Outstanding sculptors of ancient Hellas. Presentation of "sculptures of ancient Greece" Sculpture of ancient Greece presentation by the Moscow Art Committee

GREEK CLASSICAL SCULPTURE Late 7th century. BC e. the period of the turbulent spiritual life of Greece, the formation of the idealistic ideas of Socrates and Plato in philosophy, which developed in the fight against the materialistic philosophy of the Democrat, the time of the formation of new forms of Greek fine arts. In sculpture, the masculinity and severity of the images of strict classics is replaced by an interest in the spiritual world of man, and a more complex and less straightforward characteristic of it is reflected in plastic.

Polykleitos Polykleitos. Doryphoros (spearman) BC Roman copy. National Museum. Naples The works of Polykleitos became a real hymn to the greatness and spiritual power of Man. The favorite image is a slender young man with an athletic build. There is nothing superfluous in him, “nothing in excess”; his spiritual and physical appearance are harmonious.

Doryphoros has a complex pose, different from the static pose of the ancient kouroi. Polykleitos was the first to think of posing the figures in such a way that they rested on the lower part of only one leg. In addition, the figure seems mobile and animated, due to the fact that the horizontal axes are not parallel (the so-called chiasmus). The chiasmus “Doriphoros” (Greek δορυφόρος “Spear-bearer”), one of the most famous statues of antiquity, embodies the so-called. Canon of Polykleitos.Greek.

The canon of Polykleitos Doryphoros is not an image of a specific winning athlete, but an illustration of the canons of the male figure. Polykleitos set out to accurately determine the proportions of the human figure, according to his ideas about ideal beauty. These proportions are in numerical relation to each other. “They even assured that Polykleitos performed it on purpose so that other artists would use it as a model,” wrote a contemporary. The essay “Canon” itself had a great influence on European culture, despite the fact that only two fragments have survived from the theoretical work.Canon

Canon of Polykleitos If we recalculate the proportions of this Ideal Man for a height of 178 cm, the parameters of the statue will be as follows: 1. neck volume - 44 cm, 2. chest - 119, 3. biceps - 38, 4. waist - 93, 5. forearms - 33 , 6. wrists - 19, 7. buttocks - 108, 8. hips - 60, 9. knees - 40, 10. shins - 42, 11. ankles - 25, 12. feet - 30 cm.

Myron Myron, Greek sculptor of the mid-5th century. BC e. The sculptor of the era that immediately preceded the highest flowering of Greek art (6th - early 5th century) embodied the ideals of the strength and beauty of Man. He was the first master of complex bronze castings. Miron. Discus thrower.450 BC. Roman copy. National Museum, Rome

Miron. “Disco thrower” The ancients characterize Myron as the greatest realist and expert in anatomy, who, however, did not know how to give life and expression to faces. He depicted gods, heroes and animals, and with special love he reproduced difficult, fleeting poses. His most famous work is “The Discus Thrower,” an athlete intending to throw a discus, a statue that has survived to this day in several copies, of which the best is made of marble and is located in the Palace of Massami in Rome.

Sculptural creations of Skopas Skopas (420 - c. 355 BC), a native of the island of Paros, rich in marble. Unlike Praxiteles, Skopas continued the traditions of high classics, creating monumental heroic images. But from the images of the 5th century. they are distinguished by the dramatic tension of all spiritual forces. Passion, pathos, strong movement are the main features of Skopas’ art. Also known as an architect, he participated in the creation of a relief frieze for the Halicarnassus mausoleum.

In a state of ecstasy, in a violent outburst of passion, the Maenad is depicted by Scopas. The companion of the god Dionysus is shown in a swift dance, her head is thrown back, her hair has fallen to her shoulders, her body is curved, presented in a complex angle, the folds of her short chiton emphasize the violent movement. Unlike the sculpture of the 5th century. The Skopas maenad is designed to be viewed from all sides. Skopas. Maenad Sculptural creations of Skopas

The statue of Aphrodite of Knidos is the first depiction of a nude female figure in Greek art. The statue stood on the shore of the Knidos peninsula, and contemporaries wrote about real pilgrimages here to admire the beauty of the goddess preparing to enter the water and throwing off her clothes on a nearby vase. The original statue has not survived. Sculptural creations of Praxiteles Praxiteles. Aphrodite of Knidos

Sculptural creations of Praxiteles In the only marble statue of Hermes (the patron of trade and travelers, as well as the messenger, “courier” of the gods) that has come down to us in the original of the sculptor Praxiteles, the master depicted a beautiful young man in a state of peace and serenity. He looks thoughtfully at the baby Dionysus, whom he holds in his arms. The masculine beauty of an athlete is replaced by a beauty that is somewhat feminine, graceful, but also more spiritual. The statue of Hermes retains traces of ancient coloring: red-brown hair, a silver bandage. Praxiteles. Hermes. Around 330 BC e.

