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A bronze statue of a warrior was found in a ship
wreck near Riace, Italy, in 1972.
The original purpose of the statue is unclear.
The date assigned to the statue by scholars is c.
460-450 BCE. Why?
Riace Warrior, , bronze, 6’
6” tall, c. 460-450 BCE
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Francois Vase, painted by Kleitias, made by Ergotimos, Athenian black-figure
volute krater, c. 570 BCE, 2’ 2” tall
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Francois Vase, painted by Kleitias, made by Ergotimos, Athenian blackfigure volute krater, c. 570 BCE, 2’ 2” tall, detail
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Minoan octopus jar, c. 1500 BCE
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Andokides, Achilles and Ajax throwing dice, Attic bilingual
amphora, c. 525 BCE, side 1
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Andokides, Achilles and Ajax throwing dice, Attic bilingual
amphora, c. 525 BCE, side 1
Exekias, Achilles and Ajax throwing dice, black-figure
amphora from Athens, c. 540 BCE
Andokides, Achilles and Ajax throwing dice, Attic bilingual
amphora, c. 525 BCE, side 1
Andokides, Achilles and Ajax throwing dice, Attic bilingual
amphora, c. 525 BCE, side 2
Andokides, Achilles and Ajax throwing dice, Attic bilingual
amphora, c. 525 BCE, side 1
Andokides, Heracles and the Cretan Bull, Attic bilingual amphora, c. 525 BCE, two sides of the same
vase
Andokides, Achilles and Ajax throwing dice, Attic
bilingual amphora, c. 525 BCE, side 1
Andokides, Heracles and the Cretan Bull, Attic bilingual amphora, c. 525 BCE,
two sides of the same vase
Euphronios, Herakles wrestling Antios, red-figure calyx krater, c. 510 BCE,
1’ 7” tall
Euphronios, Herakles wrestling Antaios, red-figure
calyx krater, c. 510 BCE, 1’ 7” tall
Euphronios, Herakles wrestling Antaios, red-figure calyx krater, c. 510 BCE, 1’ 7” tall
Euthymides, Three Revelers, Attic red-figure vase, c. 510 BCE, 2’ tall
Dying Warriors from the west (weird smile) pediment of the Temple
of Aphaia, c. 500 BCE
Euthymides, Three Revelers, Attic red-figure vase, c. 510 BCE, 2’ tall
Temple of Aphaia at Aegina
Transitional (late Archaic), c. 500 BCE
Dying Warriors from the west (weird smile) and…
Transitional (Early Classical) 480 BCE
east pediments of the Temple of Aphaia
Temple of Aphaia at Aegina
Transitional (late Archaic),
c. 500 BCE
Dying Warriors from the west (weird smile) and…
Transitional (Early Classical)
480 BCE
east pediments of the Temple of Aphaia
Persian invasions of Greece in 494 and 480 BCE
The Delian League (yellow) was
formed to defend Greekspeaking states from attack by
Persia (green). Its creation
followed:
•the Persian destruction of
Miletos in 494 BCE,
•the sack of the acropolis in
Athens in 480 BCE and
•the Athenian defeat of the
Persian navy at the Battle of
Marathon in 479.
Athens provided the league
with military troupes while
other member states
contributed riches, which were
stored in a temple on the island
of Delos. Sparta created its
own alliances (orange).
Delian League
Early Classical Sculpture
After the Persians attacked the Greeks, the Athenians abandoned the
Archaic style and began to explore movement, balance and ideal form.
Kritios Boy, from the
Acropolis, Athens, c. 480
BCE, marble, c. 2’, 10” tall
Myron, Discus
Thrower,
(Diskobolos),
Roman copy in
marble of a Greek
bronze original, c.
450 BCE, 5’ 1” tall
Myron, Discus
Thrower,
(Diskobolos),
Roman copy in
marble of a Greek
bronze original, c.
450 BCE, 5’ 1” tall
Euthymides, Revelers, redfigure vase, c. 510 BCE
Kroisos from Anavysos,
marble, c. 530 BCE,
marble, c. 6’ 4” tall
Kritios Boy, from
the Acropolis,
Athens, c. 480
BCE, marble, c. 2’,
10” tall
Myron, Discus Thrower, (Diskobolos), Roman copy in
marble of a Greek bronze original, c. 450 BCE
• c. 500 BCE: The Greeks develop hollow bronze
sculpture, using the cire-perdu or ‘lost wax’
method.
• Bronze, though much more expensive than
marble, has a higher tensile strength (less brittle)
and permits innovative poses.
• The hollow casting uses much less bronze, so the
finished work is lighter and more affordable.
