The sculpture of Ancient Greece occupied an important place in ancient Greek art and was the highest achievement in the culture of the ancient world.

Ancient Greek sculpture in all its manifestations has always remained deeply anthropocentric, expressing the religiosity and spiritual world of a person or a sacred act that the sculptor tried to capture and convey.

Most of the sculptures were made to be offered to shrines or as funerary monuments. The peculiarity of Greek art was that the master, creating works, tried to convey the beauty and perfection of the human body.

In the forms of the first statues, an attempt is made to balance the deity and man, in the expression of their emotions. The sculpture of Ancient Greece reached its highest flowering in the 5th century BC. e, while the origin of the sculpture of Ancient Greece can be attributed to the XII-VIII centuries BC. e.

Initially, Greek craftsmen used soft materials in their work - wood and porous limestone, later marble. Casting from bronze was the first to be used by the masters of the island of Samos.

The figurines of the Homeric period depicted gods or heroes; in the work of the masters, interest in the plasticity of the body is only outlined.

During the archaic period sculpture of ancient Greece, acquires an archaic smile, turning the faces of the sculptures more and more to take on the image of a person, the body acquires a harmonious balance of forms. The men were depicted naked, while the woman was clothed.

At this time, in the sculptural art of Ancient Greece, kouros were widespread - young boys, who were mainly made for memorial rituals. The masters portrayed the kuros as restrained, with good posture, a smile, with clenched fists, the kuros hairstyle resembled a wig. One of the most famous kouros sculptures is "Kouros from Tenea" (κούρος της Τενέας). The sculpture was found near Corinth, in Tenea, in the temple of Apollo. Now it is kept in the Museum of Munich.

Young girls or kors, the Greeks depicted in traditional clothes, in a tunic or peplos. Kora (κόρη) - a specific type of statue with female forms of the archaic time, namely from the second half of the 7th century BC. A rich hairstyle, fashionable jewelry and colored ornaments of clothes - this is how the sculptors of Ancient Greece depicted them.

The Classical Age is what we call the period that begins in 480 BC. and ends in 323 BC, that is, from the end of the Greco-Persian wars to the death of Alexander the Great. During this period there were important social changes and parallel innovations in the sculpture of ancient Greece. The ancient Greeks focus their attention on conveying spirit and passion. Artists study body language to reveal their innermost thoughts, to show body movement: the placement of limbs, head and chest.

The first statue, which essentially depicts the end of one era and the beginning of another, is the "Boy of Critias" (Κριτίου παίς), kept in the Acropolis Museum. This 1.67 m high statue of a naked teenager is one of the most beautiful and perfect examples of early classical art. The sculpture combines movement, plasticity, seriousness appears in facial expression.

The famous sculpture of the charioteer (chariot driver) belongs to the period of the early classics, is stored in the Delphi Museum. The statue of a young man is made of bronze, has a height of 1.8 m, wearing a chiton with sleeves, shows the muscular arm of the young man, in his hand he holds fragments of the reins. The drapery of the folds on the clothes, which correspond to the movements, is well transmitted.

In 450-420 years. BC e. classical period, the sculpture of ancient Greece is modified. Now the sculptures have more softness, plasticity and maturity. Features of classical art were represented by Phidias in the sculptures of the Parthenon.

At this time, other worthy sculptors appear: Agoracritos, Alkamen, Kolot, who were experts in making statues from gold and ivory. Callimachus, was one of the inventors of the Corinthian order, Policlet, who depicted athletes, was the first to write a theoretical text on sculpture, and others.

During the late classical period, in the sculpture of ancient Greece, tendencies appear in the study of the human form in three-dimensional space, there is more sensual beauty and drama.

The great sculptors of this time are: Kefisodot (“Eirene with a baby in her arms”), Πρaxiteles, who created the Marathon youth and Aphrodite of Cnidus, Ephranor, Silanion, Leocharus, Skopas and Lysippus, the last sculptors of the late classical period who opened the way to the era of Hellenistic art.

The Hellenistic era in the sculpture of Ancient Greece was reflected in a more differentiated interpretation of plastic forms, the complication of angles and the smallest details. Monumental sculpture develops, huge relief compositions, multi-figure groups, reliefs appear, which are an integral part of the expression sculptural art, small plasticity is complicated by the vital characteristic of the images.

Most notable works of this time: “Nike of Samothrace” by Pythocrite, 3.28 m high, “Venus de Milo”, height 2.02 m, made by the sculptor Alexander from Antioch is stored in the Louvre, “Laocoön and his sons” by the Rhodes sculptors Agesander of Rhodes, Polydorus and Athenodorus, is located in the Vatican.

Archaic sculpture: o Kouros - naked athletes. o Installed near temples; o Embodied the ideal of male beauty; o Look alike: young, slender, tall. Kouros. 6th century BC e.

Archaic sculpture: o Kore – girls in chitons. o Embodied the ideal female beauty; o Look alike: curly hair, enigmatic smile, the epitome of sophistication. Bark. 6th century BC e.

GREEK CLASSIC SCULPTURE o Late 5th-4th century. BC e. - the period of the stormy spiritual life of Greece, the formation of the idealistic ideas of Socrates and Plato in philosophy, which developed in the struggle against the materialistic philosophy of the Democrat, the time of addition and new forms of Greek visual arts. In sculpture, the masculinity and severity of images of strict classics are replaced by an interest in the spiritual world of a person, and his more complex and less straightforward characterization is reflected in plastic art.

Greek sculptors of the classical period: o. Polykleitos o. Miron o. Scopas o. Praxiteles o. Lysippos o. Leohar

Polykleitos The works of Polikleitos have become a real hymn to the greatness and spiritual power of Man. Favorite image - a slender young man with an athletic physique. There is nothing superfluous in it, “nothing beyond measure”, Spiritual and physical appearance is harmonious. Polykleitos. Doryfor (spearman). 450 -440 BC e. Roman copy. National Museum. Naples

Doryphoros has a complex posture, different from the static posture of the ancient kouros. Polikleitos was the first to think of giving the figures such a setting that they rested on the lower part of only one leg. In addition, the figure seems to be mobile and lively, due to the fact that the horizontal axes are not parallel (the so-called chiasm). "Dorifor" (Greek δορυφόρος - "Spear-bearer") - one of the most famous statues of antiquity, embodies the so-called. Canon of Polikleitos.

The canon of Polykleitos o Doryphoros is not a depiction of a specific winning athlete, but an illustration of the canons of the male figure. o Poliklet set out to accurately determine the proportions of the human figure, according to his ideas about perfect beauty. These proportions are numerically related to each other. o "It was even assured that Poliklet performed it on purpose, so that other artists would use it as a model," a contemporary wrote. o The composition “Canon” itself had a great influence on European culture, despite the fact that only two fragments of the theoretical composition have survived.

The Canon of Polikleitos If we recalculate the proportions of this Ideal Man for a height of 178 cm, the parameters of the statue will be as follows: 1. volume of the neck - 44 cm, 2. chest - 119, 3. biceps - 38, 4. waist - 93, 5. forearms - 33 , 6. wrists - 19, 7. buttocks - 108, 8. thighs - 60, 9. knees - 40, 10. shins - 42, 11. ankles - 25, 12. feet - 30 cm.

