ARCHAIC. KUROS AND KORAS The Archaic era was the time of the birth of ancient realism. However, art 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 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. 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 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 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. 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 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 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. 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. Artists had to spread their achievements Greek art in 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
Archaic sculpture: Kory - girls in
tunics.
Embodied the ideal
female beauty;
Similar to one
other: curly
hair, mysterious
smile, embodiment
sophistication.
Bark. 6th century BC
GREEK SCULPTURE CLASSICS
GREEK SCULPTURECLASSICS
End of V-IV centuries. BC e. - a period of turbulent spiritual life in Greece,
formation of the idealistic ideas of Socrates and Plato in
philosophy that developed in the fight against materialistic
philosophy of Democritus, time of addition and new forms
Greek fine art. In sculpture to replace
masculinity and severity of images of strict classics comes
interest in the spiritual world of man, and in plastic finds
reflection is more complex and less straightforward
characteristic.
Greek sculptors of the classical period:
PolykleitosMiron
Skopas
Praxiteles
Lysippos
Leohar
Polykleitos
Polykleitos's works begana real hymn to greatness
and spiritual power of Man.
Favorite image -
slender young man
athletic
physique. It doesn't have
nothing extra,
"nothing in excess"
Spiritual and physical
the appearance is harmonious.
Polykleitos.
Doryphoros (spearman).
450-440 BC Roman copy.
National Museum. Naples Doryphoros has a complex pose,
different from a static pose
ancient kouros. Polykleitos
was the first to think of giving
figures such a pose,
so that they rely on
the bottom part of only one
legs. In addition, the figure
seems mobile and
lively, thanks to
that the horizontal axes are not
parallel (so-called chiasmus).
“Doriphoros” (Greek δορυφόρος - “Spear-bearer”) - one
one of the most famous statues of antiquity, embodies
so-called Canon of Polykleitos.
Canon of Polykleitos
Doryfor is not an image of a specific athlete -winner, but an illustration of the canons of the male figure.
Polykleitos set out to accurately determine the proportions
human figure, according to their ideas about
ideal beauty. These proportions are in relation to each other
digital ratio.
“They even assured that Polykleitos performed it on purpose, in order to
so that other artists could use her as a model,” wrote
contemporary.
The essay “Canon” itself had a great influence on
European culture, despite the fact that from theoretical
Only two fragments of the work have survived.
Canon of Polykleitos
If we recalculate the proportions of thisIdeal Male for height 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. knee - 40,
10. shins - 42,
11.ankles - 25,
12. feet - 30 cm.
Polykleitos
"Wounded Amazon"Miron
Myron - Greeksculptor of the mid-5th century.
BC e. Sculptor of the era
previous
directly
highest flowering
Greek art
(late 6th - early 5th century)
Embodied the ideals of strength and
beauty of Man.
Was the first master
complex bronze
castings
Miron. Discus thrower.450 BC.
Roman copy. National Museum, Rome Miron. "Discus thrower"
The ancients characterize Myron as
the greatest realist and expert in anatomy,
who, however, did not know how to give faces
life and expression. He portrayed the gods
heroes and animals, and with a special
lovingly reproduced the difficult ones,
transient poses.
His most famous work
"Disc thrower", an athlete intending to
launch a disk - a statue that has reached
our time in several copies, from
of which the best is made of marble and
located in the Massami Palace in Rome.
"Disco thrower" by Myron at the Copenhagen Botanical Garden
Discus thrower. Miron
Sculptural creations of Skopas
Skopas (420 - c. 355 BC), native of the island of Paros,rich in marble. Unlike Praxiteles, Scopas
continued the traditions of high classics, creating images
monumental-heroic. But from the images of the 5th century. their
distinguishes the dramatic tension of all spiritual forces.
Passion, pathos, strong movement are the main features
art of Skopas.
Also known as an architect, participated in the creation
relief frieze for the Halicarnassus mausoleum. Sculptural creations Skopasa
In a state of ecstasy, in
a violent outburst of passion
depicted by Skopas
Maenad. God's Companion
Dionysus is shown in
rapid dance, her
head thrown back
hair fell on my shoulders,
body is curved
presented in complex
foreshortening, short folds
chiton is emphasized
violent movement. IN
difference from the sculpture of the 5th century.
Maenad of Skopas
already designed for
view from all sides.
Skopas. Maenad Sculptural
creations
Skopasa
Also known as
architect, participated in
creating a relief
frieze for
Halicarnassus
mausoleum.