Lysippos the Great sculptor of the 4th century. BC (BC) He worked in bronze, because sought to capture images in a fleeting rush. He left behind 1,500 bronze statues, including colossal figures of gods, heroes, and athletes. They are characterized by pathos, inspiration, emotionality. The original has not reached us. Court sculptor of A. Macedonian Marble copy of the head of A. Macedonian

Lysippos strove to bring his images as close as possible to reality. Thus, he showed athletes not at the moment of the highest tension of strength, but, as a rule, at the moment of their decline, after the competition. This is exactly how his Apoxyomenos is represented, cleaning off the sand from himself after a sports fight. He has a tired face and his hair is matted with sweat. Lysippos. Apoxyomenos. Roman copy, 330 BC

The captivating Hermes, always fast and lively, is also represented by Lysippos as if in a state of extreme fatigue, briefly sitting down on a stone and ready to run further in the next second in his winged sandals. Sculptural creations of Lysippos Lysippos. "Resting Hermes"

Leohar Leohar. Apollo Belvedere. 4th century BC Roman copy. Vatican Museums His work is an excellent attempt to capture the classical ideal of human beauty. His works contain not only the perfection of images, but also the skill and technique of execution. Apollo is considered one of the best works Antiquity.

Greek sculpture So, in Greek sculpture, the expressiveness of the image was in the entire human body, his movements, and not just in the face. Despite the fact that many Greek statues did not preserve their upper part (for example, “Nike of Samothrace” or “Nike Untying Sandals” came to us without a head, we forget about this when looking at the holistic plastic solution of the image. Because the soul and the body was thought of by the Greeks as an indivisible unity, then the bodies of Greek statues are unusually spiritualized.

Nike of Samothrace 2nd century BC Louvre, Paris Marble The statue was erected on the occasion of the victory of the Macedonian fleet over the Egyptian in 306 BC. e. The goddess was depicted as if on the bow of a ship, announcing victory with the sound of a trumpet. The pathos of victory is expressed in the swift movement of the goddess, in the wide flap of her wings.

Venus de Milo On April 8, 1820, a Greek peasant from the island of Melos named Iorgos, while digging the ground, felt that his shovel, clinking dully, came across something solid. Iorgos dug next to the same result. He took a step back, but even here the spade did not want to enter the ground. First Iorgos saw a stone niche. It was about four to five meters wide. In the stone crypt, to his surprise, he found a marble statue. This was Venus. Agesander. Venus de Milo. Louvre. 120 BC Laocoon and his sons Laocoon, you have not saved anyone! He is not a savior for either the city or the world. The mind is powerless. Proud Three's mouth is destined; the circle of fatal events closed in a suffocating crown of snake coils. Horror on your child’s face, pleas and groans; another son was silenced by poison. Your fainting. Your wheeze: “Let me be...” (...Like the bleating of sacrificial lambs Through the darkness, both piercing and subtle!..) And again - reality. And poison. They are stronger! In the snake's mouth, anger blazes powerfully... Laocoon, and who heard you?! Here are your boys... They... are not breathing. But every Troy has its own horses.

“Monumental sculpture” - Form an idea of characteristic features round and relief sculpture. Sculptor's tools: cutters, stacks, palette knife, chisel. Equipment and materials: “Monumental sculpture. Teacher: Kozlova V.V. Introduce students to the types of monumental sculpture. The word "sculpture" comes from the Latin word sculro, meaning "to carve."

“Cranes monument” - And above her a line of white cranes rushed upward. Lugansk (Voroshilovgrad). City of Vidnoye. From Brest, Kursk and Stalingrad, to Vienna and Berlin. The memory of the dead is the duty of every living person. Moscow region. St. Petersburg Nevsky Memorial "Cranes". Ukraine. 9 "A" 2008-2009 academic year. , KRASNOYARSK May 8, 2005.

"Sculpture of the 19th century" - Architecture and sculpture 1st half of the 19th century century. St. Isaac's Cathedral. Auguste Montferrand. Alexander Column. A.D. Zakharov Admiralty. P.K. Klodt “Horse Tamers”. Rostral column. Classicism is a European cultural and aesthetic movement, guided by ancient literature and mythology. A.N. Voronikhin.

“Sculptors” - Phidias. Bronze casting. Fragment of the Parthenon frieze. SCULPTURE - a hymn to man Antiquity Renaissance 11th grade. Zeus. Pieta. Sculptura, from sculpo - carve, cut out), sculpture, plastic (Greek Phryne. Praxiteles’ sculptures were painted by the Athenian artist Nicias. According to other sources, he died in exile in Elis. Subsequently, many sculptors depicted the goddess in a similar pose.