Myron o Myron - Greek sculptor of the middle of the 5th century. BC e. Sculptor of the era that immediately preceded the highest flowering of Greek art (to. VI - early V century) o Embodied the ideals of the strength and beauty of Man. o Was the first master of complex bronze castings. Miron. Discus thrower. 450 BC e. Roman copy. National Museum, Rome

Miron. "Discobolus" o The ancients characterize Myron as the greatest realist and expert in anatomy, who, however, did not know how to give life and expression to faces. He portrayed gods, heroes and animals, and with special love he reproduced difficult, fleeting poses. o His most famous work "Discobolus", an athlete intending to start a disc, is a statue that has come down to our time in several copies, of which the best is made of marble and is located in the Massami Palace in Rome.

Sculptural creations of Skopas o Skopas (420 - ca. 355 BC), a native of the island of Paros, rich in marble. Unlike Praxiteles, Skopas continued the traditions of the high classics, creating monumental-heroic images. But from the images of the 5th c. they are distinguished by the dramatic tension of all spiritual forces. o Passion, pathos, strong movement are the main features of Scopas' art. o Also known as an architect, participated in the creation of a relief frieze for the Mausoleum of Halicarnassus.

Sculptural creations of Skopas In a state of ecstasy, in a violent outburst of passion, Skopas depicts the Maenad. The companion of the god Dionysus is shown in a swift dance, her head is thrown back, her hair has fallen to her shoulders, her body is curved, presented in a complex foreshortening, the folds of a short tunic emphasize the violent movement. Unlike the sculpture of the 5th century. Maenad Scopas is already designed for viewing from all sides. Scopas. Maenad

Sculptural creations of Skopas Also known as an architect, he participated in the creation of a relief frieze for the Halicarnassus mausoleum. Scopas. Battle with the Amazons

Praxiteles o Born in Athens (c. 390 - 330 BC) o Inspirational singer of female beauty.

Sculptural creations of Praxiteles o The statue of Aphrodite of Cnidus is the first depiction of a nude female figure in Greek art. The statue stood on the shores of the Knidos peninsula, and contemporaries wrote about real pilgrimages here to admire the beauty of the goddess, preparing to enter the water and dropping her clothes on a nearby vase. o The original statue has not been preserved. Praxiteles. Aphrodite of Knidos

Sculptural creations of Praxiteles In the only marble statue of Hermes (the patron of trade and travelers, as well as the messenger, the “courier” of the gods) that has come down to us in the original of the sculptor Praxiteles, the master depicted a beautiful young man, in a state of peace and serenity. Thoughtfully, he looks at the baby Dionysus, whom he holds in his arms. The masculine beauty of an athlete is being replaced by a somewhat feminine, graceful, but also more spiritual beauty. On the statue of Hermes, traces of an ancient race have been preserved: red-brown hair, a silver-colored bandage. Praxiteles. Hermes. Around 330 BC e.

Lysippus o Great sculptor of the 4th c. BC e. o o (370-300 BC). He worked in bronze, because he strove to capture images in a fleeting impulse. He left behind 1,500 bronze statues, including colossal figures of gods, heroes, and athletes. They are characterized by pathos, inspiration, emotionality. The original has not reached us. Court sculptor Marble copy of the head of A. Macedonian

Sculptural creations of Lysippus o In this sculpture, the passionate intensity of the duel of Hercules with a lion is conveyed with amazing skill. Lysippos. Hercules fighting a lion. 4th century BC e. Roman copy Hermitage, St. Petersburg

Sculptural creations of Lysippus o Lysippus sought to bring his images as close as possible to reality. o So, he showed athletes not at the moment of the highest tension, but, as a rule, at the moment of their decline, after the competition. This is how his Apoxyomenos is represented, cleaning off the sand after a sports fight. He has a tired face, hair matted with sweat. Lysippos. Apoxyomenos. Roman copy, 330 BC e.

Sculptural creations of Lysippus o Captivating Hermes, always fast and alive, is also represented by Lysippus, as if in a state of extreme fatigue, briefly crouching on a stone and ready to run further in his winged sandals the next second. Lysippos. "Resting Hermes"

Sculptural creations of Lysippus o Lysippus created his own canon of proportions of the human body, according to which his figures are taller and slimmer than those of Polykleitos (the size of the head is 1/9 of the figure). Lysippos. "Hercules of Farnese"

Leohar His work is a fine attempt to capture the classic ideal of human beauty. In his works, not only the perfection of images, but the skill and technique of execution. Apollo is considered one of the best works Antiquity. Leohar. Apollo Belvedere. 4th century BC e. Roman copy. Vatican Museums

Greek Sculpture So, in Greek sculpture, the expressiveness of the image was in the whole body of a person, his movements, and not just in the face. Despite the fact that many Greek statues did not retain their upper part (as, for example, Nike of Samothrace or Nike Untying Sandals came to us without a head, we forget about this when looking at the integral plastic solution of the image. Since the soul and the body was thought by the Greeks in inseparable unity, then the bodies of Greek statues are unusually spiritualized.

Nike of Samothrace The statue was erected on the occasion of the victory of the Macedonian fleet over the Egyptian in 306 BC. e. The goddess was depicted, as it were, on the prow of a ship, announcing victory with the sound of a trumpet. The pathos of victory is expressed in the rapid movement of the goddess, in the wide flapping of her wings. Nike of Samothrace 2nd century BC e. Louvre, Paris Marble

Nike untying her sandal The goddess is shown untying her sandal before entering the Temple of Marble. Athens

Venus de Milo On April 8, 1820, a Greek peasant from the island of Melos named Iorgos, digging the ground, felt that his shovel, with a dull clinking, came across something hard. Iorgos dug nearby - the same result. He took a step back, but even here the spade did not want to enter the ground. First Iorgos saw a stone niche. It was about four or five meters wide. In a stone crypt, to his surprise, he found a marble statue. This was Venus. Agesander. Venus de Milo. Louvre. 120 BC e.

Laocoön and his sons Laocoön, you did not save anyone! Neither the city nor the world is a savior. Powerless mind. Proud Three mouth is a foregone conclusion; the circle of fatal events closed in the suffocating crown of serpentine rings. Horror on the face, the plea and groans of your child; the other son was silenced by the poison. Your fainting. Your wheezing: "Let me be ... "(... Like the bleating of sacrificial lambs Through the haze and piercingly, and subtly!..) And again - reality. And poison. They are stronger! In the snake's mouth powerfully rage blazes. . . Laocoön, who heard you? ! Here are your boys. . . They are. . . don't breathe. But in each Troy they are waiting for their horses.

ancient greek sculpture classic

Ancient Greek sculpture of the Classical period

Speaking about the art of ancient civilizations, first of all, we remember and study the art of Ancient Greece, and in particular its sculpture. Truly in this small beautiful country, this kind of art has risen to such a height that to this day it is considered the standard all over the world. The study of the sculptures of Ancient Greece allows us to better understand the worldview of the Greeks, their philosophy, ideals and aspirations. In sculpture, as nowhere else, the attitude towards man, who in ancient Greece was the measure of all things, is manifested. It is sculpture that gives us the opportunity to judge the religious, philosophical and aesthetic ideas of the ancient Greeks. All this makes it possible to better understand the reasons for such a rise, development and fall of this civilization.