“Lost Wax” Technique
• If necessary, make an
armature of wood or
iron for the clay
model.
Lost Wax Method #2
• Apply clay to the
armature, if there is
an armature.
Lost Wax Method #3
• Apply wax to the clay
model.
Lost Wax Method #4
• Put a mold over the
wax-covered model;
secure it.
Lost Wax Method #5
• Apply heat, melting
the wax.
• Gap made between
clay model and mold.
Lost Wax Method #6
• Pour molten bronze
in, filling the gap.
Lost Wax Method #7
• Remove mold, reveal
bronze statue.
• Break the clay model
on the inside, remove
in pieces.
Lost Wax Method #8
• Add details.
• Because both the material
and the process of casting
were so expensive (much
more so than marble), the
figures were usually not cast
in one piece, but in several
that would be welded
together. If the casting went
wrong for one piece, all
would not be lost.
Early Classical Sculpture comparison
Kritios Boy, from the
Acropolis, Athens, c. 480
BCE, marble, c. 2’, 10” tall
Myron, Discus
Thrower,
(Diskobolos),
Roman copy in
marble of a Greek
bronze original, c.
450 BCE, 5’ 1” tall
High Classical Sculpture
Bronze bust, copy of the Doryphoros
Polykleitos, Spear-bearer
(Doryphoros), Roman copy in
marble of a bronze Greek original,
c. 450-440 BCE, 6’ 11” h
Polykleitos’s new canon
Canon &
Symmetria
Naples
Minneapolis
Chiasmus &
Contrapposto
Polykleitos’s new canon
Polykleitos wrote an account of his “Canon,” which is
lost, but Galen, a 2nd-Century physician summarized it
as follows:
[Beauty arises from] the commensurability
(symmetria) of the parts, such as that of finger to
finger, and of all the fingers to the palm and the
wrist, and of these to the forearm, and of the
forearm to the upper arm, and in fact, of
everything to everything else, just as written in
the Canon of Polykleitos.
Chiasmus is a literary term derived from the Greek
letter chi (X) that describes switching words between
two similar sentences. In antiquity it is associated with
Chroesus, the 6th century King of Lydia, who is quoted
as saying: "In peace sons bury their fathers, but in war
fathers bury their sons."
450 BCE
420 BCE
10 BCE
1411 CE
1501 CE
1808 CE
The Classical Tradition in Western Sculpture
A bronze statue of a warrior was found in a ship
wreck near Riace, Italy, in 1972.
The original purpose of the statue is unclear.
The date assigned to the statue by scholars is c.
460-450 BCE. Why?
Riace Warrior, , bronze, 6’
6” tall, c. 460-450 BCE
Circa ?
600 BCE
480 BCE
530 BCE
480 BCE
450 BCE
450 BCE
420 BCE
Description…
The date assigned to the statue by scholars is c.
460-450 BCE. Why?
They place the date:
•after 500 BCE because it was made using cireperdu process.
•after c. 480 because it has contrapposto (S-curve
through the body) similar to, but more pronounced
than, Kritios Boy (left).
They place the date
before 450 BCE
because the
Warrior rests on
two feet, and thus
seems to lack the
potential for
movement
suggested in both
Myron’s Discus
Thrower of c. 450
BCE or Polykleitos’
Spearbearer of c.
450-440 BCE.
Riace Warrior, , bronze, 6’
6” tall, c. 460-450 BCE
They place the date:
• close to 450 BCE because it shows
evidence of chiasmus (right leg and left
arm working) similar to Polykleitos’s
Spearbearer of c. 450-440 BCE.
•slightly before 450 BCE because the
proportions are somewhat different from
Polykleitos’ canon.
Circa…
600 BCE
530 BCE
480 BCE
460 BCE
450 BCE
450 BCE
Greek Art
404 to 27 BCE
Late Classical Art
404 to 323 BCE
and
Hellenistic Art
323-27 BCE
When Alexander died in 323 BCE, the Mediterranean and the Near East were divided among his generals. Greek was imposed on defeated nations and
became the common language of the entire region. As Greek artistic and intellectual ideas were exported widely, foreign ideas were imported.
Having been defeated by Macedonia, Greeks began to lose their sense of superiority, including their mathematical idealism and their belief in the ability of
man to perfect nature through reason and order. In contrast to the rational order of the High Classical era, Greek-speaking regions of the world during the
“Hellenistic age” began to create new forms of visual art and literature including poetry and drama (both tragedies and comedies) that emphasized human
irrationality, seductive sensuality and emotion. The god of wine Dionysus emerged as a major cult figure during this period, which lasted until the Romans
conquered Greece in 27 BCE.
