Younger contemporary of Phidias - both classed as most importnat sculptors of the high classical era
Phidias more concentrated on the gods whereas Polykleitos focuses on man
He is a bronze castor and so much less interested in effects of drapery - this is more an interest to Phidias who ues marble
Polykleitos interested in anatomy - wrote a kind of rule book called canon where he sets out his theory of the proportions of the standing male figure
1 of 7
Doryphoros by Polykleitos
Original is in bronze but we only have marble copies
Made around 440BC
6ft 11" in size
Doryphoros means spear bearer so statue would have been holding spear
First time we see in a statue how body reacts to one leg bearing all the weight
Can see from the trailing leg he is paused mid-step
Originally back leg would be weight holder but here the walking stance is created with upper leg placed laterally to other and lower left leg trails behind
Musculature reacts more to this slight movement than some we have seen in full action
Displaced hip - slant between hips carried up body, muscles slightly extended on one side. so this is unlike Kritios boy, we see get full effect throughout body.
Contrapposto embodies this set of proportions but also the equilibrium through the body - natural balance of tensed and relaxed muscles
Turn of the head similar to Kritios boy- looking down to the side and not straight at viewer gives statue a bit more life and naturalness
2 of 7
Diadoumenos by Polykleitos
Translates as 'man tying ribbon in hair' - statue of man doing complately mundane activity like this
430BC
lots of similarities to Doryphoros but can see improvements showing its a later piece
Head turn more pronounced
He breaks the traditional conventions of greek sculpture both arms are raised - breaks balance of tensed and relaxed limbs.
Many say it is more graceful than Doryphoros - can see curve through body and natural movement of the piece.
3 of 7
Maiden from Erechtheum
a karyatid from Erechtheum - used instead of column 425-400BC
Drapery that gathers to form pouch does sweeping curve over belly and hips
Falls in minute folds and material stretches out over leg which is bent forward showing form underneath
Thinness of drapery over breast and left leg achieved by carving figure as if it were nude but leaving narrow ridges at intervals tp suggest a thin veil of cloth covering body
Variation of thick and thin material makes for more realistic and aesthetically pleasing figure
elaborate hair, symmetrically arranged but varies from straight hairs to ringlets further down
U shaped folds of cloak contrast with vertical folds of skirt to produce powerful complex design
At this time line was everything, mass wasnt so important - use of lines could distinguish a more animate figure from a more tranquil one.
folds quite uniform possibly mimicking a column
In some ways similar to Berlin Goddess with folds of dress and elaborate hair but more variation here.
4 of 7
Aphrodite from Agora
420-410BC
Full of so many folds
Shows how in the late classical period drapery could look ridiculous and overdone
decorative linear effects applied to surface of statue
little interest in showing form underneath.
5 of 7
Nike untying Sandal
420BC
Quite mundane activity
Transparency of drapery very clear here - almost like theres no drapery over breast
This pose was clever as it allowed the sculptor to show form underneath and use modelling lines to show flow of drapery against body form.
6 of 7
Nike by Painonios
420BC very celebrated piece of the time
Placed 10m off ground on triangular pillar
Idea is she is descending so drapery and motion lines reflect this movement
She is just touching the ground - can see foot making contact
Would have had wings
she is leaning forwards slightly
In contrast with swirling drapery behind it is much thinner material over her body, some parts not covered at all
Transparency, modelling lines and motion lines are all hallmarks of 5th C period
It is dramatic and lively - sense of motion and her descent
Comments
No comments have yet been made