The development of Ancient Greek civilization is divided into several stages - eras. First, briefly, I will talk about the Archaic era, since it preceded the classical era and "set the tone" in sculpture.

The archaic period is the beginning of the formation of ancient Greek sculpture. This era was also divided into early archaic (650 - 580 BC), high (580 - 530 BC), and late (530 - 480 BC). Sculpture - was the embodiment perfect person. She extolled his beauty, physical perfection. Early single sculptures are represented by two main types: the image of a naked young man - a kuros and a figure dressed in a long, tight-fitting tunic of a girl - a kora.

The sculpture of this era was very similar to the Egyptian. And this is not surprising: the Greeks, getting acquainted with the Egyptian culture and the cultures of other countries of the Ancient East, borrowed a lot, and in other cases found similarities with them. Certain canons were observed in the sculpture, so they were very geometric and static: a person takes a step forward, his shoulders are straightened, and his arms are lowered along the body, a stupid smile always plays on his lips. In addition, the sculptures were painted: golden hair, blue eyes, pink cheeks.

At the beginning of the classical era, these canons are still in effect, but later the author begins to move away from static, the sculpture acquires a character, and an event, an action often occurs.

Classical sculpture is the second era in the development of ancient Greek culture. It is also divided into stages: early classic or strict style (490 - 450 BC), high (450 - 420 BC), rich style (420 - 390 BC .), late classic (390 - c. 320 BC).

In the era of the early classics, there is a kind of life rethinking. The sculpture takes on a heroic character. Art is liberated from those rigid limits that fettered it in the archaic era, this is the time of searching for a new, intensive development of various schools and trends, the creation of heterogeneous works. The two types of figures - kuros and kore - are being replaced by a much greater variety of types; sculptures tend to convey the complex movement of the human body.

All this is happening against the backdrop of a war with the Persians, and it was this war that so changed ancient Greek thinking. The cultural centers were shifted and now they are the cities of Athens, the Northern Peloponnese and the Greek West. By that time Greece had reached highest point economic, political and cultural upsurge. Athens took a leading place in the union of Greek cities. Greek society was democratic, built on the principles of equal activity. All men inhabiting Athens, except for slaves, were equal citizens. And they all enjoyed the right to vote, and could be elected to any public office. The Greeks were in harmony with nature and did not suppress their natural aspirations. Everything that was done by the Greeks was the property of the people. Statues stood in temples and squares, on palestras and on the seashore. They were present on the pediments, in the decorations of temples. As in the archaic era, the sculptures were painted.

Unfortunately, Greek sculpture has come down to us mainly in fragments. Although, according to Plutarch, there were more statues in Athens than living people. Many statues have come down to us in Roman copies. But they are very crude compared to the Greek originals.

One of the most famous sculptors of the early classics is Pythagoras Rhegius. Few of his works have come down to us, and his works are known only from references to ancient authors. Pythagoras became famous for his realistic depiction of human veins, veins and hair. Several Roman copies of his sculptures have been preserved: “The Boy Taking Out a Splinter”, “Hyacinthus”, etc. In addition, he is credited with the famous bronze statue “Charioteer” found in Delphi. Pythagoras Regius created several bronze statues of Olympic and Delphic Games winners. And he owns the statues of Apollo - the Python-killer, the Abduction of Europe, Eteocles, Polyneices and the Wounded Philoctetes.

It is known that Pythagoras Regius was a contemporary and rival of Myron. This is another famous sculptor of that time. And he became famous as the greatest realist and expert in anatomy. But with all this, Miron did not know how to give the faces of his works life and expression. Myron created statues of athletes - winners of competitions, reproduced famous heroes, gods and animals, especially beautifully portrayed difficult poses that looked very realistic.

Most best example such a sculpture of him is the world-famous "Discobolus". Ancient writers also mention the famous sculpture of Marsyas with Athena. This famous sculptural group has come down to us in several of its copies. In addition to people, Myron also depicted animals, his image of the “Cow” is especially famous.

Myron mainly worked in bronze, his works have not been preserved and are known from the testimonies of ancient authors and Roman copies. He was also a master of toreutics - he made metal goblets with relief images.

Another famous sculptor of this period is Kalamid. He performed marble, bronze and chryselephantine statues, and depicted mainly gods, female heroic figures and horses. The art of Calamis can be judged by the copy of a later time that has come down to us with the statue of Hermes carrying a ram he executed for Tanagra. The figure of the god himself is executed in an archaic style, with the immobility of the pose and the symmetry of the arrangement of the members characteristic of this style; but the ram carried by Hermes is already distinguished by a certain vitality.

In addition, the monuments of ancient Greek sculpture of the early classics include the pediments and metopes of the Temple of Zeus at Olympia. Another significant work of the early classics is the so-called Throne of Ludovisi. This is a three-sided marble altar depicting the birth of Aphrodite, on the sides of the altar are hetaeras and brides, symbolizing different hypostases of love or images of serving the goddess.

High classics is represented by the names of Phidias and Polykleitos. Its short-term heyday is associated with work on the Athenian Acropolis, that is, with the sculptural decoration of the Parthenon. The pinnacle of ancient Greek sculpture was, apparently, the statues of Athena Parthenos and Zeus Olympus by Phidias.

Phidias is one of the best representatives of the classical style, and it is enough to say about his significance that he is considered the founder of European art. The Attic school of sculpture headed by him occupied a leading place in the art of high classics.

Phidias possessed knowledge of the achievements of optics. A story has been preserved about his rivalry with Alkamen: both were ordered statues of Athena, which were supposed to be erected on high columns. Phidias made his statue in accordance with the height of the column - on the ground it seemed ugly and disproportionate. The neck of the goddess was very long. When both statues were erected on high pedestals, the correctness of Phidias became obvious. They note the great skill of Phidias in the interpretation of clothes, in which he surpasses both Myron and Polikleitos.

Most of his works have not survived; we can judge them only from the descriptions of ancient authors and copies. However, his fame was colossal. And there were so many of them that what is left is already a lot. The most famous works of Phidias - Zeus and Athena Parthenos were made in chrysoelephantine technique - gold and ivory.

The statue of Zeus in height, together with the pedestal, according to various sources, was from 12 to 17 meters. Zeus's eyes were the size of a grown man's fist. The cape that covered part of the body of Zeus, the scepter with an eagle in the left hand, the statue of the goddess Nike in the right and the wreath on the head are made of gold. Zeus sits on a throne, four dancing Nikes are depicted on the legs of the throne. Also depicted were: centaurs, lapiths, the exploits of Theseus and Hercules, frescoes depicting the battle of the Greeks with the Amazons.

Athena Parthenon was, like the statue of Zeus, huge and made in chrysoelephantine technique. Only the goddess, unlike her father, did not sit on the throne, but stood in full height. “Athena herself is made of ivory and gold ... The statue depicts her in full growth in a tunic to the very soles of her feet, she has the head of Medusa made of ivory on her chest, in her hand she holds the image of Nike, approximately four cubits, and in her other hand - - a spear. At her feet lies a shield, and near the spear is a snake; this snake is probably Erichthonius. (Description of Hellas, XXIV, 7).