Hellenistic Sculpture
323 to 27 BCE
Laocoön and His Sons by Athanadoros,
Hagesandros and Polydoros of Rhodes, early 1st
century CE
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Laocoön and His Sons was dug
up in Rome in 1506 with
Michelangelo watching. It
became the foundation of the
so-called Baroque tradition.
Michelangelo, Ignudi from the ceiling of the
Sistine Chapel, c. 1506.
Various dates have been
suggested for the statue, ranging
from about 160 to about 20 BC.
Inscriptions found in Rhodes
date Athanadoros and
Hagesandros to a period after 42
BCE, making this date the most
probable for the Laocoön
statue's creation. It is not
known whether it is an original
work or a copy of an earlier
sculpture, possibly of a bronze
sculpture from Pergamon
(Turkey), created around 200
BC. Pliny states that this marble
statue was located in the palace
of the emperor Titus and carved
from a single piece of marble,
though when found it was
discovered to comprise seven
interlocking pieces.
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Peter Paul Rubens, Drawing of the Laocoön, 1601-2
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Peter Paul Rubens, Elevation of the Cross, c. 1610-11
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Giovanni Panini, Ancient Rome, 1757
Laocoön and His Sons by Athanadoros, Hagesandros and
Polydoros of Rhodes, early 1st century CE
Giovanni Panini, Ancient Rome, 1757
Epigonos (?), Dying Gaul, Roman copy of a bronze original from
Pergamom, Turkey, c. 230-220 BCE, commemorating the victory
of Attalos I over the Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from
Pergamom, Turkey, c. 230-220 BCE, commemorating the victory
of Attalos I over the Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom,
Turkey, c. 230-220 BCE, commemorating the victory of Attalos I over the
Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom,
Turkey, c. 230-220 BCE, commemorating the victory of Attalos I over the
Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom,
Turkey, c. 230-220 BCE, commemorating the victory of Attalos I over the
Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom,
Turkey, c. 230-220 BCE, commemorating the victory of Attalos I over the
Galatians
Epigonos (?), Dying Gaul, Roman copy of a bronze original from Pergamom,
Turkey, c. 230-220 BCE, commemorating the victory of Attalos I over the
Galatians
“King Attalos having conquered in battle the Tolistoagii
Gauls around the springs of the river Kaikos [set up this]
thank-offering to Athena.”
Epigonos (?), Gallic
Chieftain and wife, Roman
copy of a bronze original
from Pergamum, Turkey,
c. 230-220 BCE
“King Attalos having conquered in battle the Tolistoagii
Gauls around the springs of the river Kaikos [set up this]
thank-offering to Athena.”
Old Market Woman, marble, c. 150-100
BCE, 4’ tall, Met, Roman copy from c. 14 to
68 CE
According to the Metropolitan Museum of Art:
During the Hellenistic period, artists became concerned with the
accurate representation of childhood, old age, and even physical
deformity. The range of subject matter was extended to include genrelike figures from the fringes of society. Fine, large-scale statues of
fishermen, peasants, and aged courtesans became valued religious
dedications, sometimes placed in a park-like setting within the
sanctuary of the god. Although this statue is known familiarly as The
Old Market Woman, it probably represents an aged courtesan on her
way to a festival of Dionysos, the god of wine. Her delicate sandals and
the ample material in her thin, elaborately draped chiton are a far cry
from the rough garb of a peasant woman. The ivy wreath on her head
marks her association with Dionysos, and the basket of fruit and the two
chickens must be dedicatory gifts to the god or simply her own
provisions for a long day of celebration. Veneration of Dionysos was
widespread during the Hellenistic period, and ancient literary
descriptions give an idea of the extraordinary processions and festivals
held in his honor. The flattened composition of the figure is typical of
sculpture created in the late second century B.C. The original work may
have been dedicated in a sanctuary of Dionysos. The Roman copy
could have decorated a garden.
Old Market Woman, marble, c. 150-100
BCE, 4’ tall, Met, Roman copy from c. 14 to
68 CE
http://www.metmuseum.org/Collections/search-the-collections/130008606
Old Market Woman, marble, c. 150-100
BCE, 4’ tall, Met, Roman copy from c. 14 to
68 CE
Caryatid from the Porch of the Maidens,
British Museum, 7’ 7” tall
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE
Old Market Woman, marble, c. 150-100
BCE, 4’ tall, Met, Roman copy from c. 14 to
68 CE
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE
Hero and Centaur (Herakles and Nessos?), c. 740 BCE, 4 ½”
high, Metropolitan Museum of Art, lost wax cast bronze
Sleeping Satyr (Barberini Faun),
c. 230-200 BCE