VPHB52H3 Chapter Notes -Euthymides, Phidias, Polymath

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Published on 11 Oct 2012
Art History
Reading Annotations 2012-09-25 7:58 PM
“Greater Boldness, More Problems: Early Classical Statues”
Greeks had created an entirely new kind of life-like statue
Questions like “what is the statue doing? Is he moving or still?” arose for classical period sculptors
Sculptors started to explore emphatic movement
Zeus of Artemisium
o Shows the god in midst of vigorous action moment of hurling a thunderbolt
o Gives us the idea of extremely high quality that bronze sculptors could achieve at the time
o Also shows why greatest sculptors preferred bronze over marble
Began to differentiate how old the character was and personality
Add a beard is one way
Imbalances occurred: for example on Zeus, the torso should’ve been affected by the movement activities, not
neutral like the Kritios boy
Discus-thrower by Myron
o Was so famous that copies were asked to be made in marble
o Trunk used to hold up the weight
o Back then statues would be been painted including the pupils. What we see in museums today is
because the paint has faded
o Original in bronze has disappeared, but the Roman marble copies give important clues about its design
o Post is momentary moment of stillness because the action of tossing the discus
The Greeks wanted not only to look real, but make them aesthetically pleasing
In olden times, they would’ve used symmetry, but as evident in Discus-thrower, symmetry is abandoned
symmetry is now out of fashion
Torso in the discus thrower (and Zeus) expression so little action though, that from certain angles it looked like
a dying warror
The High Classical period (450-420BCE) tries to solve these problems
“Style & Taste: Draped Female Figures
Archaic and classical Greeks portrayed men in the nude but women draped
Drapery allowed to different kinds of expression (calm, movement, etc.)
In fashions we can see how taste changed at one time simplicity was valued, and at others richness and
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