AR_H_A 3310 Lecture Notes - Lecture 25: Knidos, Praxiteles, Lysippos

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30 May 2016
LATE CLASSICAL: The Short Fourth Century c. 400-323 BCE
oTime of Alexander the Great
oDerveni krater 350-330 BCE
oFrom tomb of Derveni, Macedon
oBronze repousse
Repousse - making a relief by bushing it from the inside
oUsed as funerary urn
oTouches of gilding and silver
oScene: marriage of Dionysus and Ariandne
Dionysius is displayed as a beautiful young man. (up to this point
displayed with big beard and wrapped in clothes). Claiming Ariande as his bride.
oMianades on the sides - solid cast bronze, and on the shoulders.
o4 figures:
Dinysous and sleeping Ariande (or exhausted maenad?)
Drunken satyr and maenade?
oBottom of pot
Mianeads ripping apart a faun, and small child
Bacchae, Euripides
Pentheus myth: king who wants to see what the mianads do to
worship Dionysus. Gets torn apart by them.
oStag hunt pebble mosaic at Pella, by Gnosis c. 300 BCE
oMade with smooth colored pebbles and terracota. Giant floor mosaic.
oFavorite theme in Mastedon: hunting
oScene: hunting. Possibly young alexander himself hunting.
oLots of depth and drama. Compliated figures. Hints that this was probably
modeled after a wall painting
oChanges in Sculpture
oDifferent representations of their gods.
oAthena in Proais (port in Athens)
Over life size. Massive. But looks very human
New theme: gods shown more human.
Almost pleading or drawing in gesture. Draws in the viewer
oSuperstar sculptors and the search for originality:
oSculptors are now really imbracing individuality
oPraxiteles and Lysippos
Hermes and Dionysos (baby)
350 BCE prob hellinistic or roman copy
What it looks like: man hermes and baby Dinysos. Very human
looking scene
Figures: smooth and softened up. Seamless curviture. Beyond
cotrapasto. S curve. All his figures seem to be leaning on some kind of
support. Lets him pose the body how he wants.
Instead of polyclitis who measured everything. Praxiteles rejects
this idea and makes figures that are more beautiful. He is looking at
worldly experience.
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