The helmet of the goddess had three crests: the middle one with a sphinx, the side ones with griffins. According to Pliny the Elder, the battle with the Amazons was minted on the outside of the shield, the struggle of the gods with the giants on the inside, and on the sandals of Athena there was an image of a centauromachy. The base was decorated with a Pandora story. The goddess's chiton, her shield, sandals, helmet and jewelry are all made of gold.

On marble copies, the hand of the goddess with Nika is supported by a pillar, whether it existed in the original is the subject of numerous disputes. Nika seems tiny, in reality her height was 2 meters.

Athena Promachos - a colossal image of the goddess Athena, brandishing a spear, on the Athenian Acropolis. Erected in memory of the victories over the Persians. Its height reached 18.5 meters and towered over all the surrounding buildings, shining over the city from afar. Unfortunately, this bronze goddess did not survive to this day. And we know about it only from chronicle sources.

Athena Lemnia - a bronze statue of the goddess Athena, created by Phidias, is also known to us from copies. This is a bronze statue depicting a goddess leaning on a spear. Named - from the island of Lemnos, for the inhabitants of which it was made.

Wounded Amazon, the runner-up statue in the famous sculpting competition for the Temple of Artemis of Ephesus. In addition to the above sculptures, Phidias is also credited with others, according to style similarities: a statue of Demeter, a statue of Kore, a relief from Eleusis, Anadumen (a young man tying a bandage around his head), Hermes Ludovisi, Tiber Apollo, Kassel Apollo.

Despite the talent, or rather the divine gift, Phidias, his relationship with the inhabitants of Athens was not at all warm. As Plutarch writes, in his Life of Pericles, Phidias was the main adviser and assistant to Pericles (Athenian politician, famous orator and commander).

“Since he was a friend of Pericles and enjoyed great authority with him, he had many personal enemies and envious people. They persuaded one of Phidias' assistants, Menon, to denounce Phidias and accuse him of theft. Envy for the glory of his works weighed on Phidias ... When analyzing his case in the National Assembly, there was no evidence of theft. But Phidias was sent to prison and there he died of an illness.

Polikleitos the Elder - an ancient Greek sculptor and art theorist, a contemporary of Phidias. Unlike Phidias, he was not so large-scale. However, his sculpture has a certain character: Policlet liked to depict athletes at rest, he specialized in depicting athletes, Olympic winners. He was the first to think of giving the figures such a statement that they rested on the lower part of only one leg. Polikleitos knew how to show human body in a state of balance - his human figure at rest or a slow step seems to be mobile and animated. An example of this is the famous statue of Polikleitos "Dorifor" (spear-bearer). It is in this work that Poliklet's ideas about the ideal proportions of the human body, which are in numerical ratio with each other, are embodied. It was believed that the figure was created on the basis of the provisions of Pythagoreanism, therefore, in ancient times, the statue of Doryphoros was often called the "canon of Poliklet." The forms of this statue are repeated in most of the works of the sculptor and his school. The distance from the chin to the top of the head in the statues of Polykleitos is one seventh, while the distance from the eyes to the chin is one sixteenth, and the height of the face is one tenth of the whole figure. Polykleitos is strongly associated with the Pythagorean tradition. "Canon of Polykleitos" - a theoretical treatise of the sculptor, created by Polykleitos for other artists to use it. Indeed, the Canon of Polykleitos had a great influence on European culture, despite the fact that only two fragments of the theoretical work have survived, information about it is fragmentary, and the mathematical basis has not yet been finally deduced.

In addition to the spear-bearer, other works of the sculptor are also known: “Diadumen” (“Young man tying a bandage”), “Wounded Amazon”, a colossal statue of Hera in Argos. It was made in the chrysoelephantine technique and was perceived as a pandan to Olympian Zeus Phidias, "Discophorus" ("Young Man Holding a Disc"). Unfortunately, these sculptures have survived only in ancient Roman copies.

At the “Rich Style” stage, we know the names of such sculptors as Alkamen, Agoracritus, Callimachus, etc.

Alkamen, Greek sculptor, pupil, rival and successor of Phidias. It was believed that Alkamen was not inferior to Phidias, and after the death of the latter, he became the leading sculptor in Athens. His Hermes in the form of a herm (pillar crowned with the head of Hermes) is known in many copies. Nearby, near the temple of Athena Nike, there was a statue of Hecate, which consisted of three figures connected with their backs. On the acropolis of Athens, a group belonging to Alkamen was also found - Prokna, who raised a knife over her son Itis, who seeks salvation in the folds of her clothes. In the sanctuary on the slope of the Acropolis there was a statue of a seated Dionysus belonging to Alkamen. Alkamenes also created a statue of Ares for the temple in the agora and a statue of Hephaestus for the temple of Hephaestus and Athena.

Alkamen defeated Agoracritus in a competition to create a statue of Aphrodite. Even more famous, however, is the seated Aphrodite in the Gardens, at the northern foot of the Acropolis. She is depicted on many red-figure Attic vases surrounded by Eros, Peito and other embodiments of the happiness that love brings. Often repeated by ancient copyists, the head, called "Sappho", was probably copied from this statue. Last piece Alkamene is a colossal relief with Hercules and Athena. It is probable that Alkamen died shortly thereafter.

Agorakrit was also a student of Phidias, and, as they say, a favorite. He, like Alkamen, participated in the creation of the frieze of the Parthenon. The two most famous works of Agoracritus are the cult statue of the goddess Nemesis (remade after the duel with Alkamen Athena), donated to the Ramnos temple and the statue of the Mother of the Gods in Athens (sometimes attributed to Phidias). Of the works mentioned by ancient authors, only the statues of Zeus-Hades and Athena in Coronea undoubtedly belonged to Agoracritus. Of his works, only part of the head of the colossal statue of Nemesis and fragments of the reliefs that adorned the base of this statue have survived. According to Pausanias, young Helen (daughter of Nemesis) was depicted on the base, with Leda who nursed her, her husband Menelaus and other relatives of Helen and Menelaus.

The general character of late classical sculpture was determined by the development of realistic tendencies.

Scopas is one of major sculptors this period. Skopas, preserving the traditions of the monumental art of high classics, saturates his works with drama, he reveals the complex feelings and experiences of a person. The heroes of Scopas continue to embody the perfect qualities of strong and valiant people. However, Scopas introduces into the art of sculpture the themes of suffering, internal breakdown. These are the images of wounded soldiers from the pediments of the temple of Athena Aley in Tegea. Plasticity, a sharp restless play of chiaroscuro emphasizes the drama of what is happening.

Scopas preferred to work in marble, almost abandoning the favorite material of the high classics - bronze. Marble made it possible to convey a subtle play of light and shadow, various textural contrasts. His Maenad (Bacchante), which has survived in a small damaged antique copy, embodies the image of a man possessed by a stormy outburst of passion. The dance of Maenad is swift, her head thrown back, her hair falling in a heavy wave over her shoulders. The movement of the curved folds of her tunic emphasizes the impetuous impulse of the body.

The images of Scopas are either deeply thoughtful, like a young man from the gravestone of the Ilissus River, or lively and passionate.