Skopas. Battle with the Amazons
Praxiteles
Born in Athens (c.390 – 330 BC.)
Inspirational singer
female beauty. Sculptural creations
Praxiteles
Statue of Aphrodite of Knidos –
first in Greek art
nude image
female figure. The statue stood
on the shores of the Knidos peninsula, and
contemporaries wrote about
real pilgrimages here,
to admire the beauty
goddess preparing to enter the water
and threw off clothes on
a vase standing nearby.
The original statue has not survived.
Praxiteles. Aphrodite of Knidos
Sculptural creations of Praxiteles
In the only one that has come down to us inoriginal marble sculptor Praxiteles
statue of Hermes (patron of trade and
travelers, as well as messenger, “courier”
gods) the master depicted a beautiful young man, in
state of peace and serenity. Thoughtfully
he looks at the baby Dionysus, whom
holds in his arms. To replace courageous
With the beauty of an athlete comes several beauty
feminine, graceful, but also more
spiritualized. On the statue of Hermes
traces of ancient coloring have been preserved: red-brown hair, silver in color
bandage.
Praxiteles.
Hermes. Around 330 BC e. Sculptural creations
Praxiteles
Lysippos
Great sculptor of the 4th century. BC.(370-300 BC).
He worked in bronze, because strived
capture images in
fleeting impulse.
Left behind 1500
bronze statues, including
colossal figures of gods,
heroes, athletes. They are inherent
pathos, inspiration,
emotionality
The original has not reached us.
Court sculptor
Marble copy of the head of A. Macedonian
A.Makedonsky
In this sculpture with
amazing skill
passionate intensity conveyed
duel between Hercules and the lion.
Lysippos.
Hercules fighting a lion.
4th century BC
Roman copy
Hermitage, St. Petersburg
Sculptural creations of Lysippos
Lysippos tried his bestbring your images closer to
reality.
So, he did not show the athletes
moment of highest tension
forces, and, as a rule, at the moment of them
decline after the competition. Exactly
this is how his Apoxyomenes is represented,
brushing sand off himself after
sport fight. He's tired
face, hair matted with sweat.
Lysippos. Apoxyomenos. Roman copy, 330 BC
Sculptural creations of Lysippos
Captivating Hermes,always fast and
alive too
introduced by Lysippos
as if able
extreme fatigue
sitting down for a while
on the stone and ready to
next second
run further in your
winged sandals.
Lysippos. "Resting Hermes"
Sculptural creations of Lysippos
Lysippos created his own canonproportions of the human body,
according to which his figures are taller and
slimmer than Polykleitos
(head size is 1/9
figures).
Lysippos. "Hercules of Farnese"
Leohar
His creativity isnice try
capture the classic
ideal of human beauty.
In his works there is no
only perfection of images,
and skill and technique
execution.
Apollo is considered one of the
best works
Antiquity.
Leohar. Apollo Belvedere.
4th century BC Roman copy. Vatican Museums Sculptural
masterpieces of the era
Hellenism
Greek sculpture
So, in Greek sculpture the expressiveness of the imageconsisted of the whole human body, his movements, and not
in just one face. Despite the fact that many
Greek statues did not preserve their upper part
(such as “Nike of Samothrace” or
"Nika Untying Sandals"
came to us without a head, but we forget about it,
looking at the holistic plastic solution of the image.
Since the soul and body were thought of by the Greeks in
indivisible unity, then the bodies of Greek statues
unusually spiritual.
Nike of Samothrace
The statue was erected for the occasionvictories of the Macedonian fleet over
Egyptian in 306 BC. e.
The goddess was depicted as if
on the bow of the ship, announcing
victory with the sound of the trumpet.
The pathos of victory is expressed in
the swift movement of the goddess,
in the wide flap of her wings.
Nike of Samothrace
2nd century BC
Louvre, Paris
Marble Nike of Samothrace
Nike untying her sandal
Goddess depicteduntying
sandal before
how to enter the temple
Marble. Athens
Venus de Milo
April 8, 1820 Greek peasantfrom the island of Melos named Iorgos, digging
the ground, felt that his shovel
with a dull ringing sound, she bumped into something
solid.
Iorgos dug nearby - the same result.
He took a step back, but even here the spade
wanted to enter the earth.
First Iorgos saw a stone niche.
She was about four to five meters
width. In a stone crypt he, to his
To my surprise, I found a statue made of marble.
This was Venus.
Agesander. Venus de Milo.