"18th Century Sculpture" - River Nymph, 1770-1780 (Clodion, France). Sculptural portrait. Study the styles and trends that dominated world sculpture in the 18th century. Rococo-graceful lightness. Peter I collected a unique collection of statues and busts in the Summer Garden. Capella Cornaro, 1652 (Bernini D.L., Italy). Romanticism - folklore and natural forms.

"Sculpture of Donatello" - Altar reliefs depict the miraculous deeds of St. Anthony. Relief of the Altar of the Cathedral of San Antonio. Donatello is a prominent representative of the early Renaissance in Italy. 1447-1453 Sculptural masterpieces of Donatello. Born in Florence into the family of a carder, he initially trained in a jewelry workshop. David.

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AbstractOutstanding sculptors of Ancient Hellas

Timergalina Alfina

Plan

Introduction

1. Sculpture of the Homeric period of the XXI-VIII centuries.

2. Sculpture of the 7th-3rd centuries.

Conclusion

Introduction

An increasing number of people are realizing that familiarization with the historical past is not only an acquaintance with the masterpieces of world civilization and unique monuments ancient art, not only a school of education, but also a moral and artistic integral part of modern life.

The largest civilization ancient world was the ancient Greek civilization. The civilization had a developed culture.

It can be considered indisputably proven that class society and the state, and with it civilization, arose on Greek soil twice with a large gap in time: first in the first half of the 2nd millennium BC. and again in the first half of the 1st millennium BC. Therefore, the entire history of ancient Greece is now usually divided into two large eras: 1) the era of the Mycenaean, or Crete-Mycenaean, palace civilization and 2) the era of the ancient polis civilization.

1. Sculpture of the Homeric period of the XXI-VIII centuries.

Unfortunately, practically nothing has reached us from the monumental sculpture of the Homeric period. Xoan was, for example, a wooden statue of Athena from Dreros, decorated with gilded plates depicting details of clothing. As for the surviving sculptural samples, small ceramic figurines from Tanagra dating back to the 7th century are of undoubted interest. BC e., but made under the clear influence of geometric style. It is interesting that the same influence can be traced not only in painted ceramics (which is easy to imagine: figurines are simply painted with certain patterns or figures repeating in shape), but also in bronze sculpture.

2. Sculpture VII-III centuries.

In the 7th-6th centuries. BC two types dominate in sculpture: a naked male figure and a draped female figure. The birth of the statue type of the male nude figure is associated with the main trends in the development of society. The appearance of relief is mainly associated with the custom of erecting tombstones. Later, reliefs in the form of complex multi-figure compositions became an indispensable part of the temple entablature. Statues and reliefs were usually painted.

Sculpture and painting of Greece of the 5th century. BC developed the traditions of previous times. The main images remained of gods and heroes. ancient greek sculpture statuary homeric

The main theme in the art of the Greeks in the archaic period was man, represented as a god, a hero, an athlete. This man is beautiful and perfect, in strength and beauty he is like a deity, in his calmness and contemplation one can discern confident authority. These are the numerous marble sculptures of the late 7th century. BC naked rope boys.

If earlier it was considered necessary to create an abstract embodiment of certain physical and mental qualities, an average image, now sculptors paid attention to a specific person, his individuality. The greatest successes in this were achieved by Scopas, Praxiteles, Lysippos, Timothy, Briaxides.

There was a search for means to convey shades of the movement of the soul and mood. One of them is represented by Skopas, a native of Fr. Paros. Another, lyrical direction was reflected in his art by Praxiteles, a younger contemporary of Skopas (Aphrodite of Cnidus, Artemis and Hermes with Dionysus). The desire to show the diversity of characters was characteristic of Lysippos (statue of Apoxyomenes, “Eros with a bow”, “Hercules fighting a lion”).

Gradually, the numbness of the figures and the schematism inherent in archaic sculpture are overcome, Greek statues become more realistic. The development of sculpture is also connected in the 5th century. BC with the names of three famous masters Myron, Polykleitos and Phidias.

The most famous of Myron’s sculptures is considered to be the “Disco Thrower” - an athlete at the moment of throwing a discus. The perfect body of an athlete at the moment of highest tension is Myron’s favorite theme.