The frieze of the Halicarnassus mausoleum depicting the battle of the Greeks with the Amazons has been preserved in the original.

The impact of the art of Scopas on further development Greek plasticity was enormous, and it can only be compared with the impact of the art of his contemporary - Praxiteles.

In his work, Praxiteles refers to images imbued with the spirit of clear and pure harmony, calm thoughtfulness, serene contemplation. Praxiteles and Scopas complement each other, revealing the various states and feelings of a person, his inner world.

Depicting harmoniously developed, beautiful heroes, Praxiteles also reveals connections with the art of high classics, however, his images lose that heroism and monumental grandeur of the works of the heyday, but acquire a more lyrically refined and contemplative character.

The mastery of Praxiteles is most fully revealed in the marble group “Hermes with Dionysus”. The graceful curve of the figure, the relaxed posture of rest of the young slender body, the beautiful, spiritual face of Hermes are conveyed with great skill.

Praxitel created a new ideal of female beauty, embodying it in the image of Aphrodite, who is depicted at the moment when, having taken off her clothes, she is about to enter the water. Although the sculpture was intended for cult purposes, the image of the beautiful naked goddess was freed from solemn majesty. "Aphrodite of Cnidus" caused many repetitions in subsequent times, but none of them could compare with the original.

The sculpture "Apollo Saurocton" is an image of a graceful teenage boy who aims at a lizard running along a tree trunk. Praxiteles rethinks mythological images, features appear in them Everyday life, genre elements.

If in the art of Skopas and Praxiteles there are still tangible connections with the principles of high classic art, then in the artistic culture of the last third of the 4th century. BC e., these ties are weakening more and more.

Great importance in social and political life ancient world acquired by Macedonia. Just like the war with the Persians, it changed and rethought the culture of Greece at the beginning of the 5th century. BC e. After the victorious campaigns of Alexander the Great and his conquest of the Greek policies, and then the vast territories of Asia, which became part of the Macedonian state, begins new stage in the development of ancient society - the period of Hellenism. The transitional period from the late classics to the Hellenistic period itself is distinguished by peculiar features.

Lysippus is the last great master of the late classics. His work unfolds in the 40-30s. 5th century BC e., during the reign of Alexander the Great. In the art of Lysippus, as well as in the work of his great predecessors, the task of revealing the experiences of a person was solved. He began to introduce more clearly expressed features of age, occupation. New in the work of Lysippus is his interest in the characteristically expressive in man, as well as the expansion of the pictorial possibilities of sculpture.

Lysippus embodied his understanding of the image of a man in the sculpture of a young man who cleans sand off himself with a scraper after competitions - “Apoxiomen”, whom he depicts not at a moment of exertion, but in a state of fatigue. The slender figure of an athlete is shown in a complex turn, which forces the viewer to go around the sculpture. The movement is freely deployed in space. The face expresses weariness, deep-set shadowy eyes look into the distance.

Lysippus skillfully conveys the transition from a state of rest to action and vice versa. This is the image of the resting Hermes.

Of great importance was the work of Lysippus for the development of the portrait. In the portraits he created of Alexander the Great, a deep interest in revealing spiritual world hero. The most remarkable is the marble head of Alexander, which conveys his complex, contradictory nature.

The art of Lysippus occupies the border zone at the turn of the classical and Hellenistic eras. It is still true to classical concepts, but already undermines them from within, creating the ground for a transition to something else, more relaxed and more prosaic. In this sense, the head of a fist fighter is indicative, belonging not to Lysippus, but, possibly, to his brother Lysistratus, who was also a sculptor and, as they say, was the first to use masks removed from the model’s face for portraits (which was widespread in Ancient Egypt, but completely alien to Greek art). It is possible that the head of the fist fighter was also made with the help of a mask; it is far from the canon, and far from the ideal ideas of physical perfection, which the Hellenes embodied in the image of an athlete. This fist fight winner is nothing like a demigod, just an entertainer for an idle crowd. His face is rough, his nose is flattened, his ears are swollen. This type of "naturalistic" images later became widespread in Hellenism; An even more unsightly fist fighter was sculpted by the Attic sculptor Apollonius already in the 1st century BC. e.

That which had previously cast shadows on the bright structure of the Hellenic world outlook came at the end of the 4th century BC. e .: the decomposition and death of the democratic policy. The beginning of this was laid by the rise of Macedonia, the northern region of Greece, and the actual capture of all Greek states by the Macedonian king Philip II.

Alexander the Great in his youth tasted the fruits of the highest Greek culture. His teacher was great philosopher Aristotle, court painters - Lysippus and Apelles. This did not prevent him, having seized the Persian state and taking the throne of the Egyptian pharaohs, to declare himself a god and demand that he and in Greece be given divine honors. Unaccustomed to Eastern customs, the Greeks, chuckling, said: "Well, if Alexander wants to be a god, let him be" - and officially recognized him as the son of Zeus. However, Greek democracy, on which its culture grew, died under Alexander and was not revived after his death. The newly emerged state was no longer Greek, but Greco-Eastern. The era of Hellenism has come - the unification under the auspices of the monarchy of Hellenic and Eastern cultures.

Among the variety of masterpieces cultural heritage Ancient Greece occupies a special place. In Greek statues, the ideal of man, the beauty of the human body, is embodied and glorified with the help of pictorial means. However, not only the grace and smoothness of the lines distinguish ancient Greek sculptures - the skill of their authors is so great that even in a cold stone they managed to convey the whole gamut of human emotions and give the figures a special, deep meaning, as if breathing life into them and endowing each with that incomprehensible mystery that still attracts and does not leave the contemplator indifferent.

Like other cultures, Ancient Greece went through various periods of its development, each of which introduced certain changes in the process of formation of all types, to which sculpture also belongs. That is why it is possible to trace the stages of the formation of this type of art by briefly characterizing the features of the ancient Greek sculpture of Ancient Greece in different periods of its historical development.
ARCHAIC PERIOD (VIII-VI century BC).

The sculptures of this period are characterized by a certain primitiveness of the figures themselves due to the fact that the images that were embodied in them were too generalized and did not differ in variety (the figures of young men were called kouros, and girls were called kora). The most famous sculpture of several dozen that have survived to this day is the statue of Apollo from the Shadows, made of marble (Apollo himself appears before us as a young man with his hands down, his fingers clenched into fists and his eyes wide open, and his face reflects a typical sculpture archaic smile of that time). The images of girls and women were distinguished by long clothes, wavy hair, but most of all they were attracted by the smoothness and elegance of the lines - the embodiment of female grace.

CLASSICAL PERIOD (V-IV century BC).
One of the outstanding figures among the sculptors of this period can be called Pythagoras Regius (480-450). It was he who gave life to his creations and made them more realistic, although some of his works were considered innovative and too bold (for example, a statue called The Boy Taking Out A Splinter). Unusual talent and quickness of mind allowed him to study the meaning of harmony with the help of algebraic methods of calculation, which he carried out on the basis of the philosophical and mathematical school founded by him. Using such methods, Pythagoras explored harmonies of a different nature: musical harmony, the harmony of the human body or an architectural structure. The Pythagorean school existed on the principle of number, which was considered the basis of the whole world.

