Men Sculptures From Ancient Art

Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

From an historical perspective, this piece is an excellent example of early classical Rome. You can sense the respect and admiration that the average Roman citizen had for Augustus, in the fine details of the sculpture.

During my visit to the Tampa Museum of Art, I observed and viewed various pieces from The Classical World exhibit. While I observed numerous works, I was drawn to a specific piece due to its uniqueness when compared to the other pieces in the exhibit. In this paper, I will be describing The Torso of Aphrodite, using my own viewpoints and the elements of formal art analysis, in order to explain the uniqueness when compared to other pieces in The Classical World exhibit.

Lastly, in 440BC, Myron created the ‘Athena and Marsyas’ sculpture. This shows great development of sculpture as an art form through how, while the change from The Kritios Boy to the Doryphorus shows more realistic changes,

This Etruscan- Roman piece of art is detailed all around, but also ideal as depictions look influential throughout the generations from the living patrician man holding the lifeless portrait busts of the two very distinct ancestors. The surface of the marble used to carve the male figure, and the portrait heads is very smooth and pale in colour, as the natural agent simulates’ realistic complexion through the veins present within the marble creating a three- dimensional illusion of meticulous naturalistic rendition of the human anatomy engraved with relief detail all around. The function of the portrait sculpture was to have a permanent documentation motivated by the realistic commemoration of one’s ancestors in a religious and ritualistic funeral use of death masks, that would have been cast from the face of the deceased. This became an obvious style of presenting recognizable prestige that conveyed the significance of

Ancient art is pivotal to understanding the societies they came from. The subject, the methods used, and even the materials are all indicative of the culture and environment in which the art was produced. The Stela of Iku and Mer-imat and a marble statue of Venus exemplify this very idea. Both works act as windows to the mindset of the different cultures that contributed to their establishment.

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

Interestingly, instead of four, only three sides of the Sarcophagus are filled with images. The long section illustrates two Greek heroes, presumably Herakles and Iolaos, battling evil centaurs. The two other sections show a centaur attacking a lioness and the other, the representation of peace in this work, two centaurs getting along. Herakles and Iolaos are highlighted by the artist’s careful attention to make them protrude the greatest, accentuating their impact and overall importance in this sculpture. Every powerful muscle in their bodies is portrayed and given detail in three dimensions. The three-dimensions not only bring these characters closer to reality but also heighten the heroic nature, masculinity, and belligerent attitude of the Greek heroes. Instead of using basic geometric shapes to create works of art, the sculptor chooses to increase the detail in the Sarcophagus by giving everything in the sculpture individual characteristics and traits. They are presented as being stressed

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

Throughout different time periods and civilizations come many different types of art that would never be comparable to those of another time or place. There are also the pieces that come from a completely different time and place, but yet they can still be compared to one another. The Torso of a God (Egyptian, New Kingdom, Dynasty 18, last decade of the reign of Amenhotep III, Granodiorite, 1359-1349 B.C.) and the Statue of Asklepios (Greek, Hellenistic period, Pentelic Marble, 2nd century B.C.) are two sculptures made hundreds of years apart, yet they both display many similarities and show how art is constantly changing whilst keeping the same core ideas.

The Mantime is captivating and interesting to view. The whole sculptor is made of bronze; which I find very impressive that one can add much details to the work. The sculptor is large in size. But the idea that Geffert try to demonstrate is far beyond my comprehension. For one, this is the first time which I heard of Geffert and see his work. Yet, the idea I take a way from this sculptor is based on the small figures presented.

I went to the Cantor Center for Visual Arts on Stanford Campus on 2/28/13. I saw a lot of sculptures and vases there. They are very beautiful and interested. The most interested one I think was Kleophon Painter, “Volute Krater”, ca. 430 BCE, Greece, red-figure terra cotta vase, size 26’ ¾” * 19’ *19’. Hazel D. Hansen Fund, 12, 1972 Cantor Arts Center at Stanford University. This vase is located in the Iris & B Gerald Cantor Center from the classical period between 479-323 BCE in Greece. The Kleophon Painter is an anonymous Athenian vase painter in red figure style. The name he is named because of a youth named “Kleophon”. He is also good at Achilles Painter; a number of “black figure” works in the mid-to-late 5th

First of all, the sculpture will fill our lives with the beauty of art as citizens. For example, “the History of Public Art” article gives a background on ancient greek statues and temples, and it states that the “structures helped unite the citizens of the communities of which they stood by providing a concrete focus for national identity and pride” (The History of Public Art). For

In the ancient Near East, human depictions in art varied over time and distance; as