134:
17:
152:, a figure of singular importance to the temple, as it was he, a son of Zeus, who according to legend marked out the sanctuary and instituted the Olympic Games. Traces of colour have been found on the sculpture and a case has been made that some of the detailing was painted on. The arrangement of the pediments remains a matter of dispute, and the subject of no fewer than 59 conjectured restorations. The pediments are sculpted in the round albeit dowelled on to the pediment background and most backs are unfinished; some are hollow, presumably to save weight. They are of
78:, 1892-7. The building and sculpture had been shattered by an earthquake in antiquity and subsequently partially reused as building material, the rest buried under alluvial mud. The early classical sculptures did not initially attract as much attention as the later works such as the Nike of Paionios. Since the first reconstruction of the pediments by Treu in 1897 and the rejection of Pausanias's ascription to
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The architectural decoration of Zeus's temple is perhaps the only major monument from a significant studio of the Severe period to survive; consequently it is taken to be the summation of the Severe style from which other works in the idiom beg comparison. Several regional styles have been suggested
156:
with a few of the heads in
Pentelic marble, notably the heroes wear Attic and not Peloponnesian helmets. Several of the heads of the pediment figures have unworked bosses suggesting that a pointing process was used from clay or wood models, it is highly unusual to find traces of technique on work of
89:
The two gable ends and metopes exhibit a stylistic unity of strong rhythms and simple planes. The dress of the figures has not yet reached the naturalism of the mature classical, yet in the temple sculptures there is evidence of an experimentation not pursued by the younger Greek sculptors. The
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The site of the sanctuary was first systematically excavated by a French team in 1829 then the German expedition headed by Georg Treu from 1875–81, and the results published in a five volume report by
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16:
329:
344:
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on grounds of chronology the temple decoration is now commonly attributed to the putative
Olympia Master, one amongst a studio of five sculptors.
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237:
We also owe the naming of the subject matter to
Pausanias, but this depiction evidently owes something to the 1st Olympian ode of
317:
311:
71:
60:
90:
Olympia Master's work achieves a complexity of emotion that exceeds the conventions of the archaic; we find pathos,
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Possibly also a statue of Zeus, represented in a 4th-century AD head of a Roman copy in porphyry, see: J. Dorig,
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47:
tells us of the dates of the Temple, the Master and his workshop were active between 470 and 457 BC. The two
40:
44:
149:
252:
Unfinished hair and the
Installation of the Pedimental Sculptures of the Temple of Zeus at Olympia
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at the point of greatest violence in contrast to the instant of duplicitous tension on the east.
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98:, nuances lost to the idealised art of the later 5th century. The east pediment represents
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39:
is the name given to the anonymous sculptor responsible for the external sculpture of the
24:
338:
325:
153:
67:
56:
141:
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as an origin for the artist including the Ionian, Peloponnesian and
Laconian.
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Olympia: Die
Ergebnisse der von dem deutschen Reich veranstalteten Ausgrabung
305:, Nikolaos Yalouris, Olympia and the Sculptures of the Temple of Zeus, 1967.
119:
83:
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ascribed to him are the paradigmatic expression of the Early
Classical or
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103:
95:
48:
20:
94:, tension, exhaustion, disgust – markedly so in his characterization of
318:
R. Ross
Holloway, The Master of Olympia: the Documentary Evidence, 2000
284:
These attributions are summarized in Dorig, Olympia Master.... pp. 6-7.
275:, 1970, pp. 12-59, for a summary of the restorations of the East gable.
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238:
99:
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52:
28:
110:, seemingly at the moment of the oath of the two contestants before
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15:
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Une tête colossale en porphyre de le collection
Burrell à Glasgow
111:
213:
308:
Bernard Ashmole, Architect and Sculptor in Classical Greece.
296:
Jose Dorig, The Olympia Master and His Collaborators, 1997.
256:
Stephanos, Studies in Honor of Brunilde Sismondo Ridgway
273:The East Pediment of the Temple of Zeus at Olympia
228:, Athenische Mitteilungen, 51, 1926, pp. 163-170.
144:: fourth metope over the West porch, ca 460 BC.
224:The name was first coined by Ernst Buschor in
8:
299:H. V. Herman, Die Olympia-Skulpturen, 1987.
215:, Rheinisches Museum 38, 1883, pp. 421-449.
27:, metope from the Temple of Zeus, Olympia,
314:, Greek Sculpture: The Classical Period.
169:
7:
130:in the center of the west pediment.
330:Die Ausgrabungen zu Olympia, 1875-6
14:
322:A. Stewart, Greek Sculpture 1990.
180:, Antike Plastik 15, 1975, p. 15.
200:Expedition scientifique de Morée
345:5th-century BC Greek sculptors
148:The metopes depict the twelve
1:
189:Pausanias, 5.10.2 and 5.10.4.
114:himself. On the west we find
366:
271:, 1987 and M-L Säflund,
41:Temple of Zeus, Olympia
269:Die Olympia Skulpturen
145:
32:
211:By Richard Foerster,
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19:
150:Labours of Hercules
226:Die Olympiameister
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51:and the series of
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80:Paionios of Mende
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267:See HV Herrmann
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106:for the hand of
102:’s race against
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350:Ancient Olympia
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303:Bernard Ashmole
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72:Friedrich Adler
61:Greek sculpture
59:of 5th century
25:Lake Stymphalia
12:
11:
5:
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241:dated 476 BCE.
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202:, vol I, 1831.
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37:Olympia Master
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9:
6:
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2:
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326:Ernst Curtius
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312:John Boardman
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154:Parian marble
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122:fighting the
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68:Ernst Curtius
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250:Paul Rehak,
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57:Severe style
43:. From what
36:
34:
142:Cretan Bull
339:Categories
165:References
108:Hippodamia
157:the era.
120:Perithoos
84:Alkamenes
49:pediments
45:Pausanias
198:Blouet,
140:and the
138:Heracles
124:Centaurs
104:Oinomaos
96:Heracles
21:Herakles
291:Sources
258:, 1998.
128:Apollon
116:Theseus
53:metopes
239:Pindar
100:Pelops
92:hubris
29:Louvre
254:, in
118:and
112:Zeus
82:and
70:and
35:The
23:at
341::
328:,
74:,
63:.
31:.
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