In addition to Pythagoras, the classical period gave world culture such eminent masters as Myron, Poliklet and Phidias, whose creations were united by one principle: displaying a harmonious combination of an ideal body and an equally beautiful soul enclosed in it. It was this principle that formed the basis for the creation of sculptures of that time.
Myron's work had a great influence on the educational art of the 5th century in Athens (suffice it to mention his famous bronze discus thrower).

In the creations of Polikleitos, the skill of which was embodied was the ability to balance the figure of a man standing on one leg with his hand raised up (an example is the statue of Doryphoros, a spear-bearing young man). In his works, Policlet sought to combine ideal physical data with beauty and spirituality. This desire inspired him to write and publish his own treatise Canon, which, unfortunately, has not survived to this day. Phidias can rightfully be called the great creator of sculpture of the 5th century, because he managed to perfectly master the art of casting from bronze. 13 sculptural figures cast by Phidias adorned the Temple of Apollo at Delphi. Among his works is also a twenty-meter statue of Athena the Virgin in the Parthenon, made of pure gold and ivory (this technique of statues is called chryso-elephantine). The real fame came to Phidias after he created the statue of Zeus for the temple in Olympia (its height was 13 meters).

HELLENISM PERIOD. (IV-I century BC).
Sculpture in this period of development of the ancient Greek state still had its main purpose of decoration. architectural structures, although it reflected the changes that took place in public administration. In addition, in sculpture, as one of the leading forms of art, many schools and trends arose.
Skopas became a prominent figure among the sculptors of this period. His skill was embodied in the Hellenistic statue of the Nike of Samothrace, so named in memory of the victory of the Rhodes fleet in 306 BC and mounted on a pedestal, which in design resembled a ship's prow. Classical images became examples of the creations of sculptors of this era.

In Hellenistic sculpture, the so-called gigantomania (the desire to embody the desired image in a statue of enormous size) is clearly visible: a vivid example of this is the statue of the god Helios made of gilded bronze, which rose 32 meters at the entrance to the Rhodes harbor. For twelve years, the student of Lysippus, Chares, worked tirelessly on this sculpture. This work art rightfully took pride of place in the list of Wonders of the World. After the capture of Ancient Greece by the Roman conquerors, many works of art (including multi-volume collections of imperial libraries, masterpieces of painting and sculpture) were taken out of its borders, in addition, many representatives from the field of science and education were captured. So in culture ancient rome elements of Greek culture intertwined and had a significant impact on its further development.

Different periods of the development of Ancient Greece, of course, made their own adjustments to the process of formation of this type of fine art,

Subject: Outstanding Sculptors of Ancient Greece.

Target: The study of the main stages in the development of ancient Greek sculpture.

New words:

MIMESIS"- similarity.

Kalokagatiya (gr. kalos- lovely + agathos kind).

Kuros and bark - created in the era of archaic men. and female figures (up to 3 m.) Mimesis - similarity. Caryatid - (Greek karyatis) - a sculptural image of a standing female figure that serves as a support for a beam in a building (or figuratively expresses this function).

germs – stone pylons with "hands", placed at the main entrance to the house.

Questions.

    Sculptural canons Polykleitos and Myron.

    Sculptures of Scopas and Praxiteles.

    Lysippus and Leochar.

    Hellenistic sculpture.

During the classes.

1. Actualization of students' knowledge about the architecture of ancient Greece.

2. The message of the topic, the purpose of the lesson.

The Greeks always believed that only in a beautiful body can a beautiful soul live. Therefore, the harmony of the body, external perfection - an indispensable condition and basis of an ideal person. The Greek ideal is defined by the term kalokagatiya(gr. kalos- lovely + agathos kind). Since kalokagatiya includes the perfection of both bodily constitution and spiritual and moral warehouse, then, along with beauty and strength, the ideal carries justice, chastity, courage and reasonableness. This is what makes the Greek gods, sculpted by ancient sculptors, uniquely beautiful.

Despite the similarity of the sculptures of the VI and V centuries. BC, they also have characteristic differences:

There is no longer the numbness, the schematism of archaic sculptures;

The statues become more realistic.

    Sculptural canons of Polikleitos and Miron .

1. A hymn to the greatness and spiritual power of Man;

2. Favorite image - a slender young man with an athletic physique;

3. Spiritual and physical appearance are harmonious, there is nothing superfluous, "nothing beyond measure."

The most famous sculptors of the High Classical era are Polykleitos and Myron.

Polykleitos - An ancient Greek sculptor and art theorist who worked in Argos in the 2nd half of the 5th century BC.

Policlet liked to depict athletes at rest, he specialized in depicting athletes, Olympic winners.

"Dorifor"("Spearman")

Poliklet was the first to think of giving the figures such a statement that they rested on the lower part of only one leg. (An early example of a classical contraposto is Doryphorus). Polykleitos he knew how to show the human body in a state of balance - his human figure at rest or at a slow pace seems to be mobile and animated due to the fact that the horizontal axes are not parallel.

The statues of Polykleitos are full of intense life. Polikleitos liked to depict athletes at rest. Take the same "Spearman". This powerfully built man is full of self-esteem. He stands motionless in front of the viewer. But this is not the static rest of ancient Egyptian statues. Like a man who skillfully and easily controls his body, the spearman slightly bent one leg and shifted the weight of his body to the other. It seems that a moment will pass and he will take a step forward, turn his head, proud of his beauty and strength. Before us is a man strong, handsome, free from fear, proud, restrained - the embodiment of Greek ideals.

Artworks:

2. "Diadumen" ("Young man tying a bandage").

"Wounded Amazon"

Colossal statue of Hera in Argos. It was made in the chrysoelephantine technique and was perceived as a pandan to Olympian Zeus Phidias.

The sculptures have been lost and are known from surviving ancient Roman copies.

1.By order of the priests of the Temple of Artemis of Ephesus c. 440 BC Poliklet created a statue of a wounded Amazon, taking first place in the competition, where, in addition to him, Phidias and Cresilaus participated. An idea of ​​​​it is given by copies - a relief discovered in Ephesus, as well as statues in Berlin, Copenhagen and the Metropolitan Museum of Art in New York. The legs of the Amazon are set, just like those of Doryphorus, but the free arm does not hang along the body, but is thrown behind the head; the other hand supports the body, leaning on the column. The pose is harmonious and balanced, but Poliklet did not take into account the fact that if a wound gapes under the right chest of a person, his right hand cannot be raised high up. Apparently, the beautiful, harmonious form interested him more than the plot or the transmission of feelings. The same care is imbued with the careful development of the folds of the short tunic of the Amazon.

2. Then Policlet worked in Athens, where approx. 420 BC he created Diadumen, a young man with a bandage around his head. In this work, which was called a gentle youth, in contrast to the courageous Doryphoros, one can feel the influence of the Attic school. Here again the motif of the step is used, despite the fact that both hands are raised and hold the bandage, a movement that would be more suitable for a calm and steady position of the legs. The opposite of the right and left sides is not so pronounced. Facial features and lush locks of hair are much softer than in previous works. The best repetitions of the Diadumen are a copy found on Delos and now in Athens, a statue from Vezon in France, which is kept in the British Museum, and copies in Madrid and the Metropolitan Museum of Art. Several terracotta and bronze figurines have also been preserved. The best copies of the head of Diadumen are in Dresden and Kassel.

