Greek statue

Greek statues are naturalistic representation of a form in 3-d, generally in marble or another type of rock. While they generally represent humans, they may also represent Gods or animals. See Sculpture of Ancient Greece.

Archaic Period

File:Kourous.jpg

Kourous

The archaic period of art from the 9th century to the 6th century BCE saw the first developments of Greek statuary. Kourous (male nudes) and kore (female nudes) were developed along the lines of the Egyptian style in terms of rigidity, but the movement and the freestanding nude are Archaic innovations. A distinctive feature on nearly every Archaic-era statue is the Archaic smile. Examples of archaic era works are the La Delicatta kore, the Attican Kouros, and the caryatid porch of the Treasury of the Siphnians.

The creation of the Kritios Boy in the late Archaic period heralded the arrival of the early Classical period. Specifically, the Kritios Boy used a mathematical analysis of the ideal proportions of the body to create a specialized pose called the contrapposto, which involved an asymmetrical balance from the center and the curving of the body in a s-shape.

Classical

Early Classical

The early Classical period, from 500 - 485 BC, saw the development of the Severe Style[1]. Although poses still remained relatively stiff, sculptors began portraying humans naturalistcally, and action-oriented poses were more commonplace. However, because of the impossibly perfect proportions, realism was still far off in terms of both subject matter and the body itself. This period also led to more experimentation with bronze, as it was sturdier than marble.

File:Weary Hercules.jpg

Weary Hercules

High and Late Classical

The high Classical period (500 - 400 BC) saw the creation of works such as the metope sculptures of the Parthenon and the Discobolos. The contrapposto was fully developed while naturalistic techniques such as Phidian wet drapery also appeared. Sculptures also worked to include pathos in their sculptures, which would further be developed in the late Classical and Hellinistic eras.[2]

After the Peloponnesian War, the disarray of the Greek states were reflected in the change of mood from high-minded idealism to heavy drama in Greek statues in the late Classical period (400 - 300 BC). Lysippos' "Weary Hercules" shows the same naturalism as before, but for the first time, Hercules is portrayed with the unidealistic state of fatigue. However, naturalism continued to be developed during this period. Sculptors such as Praxitiles and Skopas were also active during this period.

Hellenistic

The Winged Victory of Samothrace

With the diffusion of Greek values throughout the world by Alexander the Great of Macedonia in 330 BC, Greek art ironically became more Greek, influencing other cultures rather than the other way around. Pathos and naturalism reached an all-time high during this period, with works such as The Dying Gaul, Venus de Milo, Winged Victory of Samothrace, and The Altar of Zeus. Sculpture continued to become much heavier.

Psychological state and human condition became very popular subjects among Hellenistic sculptors. The relative artistic freedom seen in the high Classical period exploded, as each artist manipulated light, line, pose, and setting in his own way [3]. Although the Romans eventually conquered Greek lands, the influence of Greek sculpture on all cultures can still be seen today.

In the West, Greek statues have been the inspiration for Roman and neo-classical statuary.

In the East, the Greek statue tradition carried into central Asia by Alexander the Great inspired the representation of the Buddha in Eastern art, through the cultural syncretism known as Greco-Buddhism.