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resources to keep the distance between gods and men clear, rescuing archaic stylistic traits such as frontality, hieratic posture, impassive and supernatural features, which, in contrast to the increasingly naturalistic and expressive style of profane statuary, delimited well the spheres of the sacred and the mundane and forced the devotee to respect the idol, as a reminder that the divine remains forever essentially unknowable. When the representation of the deities was not directly linked to the cult, as in monuments and decorative architectural reliefs, there was greater formal freedom, although some of the same conventions were observed and an attempt was made to maintain traits that well identified the divine aspect of the character.
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203:, reducing his former allies to the status of tributaries, but protected artists and philosophers, who gave shape and voice to his ideals. His role in the history of Greek sculpture stems from his decision to rebuild the city by breaking a vow made by the Athenians to leave in ruins the monuments that had been destroyed by the Persians, as a perennial reminder of barbarism. Using partly his own resources and partly the surpluses from the League's treasury, Pericles employed a multitude of laborers and craftsmen, which both energized the economy and left a monumental testimony to the city's new political and cultural status. The main legacy of the vast undertaking was the renovation of the
361:, a work that already shows a more advanced degree of naturalism, and soon after, around 450 B.C., Polykleitos consolidated a new canon of proportions, a synthesis that convincingly expressed the beauty, harmony and vitality of the body and gave it an aspect of eternity and perennial youth. Almost at the same time, in 446 B.C. Phidias, leading the group of sculptors decorating the Acropolis, left in the reliefs and statuary of the Parthenon the first series of classicist works on a monumental scale, establishing thematic and narrative models that would endure for a long time. With them, the foundations for the sculpture of what is called High Classicism (c. 450-420 B.C.) were laid.
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1677:, classical culture fell back into the elites' favor and was the core of a recovery of the dignity of the body and of purely aesthetic pleasure. Christianity itself, after proscribing for centuries the pagan sculptural heritage, recovered it, transforming and adapting it to serve it and praise the heroes of the new order: the saints and martyrs of the faith. The Renaissance conception of art largely reproduces the idea formulated by the classical philosophers. The prestige that classical statuary knew in this period reached the borders of passion, as can be seen in this excerpt by
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1418:, dated c. 430 B.C., its style showing a connection with the decorative sculpture of the Parthenon that was being created at the same time. It has been a traditional thought that such monuments were the endowment of the wealthy, but recent studies have indicated that their cost would have been much less than once thought, which means the lower classes could commission a votive plaque, although there were clear differences in luxury and sophistication between the burials of the common people and those of the great families. The museums of classical
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1626:, accused of impiety and corruption of youth, by the same society that cultivated Classicism, shows how perversion and misinterpretation can happen with the positive purposes of improvement and education of the collectivity for fuller citizenship, a purer and more harmonious life, and more advanced ethics (principles that classical sculpture illustrated well). On the other hand, the criticism points to facets of a complex and contradictory social reality that were deliberately swept away from view in the art of that period.
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derives the reward and honor of
Artists; this was the glory of Timantes, Apeles, Phidias and Lysippus, and of so many others renowned for their fame, all who, rising above human forms, achieved with their ideas and works an admirable perfection. This Idea may then be called the perfection of Nature, the miracle of art, the clairvoyance of the intellect, the example of the mind, the light of imagination, the rising sun, which from the east inspires the statue of Menon, and inflames the monument of Prometheus.
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118:. Apart from its historical value, Classicism's intrinsic artistic quality has had great impact, the vast majority of ancient and modern critics praising it vehemently, and the museums that preserve it being visited by millions of people every year. The sculpture of Greek Classicism, although sometimes the target of criticism that relates its ideological basis to racial prejudices, aesthetic dogmatism, and other particularities, still plays a positive and renovating role in contemporary art and society.
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1188:, the representation of clothing, and solving problems of composition, being the link in the passage from the classical to the Hellenistic tradition, as well as bringing the technique of stone carving and bronze modeling to an unprecedented level of quality. The following generations would have little to add to the essence of classical art, but would deepen their research into the portrayal of the emotional and the prosaic, bringing marble sculpture to a level of true technical virtuosity.