3. Around 420 BC Poliklet created for the temple in Argos a colossal chrysoelephantine (made of gold and ivory) statue of Hera, seated on a throne. Argive coins can give some idea of ​​what this ancient statue looked like. Next to Hera stood Hebe, sculpted by Naucis, a student of Polykleitos. In the plastic design of the temple, one can feel both the influence of the masters of the Attic school and Polykleitos; perhaps it is the work of his students. Polykleitos' creations lacked the majesty of Phidias' statues, but are considered by many critics to be superior to Phidias in their academic perfection and perfect poise of pose. Polykleitos had numerous students and followers until the era of Lysippus (end of the 4th century BC), who said that Doryphoros was his teacher in art, although he subsequently departed from the canon of Poliklet and replaced it with his own.

Myron he created statues of victorious athletes, correctly and naturally conveyed the human figure, discovered the secret of the plastic concept of movement. But (!!!) his works have only one viewing point. Among his most famous works is the sculptural composition

"Athena and Marsyas", as well as "Discobolus".

Myron was an older contemporary of Phidias and Polykleitos and was considered one of the the greatest sculptors of his time. He worked in bronze, but none of his works have survived; they are known mainly from copies. Most famous work Myrona - Discus Thrower (Disc Thrower). The discus thrower is depicted in a complex pose at the moment of the highest tension before the throw. The sculptor was interested in the shape and proportion of figures in motion. Miron was a master at conveying movement at the climax, the transitional moment. In a laudatory epigram dedicated to his bronze statue of the athlete Ladas, it is emphasized that the panting runner is depicted with unusual vividness. The sculptural group of Myron Athena and Marsyas, which stood on the Athenian Acropolis, is marked by the same skill in conveying movement.

2.Sculptural creations of Scopas and Praxiteles.

4th century BC.

1. Strived for the transfer of vigorous action;

2. They conveyed the feelings and experiences of a person:

Passion

reverie

Love

Fury

Despair

Suffering

SCOPAS (heyday of activity 375–335 BC), Greek sculptor and architect, born on the island of Paros c. 420 BC, possibly. The first work of Scopas known to us is the temple of Athena Alea in Tegea, in the Peloponnese, which had to be rebuilt, since the former burned down in 395 BC. Scopas was part of a group of four sculptors (and may have been the eldest among them) who were commissioned by the widow of Mausolus Artemisia to create the sculptural part of the Mausoleum (one of the seven wonders of the world) in Halicarnassus, the tomb of her husband. The passion inherent in the works of Scopas is achieved primarily with the help of a new interpretation of the eyes: they are deeply planted and surrounded by heavy folds of the eyelids. Liveliness of movements and bold body positions express intense energy and demonstrate the ingenuity of the master.

by the most famous work Scopas were:

- Scopas . "Amazonomachy".

- Battle of the Greeks with the Amazons. Fragment of the frieze of the Mausoleum of Halicarnassus. Marble. Around 350 BC e. London. British museum.

The relief is magnificent, which depicts a warrior leaning back sharply, trying to resist the onslaught of the Amazon, who grabbed his shield with one hand and inflicted a mortal blow with the other. To the left of this group is an Amazon riding a hot horse. She sits turned back and, apparently, throws a dart at an enemy pursuing her. The horse almost runs over the leaning back warrior. The sharp clash of oppositely directed movements of the rider and the warrior and the unusual landing of the Amazon enhance the overall drama of the composition with their contrasts.

Scopas. Head of a wounded warrior from the western pediment of the temple of Athena-Aleia in Tegea. Marble. First half of the 4th c. BC e. Athens. National Museum.

Scopas. Maenad. Middle 4th c. BC e. Reduced marble Roman copy of a lost original. Dresden. Albertinum.

The marble "Maenad", which has come down to us in a small damaged antique copy, embodies the image of a man possessed by a violent outburst of passion. Not the embodiment of the image of a hero who is able to confidently rule over his passions, but the disclosure of an extraordinary ecstatic passion that engulfs a person is characteristic of the Maenad. Interestingly, the Maenad of Scopas, unlike the sculptures of the 5th century, is designed for viewing from all sides.

PRAXITELS (4th century BC),

Praxiteles is an ancient Greek sculptor, one of the greatest Attic sculptors of the 4th century BC. e. The author of the famous compositions "Hermes with the baby Dionysus", "Apollo killing the lizard". Most of Praxiteles' works are known from Roman copies or from descriptions by ancient authors. The sculptures of Praxiteles were painted by the Athenian artist Nikias.

Praxiteles - the first sculptor to depict a naked woman as realistically as possible: the sculpture of Aphrodite of Cnidus, where a naked goddess holds a fallen robe with her hand.

Praxiteles. Head of Aphrodite of Knidos (Aphrodite Kaufmann). Until 360 BC e. Marble Roman copy of a lost original. Berlin. Sobr. Kaufman.

The statue of Aphrodite of Cnidus was considered in antiquity not only the best creation of Praxiteles, but in general the best statue of all time. As Pliny the Elder writes, many came to Knidos just to see her. It was the first monumental image of a completely naked female figure in Greek art, and therefore it was rejected by the inhabitants of Kos, for whom it was intended, after which it was bought by the townspeople of neighboring Cnidus. In Roman times, the image of this statue of Aphrodite was minted on Knidos coins, numerous copies were made from it (the best of them is now in the Vatican, and the best copy of the head of Aphrodite is in the Kaufmann collection in Berlin). In ancient times, it was claimed that the model of Praxiteles was his beloved, hetaera Phryne.

The best idea of ​​​​the style of Praxiteles gives a statue of Hermes with the infant Dionysus (Museum at Olympia), which was found during excavations in the temple of Hera at Olympia. Despite some doubts, this is almost certainly an original, created c. 340 BC The flexible figure of Hermes gracefully leaned on a tree trunk. The master managed to improve the interpretation of the motif of a man with a child in his arms: the movements of both hands of Hermes are compositionally connected with the baby. Probably, in his right, not preserved hand, there was a bunch of grapes, with which he teased Dionysus, which is why the baby was reaching for it. The figure of Hermes is proportionately built and perfectly worked out, the smiling face is full of liveliness, the profile is graceful, and the smooth surface of the skin contrasts sharply with the schematically outlined hair and the woolly surface of the cloak thrown over the trunk. Hair, drapery, eyes and lips, and sandal straps were painted.

Worse are other statues of Aphrodite attributed to Praxiteles. A copy of the statue chosen by the inhabitants of Kos has not been preserved. Aphrodite from Arles, named after the place of discovery and kept in the Louvre, may not depict Aphrodite, but Phryne. The legs of the statue are hidden by drapery, and the torso is completely exposed; judging by her posture, she held a mirror in her left hand. A few fine statuettes of a woman putting on a necklace have also survived, but again one can see both Aphrodite and a mortal woman in them.

Praxiteles. Artemis from Gabia. About 340-330 years. BC e. Marble Roman copy of a lost original. Paris. Louvre.

In the statue of Artemis, we see examples of solving the motif of a draped human figure. Artemis is depicted here as the patroness of women: she throws a veil over her right shoulder, brought by a woman as a gift for a successful release from a burden.