Louvre. 120 BC Laocoon with
sons
Agesander,
Athenodorus,
Polydor
Laocoon and his sons
Laocoon, you didn't save anyone!He is not a savior for either the city or the world.
The mind is powerless. Proud Three mouth
predetermined; circle of fatal events
locked in a suffocating crown
snake rings. Horror on the face
the prayers and groans of your child;
another son was silenced by poison.
Your fainting. Your wheezing: “Let me be...”
(...Like the bleating of sacrificial lambs
Through the darkness both piercingly and subtly!..)
And again - reality. And poison. They are stronger!
In the snake's mouth, anger blazes powerfully...
Laocoon, who heard you?!
Here are your boys... They... are not breathing.
But every Troy has its own horses.
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EssayOutstanding 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 Cretan-Mycenaean, palace civilization and 2) the era of the ancient polis civilization.
1. Sculpture of the Homeric period of the XXI-VIII centuries.
Unfortunately, from monumental sculpture Almost nothing from the Homeric period has reached us. 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 not difficult to imagine: the 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, he is like a deity in strength and beauty, and confident authority is discernible in his calmness and contemplation. 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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1.Record and comprehend the epigraph of the lesson.
There are many glorious forces in nature,
But there is nothing more glorious than a person.
Sophocles
2. Design of the table throughout the lesson
3. Report from the 1st research group. Archaic.
Output and entry into a table.
These statues are always static, strictly symmetrical and frontal. Kuros stand in identical static poses, with one leg extended forward, arms extended along the body with palms clenched into fists. The kouros statues show the influence of monumental Egyptian sculpture.
They are always naked. Facial features lack individuality. Their faces are illuminated by a frozen, mysterious “archaic smile.” Archaic Apollos are always young - neither old age nor childhood attracts sculptors.
The depiction of the kouros as equally young, slender and strong is the beginning of the implementation of the Greek state program associated with the glorification of health, physical strength and development sports games. In the archaic period (VII–VI centuries BC), the educational value of art increases. For the ideal beauty created by art gives rise to a noble desire for self-improvement in a person. To quote Lessing: “Where beautiful statues were produced by beautiful people, the latter in turn impressed the former, and the state owed beautiful people to beautiful statues.” The purpose of art– the creation of beauty, which is equivalent to goodness, equivalent to the spiritual perfection of man.
4. Presentation by the 2nd research group. Classical period
Gradually, Greek sculptors overcame the convention of a fixed figure. A milestone in the history of Greek sculpture was the desire for a truthful depiction of a living moving figure. Myron was an innovator in solving the problem of movement in sculpture. The discus thrower (aka discus thrower) is captured at the moment when, throwing back his hand with a heavy disc, he is ready to throw it into the distance. Myron did not depict the “Discus Thrower” movement itself, but a short break, an instant stop between two powerful movements: a backswing and throwing the entire body and discus forward.
It is significant that in this statue, depicting a man in motion, the face of the discus thrower is calm and static. There is no individualization of the image. The statue embodied perfect image human citizen.
Myron and Polykleitos were great masters of the classical style, their art is devoid of emotionality, the faces of athletes are devoid of individual features, they are not bearers of emotional life. Both masters depict Olympic winners in a generalized, idealized form. The dispassion of the heroes corresponds to the call that sounded in the poems of the poet Theognis of Megara: “Do not just show with your face that misfortune depresses you.” The spearman strikes with an expression of peace and inner strength in perfect physical form. This is an image of a people who would be able to fight if they needed to defend their benefits. But for now the spear lies idle on Doryphorus’s shoulder.
Polykleitus achieved the sensation of hidden movement in a state of rest. He reproduced the natural spontaneous posture of a person.
The movement of the athlete in Miron (“Disco thrower”) is in the interval between two impulses – the backswing and the throwing of the entire body and disc forward.
In Polykleitos, the human body is in a state of slow walking. (Doriphoros is standing, but he is standing in a walking pose.) Polykleitos's ingenious invention was that with the help of a freely extended leg, he forced the entire body of the statue to move. The statue of a spearman amazed contemporaries with its natural pose. The figure was built in a cross shape. IN fine arts this pose is called chiasmus. The oblique cross in the Greek alphabet is the letter X (chi). Hence the name of the principle: chiasmus. Chiasmus- a pose in which the transfer of the weight of the body to one leg is accompanied by a certain ratio: if the right shoulder is raised, then the right thigh is lowered, and vice versa. Cross-shaped symmetry arises.