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1032:. Lysippos still criticized sculptors who created works from the natural and prided himself on modeling men as they "should" be. In the field of sacred statuary, there were also new aspects. In the myths, all mortals who saw gods in their glory died, became blind, insane, or suffered in other ways. The culture of the time was able to accept partial and imperfect representations of the gods. Even shapeless stones, trees, and places could be recognized as receptacles for the divine, and
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sculptors of the new generation introduced a general relaxation of
Polykleitos' canon, developing a new repertoire of more dynamic attitudes of the body and setting aside the mathematically established proportions to create images convincing to the senses, more similar to real world bodies with their physical idiosyncrasies and personal affections. Thus began the period called Lower Classicism, or Late Classicism.
729:, individual emotion, and drama, in direct opposition to the neutrality and restraint of Polykleitos. For an audience used to seeing in celebratory statues, not a tribute to the individual who served as a model, but a portrait of collective heroism, an example to be followed by all citizens and a service rendered to the whole society, this concept came as a shock, weakening the absolute and invariable character of
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consciousness and determine the adoption of a healthy, harmonious, and positive way of life, ultimately ensuring the happiness of all. The fusion of naturalism with idealism, typical of
Classicism sculpture, a fusion so successful and influential that came to be called "classical" (in the sense of being the ultimate model), was, in short, a suitable channel for the artistic manifestation of the dominant ideology.
1774:, for whom there was no point in destroying tradition, as Modernism had proposed since this was tantamount to a loss of memory and past, tantamount to the creation of a useless void. Thus, it would be better to appropriate and update it through conscious criticism, appearing in the form of quotations, allegories, re-readings, and paraphrases, which offer a retrospective view and commentary on the old tradition.
1009:, to make molds of the model's face. The goal was transferred from beautification to likeness, inviting the spectator to meditate on the possible discrepancies between the moral value and the external appearance. The realistic portraits of Socrates from this period, whose appearance was notorious as well as his virtue, exemplify the new dimension into which the art of bodily representation began to permeate.
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1212:, ideology, politics, religion, ethics, and the historical evolution of Greek society. Part of such difficulty is due to the fact that many works are only known through literary references, later copies, are in an incomplete and damaged state, or because their dating and attribution of authorship are often uncertain and the biographies of their creators have multiple gaps and inconsistencies.
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has been thought that they were children's dolls, but their fragility, preventing repeated handling, does not support this assumption. As for votive statues, a great syncretism of styles is observed, especially in Late
Classicism, when archaic traits continue to appear in quantity, side by side with more progressive stylistic elements, following the conventions of monumental cult statuary.
1139:, the most important Greek architectural achievement in this period, although in others he showed his ability to portray tranquility and harmony. Lysippos reformulated the Polykleitos canon by reducing the dimensions of the head and making the figure more elongated, though more massive. He is also credited with the first statue whose finish was carried out equally in all directions, the
461:. In it, the author showed a model of representation that was ideally beautiful and "real"; ideal as it avoided individual characterization by synthesizing all men into one, and real because it was very similar to the true human form, allowing immediate and personal identification by the audience. The work has been lost, but later commentaries on it demonstrate the idea of its content.
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1712:, especially in Germany, Greece continued to be seen as a model of life and culture. Nietzsche exclaimed, "Oh, the Greeks! They knew how to live!". Other scholars, likewise, despising the Roman filter, began to cultivate the ideals of Greek Classicism to such an extent that a veritable Grecomania was created, influencing all humanities and artistic forms. In
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as they do nowadays, but in reality, they were richly colored. Studies suggest that in
Classicism the use of color in sculpture was more discreet than in earlier periods. Recently researchers have tried to reconstruct the polychromy of statues in specially made copies, causing fascination and surprise as the usage of color differs from the one common today.
613:, he supervised a group of several masters with diverse preparation and tendencies, which made the overall result heterogeneous, showing both Severe and other more advanced, naturalistic traits, and technical quality not always considered the ideal one. This ensemble is the most ambitious sculptural achievement of High Classicism.
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391:. According to this, the education and cultivation of the body were as important as the improvement of the character, both being essential for the formation of a happy individual and an integrated citizen useful to society. In this philosophical panorama, which found expression in a highly organized educational model known as
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very successful subjects that were copied several times in their original size are not found in miniatures, as is the case of
Polykleitos' Doryphoros. It is likely that the absence of finds is due to the fact that these were loaded with such strong significance, that their reduction would have seemed inappropriate.
990:. The decentralization of culture throughout these regions and the rise of a wealthy merchant class, consumers of art but with its own values, opened the way for the appreciation of individual taste and the influence of foreign cultural elements, dissolving the rigidity and austerity of High Classicism.
