370 b.c.e. for the Dorian city of Cnidus. It was extravagantly admired in its own day for its beauty and its daring, for it showed Aphrodite naked, one hand shielding her pudenda from the onlooker's gaze, and the other resting on a water jar (loutrophoros) with a towel draped over it—Aphrodite has been surprised as she was preparing for her bath, it appears. Many Roman copies of the statue have survived. The best example is in the Vatican Museum in Rome but even though it is a competent replica, it gives little idea of the statue's original appearance, when its paint was fresh. At Cnidus it was placed in an open shrine where it could be viewed from all sides. It is the first of a whole series of female figures, some nude, some partially clad, the most famous of which is the Venus di Milo, the Aphrodite found on the island of Melos which is now in the Louvre museum in Paris. Praxiteles worked in bronze, but he was at his best working in marble, which he knew how to polish to a finish that represents the softness of female flesh. He was also a master of the tender gaze. A statue by Praxiteles was discovered during the archaeological excavations at Olympia, and though there has been a long debate as to whether it is a genuine Praxiteles or a later but very fine copy, the reasons for rejecting it as genuine are not convincing. This statue shows the god Hermes holding the infant Dionysus. Hermes holds the child with his left arm, and with his right he dangles a bunch of grapes. The right arm is broken, but other depictions of the statue show that Hermes is teasing Dionysus with a bunch of grapes and Dionysus recognizes his special fruit, infant though he is. Hermes' head is particularly fine, and the finish of the marble and the impressionistic method used to portray Hermes' hair are all marks of Praxiteles' style.
Lysippus of Sicyon, who was active not long after 370 and was still at work in 312 b.c.e., marked the period of transition to the Hellenistic Age. When he was born, the city-states of Greece were squabbling in the aftermath of the Peloponnesian War that had ended in 404 b.c.e. with the defeat of Athens. When he died, the Hellenistic Age had already begun, and Lysippus pioneered the new sculptural style. His workshop in Sicyon produced hundreds of statues—he is supposed to have turned out 1,500 works—but one was particularly famous: his Apoxyomenos or "Athlete Scraping Himself," referring to the process by which athletes removed the residue of the olive oil they rubbed on themselves prior to exercise. The Apoxyomenos broke with the tradition established by the Canon of Polyclitus that the head should be one-eighth the total height of the statue; the head of the Apoxyomenos is one-ninth the total height. Nor is the Apoxyomenos a "square" statue like Polyclitus' "Spear-bearer." Lysippus' statue constantly draws the viewer's eyes around the figure, for he has given it no clearly defined front, unlike the defined front and back approach of Polyclitus. The Apoxyomenos represents a figure in motion, caught in the act of shifting its weight from one leg to the other. Lysippus had absorbed what Polyclitus had to teach him, and moved forward.
The Farnese Heracles.
Heracles was a subject of interest to Lysippus. Lysippus did a miniature sculpture of the famous Greek hero that was much copied, showing Heracles sitting on a table, somewhat drunk and looking a little flabby. His most famous Heracles-figure, however, is the "Farnese Heracles" in the Naples Museum, so called because it was once part of the collection belonging to the Farnese family in Rome. It is a marble copy of a bronze original by Lysippus, and the copyist has signed his name: Glycon of Athens. There is reason to suspect that the copy by Glycon gave Heracles a more exaggerated physique than the original to please his Roman customers, for there is a copy of the same statue in the Louvre in Paris where Heracles' muscles are less overwhelming, though he still has the appearance of a body builder. He is shown resting after completing the last of his legendary Twelve Labors: fetching the golden apples from the Garden of the Hesperides. He leans on his club, his gaze tilted down and towards the left. He is weary; his labor has exhausted him, for he is clearly no longer a young man. His face expresses utter fatigue. His right arm is tucked behind his back, and his right hand holds the three golden apples. Like the Apoxyomenos, the "Farnese Heracles" prompts the viewer to circle around it, and only upon seeing the apples is it possible to comprehend the cause of Heracles' fatigue. This is a good example of three-dimensional sculpture, a style that Lysippus pioneered.
POLYCLITUS AND THE ARGIVE STYLE
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John Boardman, Greek Sculpture: The Classical Period (London, England: Thames and Hudson, 1987).
—, The Parthenon and Its Sculpture (Austin: The University of Texas Press, 1985).
Rhys Carpenter, The Esthetic Basis of Greek Art in the Fifth and Fourth Centuries (Bloomington, Ind.: Indiana University Press, 1959).
—, Greek Sculpture: A Critical Review (Chicago: University of Chicago Press, 1960).
A. W. Lawrence, Greek and Roman Sculpture. Rev. ed. (London, England: Jonathan Cape, 1972).
Brunilde S. Ridgway, Fifth-Century Style in Greek Sculpture (Princeton, N.J.: Princeton University Press, 1981).
—, Fourth-Century Styles in Greek Sculpture (Madison, Wisc.: University of Wisconsin Press, 1997).
Brian A. Sparkes, "Greek Bronzes," Greece and Rome 34 (1987): 154–165.