Praxiteles was an unsurpassed master in conveying the grace of the body and the subtle harmony of the spirit. Most often he portrayed the gods, and even the satyrs, as young; in his work to replace the majesty and sublimity of the images of the 5th century. BC. grace and dreamy tenderness come.

3. Leochar and Lysippus. The art of the pseudo-classical direction was most consistently revealed in the work of Leohara, Leohar, an Athenian by birth, became the court painter of Alexander the Great. It was he who created a number of chrysoelephantine statues of the kings of the Macedonian dynasty for the Philippeion. The cold and pompous classicizing, that is, outwardly imitating classical forms, style of Leochar's works met the needs of the emerging monarchy of Alexander. An idea of ​​the style of Leohar's works, dedicated to the praise of the Macedonian monarchy, gives us a Roman copy of his heroized portrait of Alexander the Great. The naked figure of Alexander had an abstract and ideal character.

Leohar. Apollo Belvedere . Around 340 BC. e. Marble Roman copy of a lost bronze original. Rome. Vatican.

The most significant among the works of Leohar was the statue of Apollo - the famous "Apollo Belvedere" ( "Apollo Belvedere" - the name of the Roman marble copy that has come down to us from the bronze original of Leochar, which was located at one time in the Vatican Belvedere (open loggia)).

However, the image of Apollo is more outwardly spectacular than inwardly significant. The splendor of the hairstyle, the haughty turn of the head, the well-known theatricality of the gesture are deeply alien to the true traditions of the classics.

The famous statue of "Artemis of Versailles", full of cold, somewhat arrogant grandeur, is also close to the circle of Leochar.

Leohar. Artemis of Versailles. Third quarter of the 4th c. BC e. Marble Roman copy of a lost original. Paris. Louvre.

Lysippos.. In art, Lysippe decided disclosure task inner world human experiences and the well-known individualization of the image of a person. At the same time, Lysippus introduced new shades to the solution of these artistic problems, and most importantly, he stopped considering the creation of an image of a perfect beautiful person as the main task of art. Lysippus, as an artist, felt that the new conditions public life deprived this ideal of any serious vital ground.

First of all, Lysippus finds the basis for the image of the typical in the image of a person not in those features that characterize a person as a member of a team of free citizens of the polis, as a harmoniously developed personality, but in the characteristics of his age, occupation, belonging to one or another psychological temperament. A particularly important new feature in the work of Lysippus is the interest in revealing the characteristically expressive, and not ideally perfect in the image of a person.

Secondly, Lysippus to some extent emphasizes in his works the moment of personal perception, seeks to convey his emotional attitude to the event depicted. According to Pliny, Lysippus said that if the ancients portrayed people as they really were, then he, Lysippus, is as they seem. Lysippos. Apoxyomenos. Head (see ill. 215).

Lysippus's understanding of the image of a man was especially vividly embodied in his bronze statue, famous in antiquity. the statue of Apoxyomenos. Lysippus depicted a young man who cleans off the sand of the arena with a scraper, which has stuck to his body during a sports competition. In this statue, the artist very: expressively conveyed the state of fatigue that seized the young man after the stress of the struggle he had experienced.

In Apoxyomeno, Lysippus wants to show not inner peace and stable balance, but a complex and contradictory change of mood shades.

Lysippos. Resting Hermes . Third quarter of the 4th c. BC e. Bronze Roman copy of a lost original. Naples. National Museum.

Hermes seemed to sit for a moment on the edge of a cliff. The artist conveyed here peace, slight fatigue and at the same time the readiness of Hermes to continue a swiftly fast flight.

The same series also included a group depicting the struggle of Hercules with the Nemean lion, which also came down to us in a Roman copy stored in the Hermitage.

Lysippos. Hercules with a lion . Second half of the 4th c. BC e. Reduced marble copy of the Roman period from a lost bronze original. Leningrad. Hermitage.

Especially great importance had the work of Lysippus for the further evolution of the Greek portrait.


Head of Alexander the Great from the island of Kos. Marble. The originality and strength of Lysippos's portrait skill were most vividly embodied in his portraits of Alexander the Great.

A strong-willed, energetic turn of the head, sharply thrown back strands of hair create a general feeling of a pathetic impulse. On the other hand, the mournful folds on the forehead, the suffering look, the curved mouth give the image of Alexander the features of tragic confusion. In this portrait, for the first time in the history of art, the tension of passions and their internal struggle are expressed with such force.

4. Sculpture of Hellenism.

1. Excitement and tension of faces;

2. A whirlwind of feelings and experiences in images;

3. Dreaminess of images;

4. Harmonic perfection and solemnity

Hellenistic art is full of contrasts - gigantic and miniature, ceremonial and domestic, allegorical and natural. Main trend - departure from the generalized human typeto the understanding of man as a concrete, individual being, and hence the increasing attention to his psychology, interest in events, and new vigilance to national, age, social and other signs of personality.

All of the above does not mean that the Hellenistic era did not leave great sculptors and their monuments of art. Moreover, she created works that, in our view, synthesize the highest achievements of ancient plastic arts, are her inaccessible samples -

Aphrodite of Melos,

Nike of Samothrace , the altar of Zeus in Pergamon. These famous sculptures were created during the Hellenistic era. Their authors, about whom nothing or almost nothing is known, worked in line with the classical tradition, developing it truly creatively.

Among the sculptors of this era, the names of the following can be noted: Apollonius, Taurisk (“Farnesian bull”), Athenodorus, Polydorus, Agesander (“Aphrodite of Melos”, “Laocoon”).

Morals and forms of life, as well as forms of religion, began to mix in the Hellenistic era, but friendship did not reign and peace did not come, discord and war did not stop.

5.Conclusion. One thing united all periods of the development of Greek society and art: this special predilection for plastic arts, for spatial arts.

We examined the creations of the greatest sculptors of Ancient Greece throughout the entire period of antiquity. We saw the whole process of formation, flourishing and decline of sculpture styles - the whole transition from strict, static and idealized archaic forms through the balanced harmony of classical sculpture to the dramatic psychologism of Hellenistic statues. The creations of the sculptors of Ancient Greece were rightfully considered a model, an ideal, a canon for many centuries, and now it does not cease to be recognized as a masterpiece of world classics. Nothing like this has been achieved before or since. All modern sculpture can be considered, to one degree or another, a continuation of the traditions of Ancient Greece. The sculpture of Ancient Greece in its development has passed a difficult path, paving the way for the development of plastic art of subsequent eras in various countries.

It is known that most ancient masters of plastic art did not sculpt in stone, they cast in bronze. In the centuries following the era of Greek civilization, it was preferable to preserve bronze masterpieces that they were melted down into domes or coins, and later into cannons. At a later time, traditions laid down ancient Greek sculptures were enriched with new developments and achievements, while the ancient canons served as the necessary basis, the basis for the development of plastic art in all subsequent eras.

6. House. task: ch.8, st.84-91., task st.91.

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5. Gribunina N.G. History of the world artistic culture, in 4 parts. Parts 1, 2. - Tver, 1993

6. Dmitrieva, Akimova. Antique art. Essays. - M., 1988