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Today the formal patterns of classical Greek sculpture, its humanism and emphasis on the nude have found a new way to impress society, influencing the conception of beauty and practices regarding the body, resurrecting a cultivation of the physical that was born with the Greeks and influences various
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took it further, reaching India. In these regions, the principles of Greek sculpture were presented to the local populations and, blending with their traditions, gave rise to stylistic interpretations that more or less successfully reproduced the metropolitan aesthetic. This eclectic and cosmopolitan
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The common practice of the ancient Greeks was to cover their statues and architectural reliefs with paint, either partially or in its entirety, seeking an even more striking resemblance than their simple form and structure could achieve. For centuries, it was thought that their works appeared to them
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Polykleitos may have been inspired by the earlier research on proportions by the sculptor
Pythagoras. Still, his ideas were part of his contemporaries' quest to discover the regular and harmonious structure (the basic model) underlying the infinite variations of the same kind of thing in the physical
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Classicism raised Man to an unprecedented level of dignity, at the same time as it entrusted him with the responsibility of creating his own destiny, offering a model of harmonious life, in a spirit of comprehensive education for an exemplary citizenship. These values, together with their traditional
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Of great value for reconstructing the landscape of Greek sculpture are the miniature copies, which were extremely popular and replicated in smaller scale virtually every formal model and every important work of monumental statuary, a practice that was not limited to the
Classical period. Still, some
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of politicians. The use of personal jewelry was not uncommon. Their quality, while high, is shown to be lower than the jewelry of the
Archaic period. The motifs represented are in general abstract, animal, and vegetal, and the popularization of human forms happens at the end of the Classical period,
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warned against the risk of humans giving in to passions in front of statues or becoming too attached to them, and being condemned to live as the living dead nurturing an ever-incomplete love, although he considered that from the inevitable frustration could be born the opportunity for the individual
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contributed to the formulation of a new concept of art liberally avoiding the condemnation of popular culture and its typical emotionalism. He also defended the representation of "nonbeautiful" objects based on the assumption that ugliness in art could be a source of teaching and aesthetic pleasure,
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As the works went on, resplendent in grandeur and possessing inimitable grace of form, and as the craftsmen strove to surpass each other in the beauty of their work, it was wonderful how quickly the new structures were executed...There was an aspect of novelty in each work, and they seemed timeless.
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The sculpture of
Classical Greece developed an aesthetic that combined idealistic values with a faithful representation of nature, while avoiding overly realistic characterization and the portrayal of emotional extremes, generally maintaining a formal atmosphere of balance and harmony. Even when the
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Classical sculpture was in its origin one of the levers for the birth of Aesthetics as an autonomous branch of Philosophy. Throughout history, its formal models were used for the most varied purposes, some of high humanistic inspiration, but sometimes in opposition to that, celebrating totalitarian
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The study of the functions and meanings of classical sculpture is still progressing. The reciprocal interactions and influences at various levels that categories, uses, and attributions might have established are not fully known, and much remains to be elucidated about how representation influenced
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However, thinkers like Plato considered the anthropomorphization of a deity to be unbecoming and misleading, as it not only misrepresented its object but also demeaned it in an attempt to bring it too much into the sphere of the human. To face these difficulties, later sculptors made use of special
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From the legacy transmitted by the Romans, early Christianity drew the models for starting its own art, but after the sixth century its policy changed. Until this time, immense amounts of sculpture had survived in temples and ancient monuments, but from then on, their ubiquitous nudity began to be
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In modern appreciation, the ideology underlying the sculpture of Greek Classicism does not remain free of criticism, being said to glorify a way of life and a people to detriment of others, and the collective to detriment of the individual, suppressing the questioning of the instituted order under
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deities. It is also speculated that they served as statues for domestic worship, as offerings to the gods, and as magical protection against evil forces. Many of them have holes in the back of their heads, indicating that they could be worn suspended, which allowed free movement of their limbs. It
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overcoming the sorrow that its contemplation in real life would cause. Still, Aristotle did not stop advising young individuals to prefer works by artists he qualified as ethical, those whose creations best exemplified good human character, because their influence would be beneficial to the entire
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It does not lie in the symmetry of the elements of the body, but in the adequate proportion between the parts, as for instance, from one finger to another finger, from the fingers together to the hands and wrist, from these to the forearm, from thence to the arm, and from all to all, just as it is
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Classical art has exerted a vast influence throughout the history of the West, as shown by the consensus among specialists. The sculptural legacy of the classics continues to interest multitudes even today. The very name – "classic" – indicates the unparalleled prestige they have acquired, for in
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Elements of terracotta in architectural decoration had great use in earlier and later periods but in Classicism rarely occurred. One type of terracotta that stands out is the statuettes with articulated limbs. This group has likely performed specific functions. They have been found in many tombs,
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In sculpture, the concern with verisimilitude became even more pronounced. Innovations in the stone carving technique allowed greater control in the finishing of details, in the representation of robes and dresses, and in the polishing of surfaces to obtain subtle effects of light and shadow. The
741:, we can discern a tension – a tension that would become central to the entire legacy of mimesis – between divergent views on representational art being, on the one hand, a fictional illusion, the product of a 'deceptive' artifact, and, on the other, a reflection of and an engagement with reality.