The most famous, revered and incomparable sculptor of the period of mature (also called “high”) classics was Phidias, who led the reconstruction of the Athenian Acropolis and the construction of the famous Parthenon and other beautiful temples on it. Phidias created three statues of the Athenian patron goddess for the Acropolis. In 438 BC. e. he completed a twelve-meter statue of Athena Parthenos, specially made of wood, gold and ivory for the interior decoration of the Parthenon. In the open air, on a high pedestal, stood another Athena by Phidias - the bronze Athena Promachos ("Warrior"). The goddess was depicted in full armor, with a spear, the gilded tip of which shone so much in the sun that it replaced a coastal lighthouse for ships sailing to Piraeus. There was another Athena, the so-called Athena Lemnia, inferior in size to other works of Phidias and, like them, has come down to us in rather controversial Roman copies. However, the greatest glory, eclipsing even the glory of the Athena Parthenos and all other Acropolis works of Phidias, was enjoyed in ancient times by the colossal statue of Olympian Zeus.

Conclusion

A characteristic feature of early Greek culture was the amazing unity of its style, clearly marked by originality, vitality and humanity. Man occupied a significant place in the worldview of this society; Moreover, the artists paid attention to representatives of various professions and social classes, inner world each character. The peculiarity of the culture of early Hellas is reflected in the amazingly harmonious combination of motives of nature and the requirements of style, which reveal the works of its the best masters art. And if initially artists, especially Cretan ones, strived more for decoration, then already from the 17th-16th centuries. Hellas' creativity is full of vitality. In the XXX-XII centuries. the population of Greece has gone through a difficult path economically, politically and spiritual development. This period of history is characterized by intensive growth of production, which created in a number of regions of the country the conditions for the transition from the primitive communal to the early class system. The parallel existence of these two social systems determined the uniqueness of the history of Greece in the Bronze Age. It should be noted that many of the achievements of the Hellenes of that time formed the basis of the brilliant culture of the Greeks of the classical era and, together with it, entered the treasury of European culture.

Then, over the course of several centuries, called the “Dark Ages” (XI-IX centuries), in their development the peoples of Hellas, due to still unknown circumstances, can be said to be thrown back to the primitive communal system.

The “Dark Ages” are followed by the Archaic period - this is the time of the emergence, first of all, of writing (based on Phoenician), then philosophy: mathematics, natural philosophy, then the extraordinary wealth of lyrical poetry, etc. The Greeks, skillfully using the achievements of the previous cultures of Babylon, Egypt, create their own art, which had a huge influence on all subsequent stages of European culture.

Nothing is known about monumental painting of the Archaic period. Obviously, it existed, but for some reason it was not preserved.

Thus, the archaic period can be called a period of a sharp leap in cultural development Greece.

The archaic period is followed by the classical period (V-IV centuries BC).

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ARCHAIC. KUROS AND KORAS The Archaic era was the time of the birth of ancient realism. However, artistic culture archaics are 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 of a real person 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. The heroic character of the aesthetic ideals of the 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 large statue (more than 2 m high), along with the Delphic Charioteer, gives us a clear idea of ​​the remarkable skill of the early classical sculptors. “Zeus the Thunderer,” compared to “Arioteer,” is distinguished by even greater realism in the modeling of body shapes and greater freedom in conveying movement.

The creative quest of the early classics, its search for heroic, typically generalized images, was most powerfully expressed in the work of the great Greek sculptor Myron of Eleuthera. 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 conventions, from the angular sharpness of movements and at the same time from the sharp emphasis on details, which the masters of the second quarter of the 5th century sometimes resorted to. BC, who wanted in this way to give special truthfulness and naturalness to their statues. Miron became a master who synthesized in his work the main qualities of the realistic art of the 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 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 of the late classics. One of the first masters of Greek classics, who gave preference to marble, abandoning the use of bronze, the favorite material of previous masters, in particular Myron and Polycletus. Having abandoned the characteristic features of the 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 a slightly 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 fine art. In sculpture, the masculinity and severity of the images of strict classics is replaced by an interest in the spiritual world of man, and a more complex and less straightforward characteristic of it is 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 as a sign of love. 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 a certain 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 own Olympus.” Lysippos destroys the old, Polykleitan canon of the human figure in order to create his own, new, 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. For 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 chisel of a sculptor of the greatest era of Greek art could not I wish I could carve out nothing more perfect! Lacoon with his sons. 40 BC

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 sculptural works of Kurosa and Kora that have come down to us, created in the archaic era.

• Figures of kouros (young men) were installed 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 chitons and cloaks with beautiful patterns of parallel wavy lines, how original are the colored borders at 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.
• The master’s favorite image is a slender young man with an athletic build, who 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 one can judge the high skill of 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. The little that has survived testifies to the greatest artistic skill and virtuoso marble processing technique.
• 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 radiant himself, with a trembling bowstring,

Breathing with delight, he shines before me.

A.N. Maikov,

Russian poet of the 19th century

• New themes and subjects appeared in Hellenistic sculpture, and the interpretation of well-known classical motifs changed. The approaches to depicting human characters and events have become completely different.
• 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,

Gives birth to 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