Greek Study Charts FEMALE freestanding Sculpture 1 January 2, Summary of Greek Female Sculpture

Greek Study Charts FEMALE freestanding Sculpture 1 Summary of Greek Female Sculpture Typical Examples Stylistic Characteristics Artists Geometric Period 900-700 BC

Greek Study Charts FEMALE freestanding Sculpture 2 Archaic Period 700-480 BC J165 Lady fro Auxerrre, c 650 BC Greek Archaic elements of the closed contour, the grimmacing mask, the frontality. Marble painted with colored encaustic Greek preoccupation with the harmonious proportions or idealized humanity. G5-14 Hera, from Samos, c. 560 BC, Marble, apx 6'4" high. Ionian elaboration of drapery lines Louvre, Paris G5-17 Hera and Pelplos Kore- drapery forms sheath that conceals body of the column like figures Peplos Kore, DORIAN from the Acrospolis, Athens, c 530 BC Marble, apx 48" high, Acropolis Mus, Athens G5-18 Kore from Chios (?), - IONIAN c 510 BC Kore from Chios and caryatids of Treasury of Siphnians= archaic drapery with angular pressed folds Poses = similiar to Kouros except for bent left arm & lack of extension of left leg Marble, apx 21 1/2" high, Acropolis Mus, Athens Archaic smile = 1st clear expression in western art.

Greek Study Charts FEMALE freestanding Sculpture 3 Early Classical (Transitional) Period 480-450 BC

Greek Study Charts FEMALE freestanding Sculpture 4 High Classical (Mature) Period 450-430 BC J210 5-47 PHIDIAS, Three Goddesses, from the east pediment of the Parthenon, Marble, over lifesize, British Museum, London, c 448-432 BC J212 G5-57- or Late Classical PHIDIAN STYLE, Nike Fastening Her Sandal, (or "Adjusting") from parapet of the Temple of Athena Nike, Acropolis, Athens, c 410 BC, apx. 42" high, AcropolisMus, Athens Figures move in 2D Idealism 3 Goddesses-- drapery folds take on abstract life of their own, twists and turns are subordinated to the unifiying voulmes of the bodies able to capture with great subtlety the complex poses of the figures, which are revealed by the diaphanous (translucent) drapery repeated zigzag of planes Nike --wet drapery folds that follow and reveal sensual contours of the body drapery CLINGS to body graceful elegance Myron- 5th Polykleitos- 5th- active 450-420 Phidias- 5th - 500-432 Phidian style dominated Athenian sculp until end of 5th c BC grace of the Phidian style almost transparent drapery

Greek Study Charts FEMALE freestanding Sculpture 5 Late Classical Period 430-323 BC J220 PRAXITELES Aphrdite of Cnidus mid 4th c, c 300 BC Figure move in 2D New more personal and naturalistic ideal of physical beauty slender in proportions Praxiteles- 4th Lysippos- 4th Scopas- 4th Boethos J219 Demeter, c340-330 BC mid 4th c emphaisis on the exquisitely smooth modeling that reproduces tones of resilent flesh popularized the nude female statue abandoned traditional concept of figure occupying rectangular space Idealization of feminity depicted nude women in normal situations that justified their nudity, - bathing, making love, flute girls, hertairinaturalism By the end of there is the Canon of Lysippos and figure moves in 3D

Greek Study Charts FEMALE freestanding Sculpture 6 Hellenistic Period 323-30 BC G5-75 Nike of Samothrace, c 190 BC. Marble, apx 8' high. Louvre, Paris Samothrace- forward diagonal of torso slight contrapposto Bryaxis Agesander, Athenadorus, and Polydorus of Rhodes G5-63 Aphrodite of Cyrene, fromnorth Africa, c. 100 BC (?), Marble, apx 56" high, Museo Nazionale Romano, Rome. stone emulates the freedom of painters with shadows and gradations of shadows by variations of surface carving environment that opened up around Apoxyomenos opened up still more 1st School of Pergamon 2nd School of Pergamon visual nuances of moment with ongoing essence o action interdependence between the statue and space that envelops it complex movement of drapery- caused by forward stride and by wind that whips the drapery Drapery Movement = more activated sense of unity disciplines the physical and emotional violence dynamic integration of the whole compostion i unlike carefully studied relationships of separate parts seen in the Early Classical period wide scope of theme and the visula curiosity of Hellenistic sculptors Effort to move the viewer with themes of their work Realism of the Old Market Woman is emphasized by the treatment of the drapery that reveals the old and halting body underneath Old age, bent, bony frame, wrinkled skin, sunken cheeks, sagging breasts. figures no longer live within thier quiet self contained world but instead are acted on by envionmental forces

Greek Study Charts FEMALE freestanding Sculpture 7