5. Presentation by the 3rd research group. Late classic
- The famous “Apoxiomen” by Lysippos differs from “Doriphoros” by Polykleitos in its more dynamic pose (it seems that he is about to change his position) and elongated proportions. These are two canons different eras. Lysippos violates the old, Polykleitan canon of the human figure in order to create his own, new, much lighter one. In this new canon, the head is no longer 1/7, but only 1/8 of the total height.
Doryphoros is impersonal, it is not a portrait of a specific person, but an image of a certain human type, an idealized image of a person. Lysippos' heroes become very similar to ordinary people. Even the image of an athlete, always covered in a halo of glory in Greece, is losing its former heroism. “Apoxiomenos” Lysippos is not a fighter whom the city honors and worships. And his gesture is everyday - after classes on the palaestra, he cleans off the sand stuck to his body with a scraper. Fatigue from extreme stress is visible in the athlete’s features. Finally, Apoxyomenos is individuality (an unruly crest on the top of the head, a scraper not in the right, but in the left hand).
Sculptures of Ancient Greece The art of Ancient Greece became the support and foundation on which the whole European civilization. The sculpture of Ancient Greece is a special topic. Without ancient sculpture there would be no brilliant masterpieces of the Renaissance, and further development this art is difficult to imagine. In the history of the development of Greek ancient sculpture, three large stages can be distinguished: archaic, classical and Hellenistic. Each one has something important and special. Let's look at each of them.
- The art of Ancient Greece became the support and foundation on which the entire European civilization grew. The sculpture of Ancient Greece is a special topic. Without ancient sculpture there would be no brilliant masterpieces of the Renaissance, and the further development of this art is difficult to imagine. In the history of the development of Greek ancient sculpture, three large stages can be distinguished: archaic, classical and Hellenistic. Each one has something important and special. Let's look at each of them.
This period includes sculptures created from the 7th century BC to the beginning of the 5th century BC. The era gave us figures of naked young warriors (kuros), as well as many female figures in clothing (koras). Archaic sculptures are characterized by some sketchiness and disproportion. On the other hand, each work of the sculptor is attractive for its simplicity and restrained emotionality. The figures of this era are characterized by a half-smile, which gives the works some mystery and depth.
"Goddess with Pomegranate", which is kept in the Berlin state museum, one of the best preserved archaic sculptures. Despite the external roughness and “wrong” proportions, the viewer’s attention is drawn to the hands of the sculpture, executed brilliantly by the author. The expressive gesture of the sculpture makes it dynamic and especially expressive.
Classics The sculptures of this particular era are associated by most with ancient plastic art.
- In the classical era, such famous sculptures as Athena Parthenos, Olympian Zeus, Discobolus, Doryphorus and many others were created. History has preserved for posterity the names of outstanding sculptors of the era: Polykleitos, Phidias, Myron, Scopas, Praxiteles and many others. The masterpieces of classical Greece are distinguished by harmony, ideal proportions (which indicates excellent knowledge of human anatomy), as well as internal content and dynamics. Hellenism Late
- The most famous sculptural composition of the Hellenistic era is Laocoon and his sons of Agesander of Rhodes (the masterpiece is kept in one of the Vatican museums). The composition is full of drama, the plot itself suggests strong emotions. Desperately resisting the snakes sent by Athena, the hero himself and his sons seem to understand that their fate is terrible. The sculpture is made with extraordinary precision. The figures are plastic and real. The faces of the characters make a strong impression on the viewer.
- Phidias is a famous sculptor of Ancient Greece of the 5th century BC. He worked in Athens, Delphi and Olympia. Phidias took an active part in the reconstruction of the Acropolis in Athens. He was one of the leaders in the construction and decoration of the Parthenon. He created a 12 meter high statue of Athena for the Parthenon. The base of the statue is a wooden figure. Ivory plates were placed on the face and naked parts of the body. Clothing and weapons were covered with almost two tons of gold. This gold served as an emergency reserve in case of unforeseen financial crises.
- The pinnacle of Phidias's work was his famous statue of Zeus in Olympia, 14 meters high. It depicted the Thunderer sitting on a richly decorated throne, his upper torso naked and his lower torso wrapped in a cloak. In one hand Zeus holds a statue of Nike, in the other a symbol of power - a rod. The statue was made of wood, the figure was covered with ivory plates, and the clothes were covered with thin gold sheets. Now you know what kind of sculptors there were in Ancient Greece.