greek sculpture

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Figures In Stone: Hold That Pose

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Sculpture preserves for us the art of ancient peoples.

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The Egyptians created monumental figures in stone.

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The Greeks did otherwise: The epidermis of the Greek statue is so sharply separated from all that surrounds it because it is carved out of the air, whereas Mesopotamian or Egyptian statues seem to have grown up from the ground. Roberto Calasso, The Marriage of Cadmus and Harmony

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Dionysus, East Pediment, Parthenon, c. 430 bce

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Greek sculpture still represents for us, the idea of the classical: First, a Classical art reflects the peak of a development and thus possesses an unexcelled quality. Second, because of its having achieved a state of perfection, a Classical art functions as a standard or “norm” against which other forms of art are measured. Mark D. Fullerton, Greek Art

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Stylistic Periods: Cycladic and Daedalic Archaic Classical Hellenistic Cycladic figure, c 2500 bce

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Cycladic figure, c 2700 bce

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Cycladic figure, c 2500 bce

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Kore, Crete, c 650 bce Daedalic sculpture recalls the formality and conventional style of the Egyptian statues.

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Kore restored), c 640 bce Kouros, Delphi, c 640 bce

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The Archaic Smile 650-480 bce

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Archaic statues smile… And smile… And smile… And smile… And smile…

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Even when they are defeated, they smile. Dying Warrior, Aigina, c 500 bce

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Early classical sculpture is called “archaic” and it is highly conventional. The smile is one of the conventions. Head of a Kore, c. 510 bce

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The most common subjects are the kouros (plural: kouroi), a nude standing young man, and … Kouros, c. 530 bce

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… and the kore (plural: korai), a fully-clothed standing young woman. Kore of Antenor, c. 525 bce

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The rigid posture with one foot slightly advanced reminds us of the Egyptians. Kouroi, c. 550-530 bce

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The figures are not individualized portraits, but ideals. They were all represented in solemn attitudes, they were all young and all seemed to be trying to be as beautiful as possible…. A Dictionary of Ancient Greek Civilization

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Kouros from Anavyssos, c. 530 bce Some statues are inscribed. “Stop and mourn at the marker of dead Kroisos, whom violent Ares cut down, as he fought in the front ranks.” Kouroi and korai were created to honor the gods or to memorialize a deceased person.

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The male ideal is young and athletic. His nudity is necessary to demonstrate this. Kouroi, c. 580-560 bce

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The female ideal is young and demure. Her elaborate costume is a mark of status. Kore of the Athenian Acropolis, c. 500 bce

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A few figures are found in action. The Calf Bearer, c. 560 bce

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In the Classical period (about 480-323 bce) posture and movement better represent what the sculptures depict. The rigid conventions of the kouros suspended weightless, ageless and block-like, indeterminately striding on two unflexed legs, his arms held tightly to the sides, is finally—and, it seems, suddenly—abandoned in the early fifth century. Mark Fullerton, Greek Art

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Dying Warriors, Temple Pediments, Aigna, c. 500-470 bce

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The body begins to be presented more naturalistically as young athletes evolve from the kouroi to this. Kritios Boy, c 480 bce

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Video Link

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Greeks begin to analyze their art. An example is the “canon” of Polykleitos. Roman copy of original by Polykleitos, c. 440 bce.

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Goddesses become more human. Some goddesses even take their clothes off. Aphrodite of Knidos, Roman copy of statue by Praxiteles, c. 350 bce.

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Video Link

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We see marble statues as white. The Greeks preferred color, and sometimes traces of color can still be seen. Kore, Melos, c. 510 bce

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Color brightened temple sculptures and made details more visible from the ground.

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Clothing usually conceals the body beneath it. Kore of Antenor, c. 525 bce

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During the Classical period sculptors learned to use draperies to reveal the body.

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Nike unlacing her sandal, Temple of Nike, c. 500 bce

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The draperies also became a strong element in the visual design. The Birth of Aphrodite, c. 460 bce

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Altar of the Twelve Gods, Athens,, c. 425 bce

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Flowing draperies can suggest movement. Memorial Stele, c. 390 bce

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Pediment of Parthenon, c. 450 bce

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The Winged Victory of Samothrace, c. 300 bce Video Link

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Video Link

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In addition to marble, the Greeks made statues in bronze, many of which were later melted down, so that we know them only from later marble copies.

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Roman copy in marble of a bronze by Polycletus, c. 400 bce

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Charioteer (bronze), Delphi, c. 480 bce

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Boxer (bronze), c. 100 bce

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Some of the survivors have been recovered from shipwrecks. Figure from the Artemisium wreck, c. 460 bce

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As the Greeks expanded their empire, they built more temples and decorated them with sculpture. Parthenon, Athens, c. 450 bce

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In the temple pediments they placed statues carved fully in the round.

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Figures from Parthenon pediment, now in The British Museum, London

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They decorated the metopes with carved reliefs. Metope, Parthenon, Athens, c. 450 bce

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They illustrated Greek power with temple friezes, also carved in relief. Temple of Nike, Acropolis, Athens

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Portion of the Parthenon frieze, now in The British Museum, London

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The best known of the temple sculpture are probably the Karyatides, who support the roof of the Erechtheion.

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Porch of the Maidens, Acropolis, Athens

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To make a strong impression in a big space, the Greeks developed the art of the constructed statue, that is, a larger-than life figure assembled from a variety of materials. The statue of Athena which stood in the Parthenon was covered with gold and ivory. A similar large statue of Zeus was constructed for his temple at Olympia. Gold and ivory statue of Athena by Pheidias, Parthenon, Athens, c 438 bce

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Reconstruction of statue of Athena by Pheidias, Nashville, Tennessee

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The largest of all the constructed statues was the Colossus of Rhodes, almost as tall as the Statue of Liberty. Colossus of Rhodes, c. 280 bce

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Video Link

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Greek art created after the death of Alexander the Great in 323 bce is termed “Hellenistic.” It was international in scope and sometimes dramatic in subject matter. Laokoon, Roman, c. 59 ce

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From this time on, the Greek classic style was one of many available to artists and sculptors. Electra and Orestes, Roman, c. 50 ce

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Sculptors today continue to use mannerisms and techniques of classic Greek sculpture. Emperor Augustus, Roman, c. 20 bce

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George Washington by Horatio Greenough, 1940

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The Greek Slave by Hiram Powers, 1851

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Breakfast Venus de Milo, Guadalajara, Mexico

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The End Copyright Nancy Gluck 2010