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with educational potential, being understood as a public utility activity. Since art had the function to educate rather than only please, the man it represented had to look good, virtuous, and beautiful, so that such qualities, visibly enshrined in countless statues, would permeate the collective
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In the early twentieth century, academic studies multiplied and were refined to unprecedented levels with the development of new methods of archaeological research and the improvement of the theoretical and instrumental apparatus. At the same time, in a way officializing the intense love for the
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Painters and sculptors, choosing from among the most elegant beauties of the natural world, perfect the idea, and their works surpass and stand above Nature – which is the ultimate scope of these arts. This is the origin of the veneration and awe we have for statues and paintings, and from this
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technique but its principles were already masterfully handled in the Severe period, with a diversified application. Therefore, Classicism benefited from the fact that the main sculptural techniques had already been refined enough that the main interest shifted to the aspects of form and meaning,
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The emphasis on naturalism in statues also gave rise to consequences in the affective realm. It was not unusual that in their function as stand-ins for a person or a god, statues were the object of intense love, which could lead to the desire to get emotional and/or sexual gratification from the
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While the preferences of the expanding market were increasingly opening up to individual taste, Plato's traditionalist and idealistic questionings of the role of mimesis in art, plus his condemnation of the tragic, raised problems for the validation of the artistic product that have not yet been
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later said that this system failed to express the authority of the gods, which may reflect an older opinion. Even so, the success of the model is evidenced by the large number of times it was copied and its profound influence on later generations. Modern writers have also found analogies between
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Since the Severe period, the effort of artists was directed towards obtaining an increasing verisimilitude of sculptural forms concerning the living model but also seeking to transcend mere likeness to express their inner virtues. For the ancient Greeks, physical beauty was identified with moral
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Thus, Classicism was born out of a sense of confidence in the abilities and achievements of a particular people, and a desire for glory and eternity for themselves. This pride can be seen in the political discourse and literature of the time, and poets and philosophers were already aware of the
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In any case, the presence of classical sculpture is still striking in Western culture, and with the wide Western penetration throughout the world, it has become known and appreciated globally. At least as far as the West is concerned, the appeal that the classical model has held throughout its
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Regarding the elaboration of the typical classical form itself, its naturalism owes much to the achievements of sculptors of the period preceding the Classical. The previous fifty years had been a period of a rapid radical social and aesthetic change, which determined the abandonment of the
1661:, in turn, was another avid recipient of classical Greek culture. Its sculptors took pride in working under Greek inspiration, and by multiplying copies of Greek originals that were later lost, they were the transmitters to posterity of a significant part of the culture they imitated.
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achieved and maintained for almost a century, with its individualistic, hermetic, irrational, abstracting, anti-historical and informal values beginning to be questioned. In this sense, the classical model may have a new attraction for artists and society in a context of updating the
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became prominent. However, at the beginning of the 4th century B.C., Athens regained some of its power and prestige, restored its democracy and its wealth grew again. Even so, politics became more and more complex, having developed what is called the "state apparatus," and the
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Such ideas contributed to the fact that sculpture production continued to flourish, meeting new needs, but the closer approach to the natural did not mean a complete abandonment of the ideal. Realism as a dominant trend would only appear in Greek sculpture with the succeeding
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has been seen as a positive force for the dissemination of classical culture and art to the general public, although it may suffer from political manipulation and mercantilist degradation, possibly giving strength to simplistic, pasteurized, and uncritical views of the past.
421:, it could cause disturbances in people's souls and thus in society as a whole. This association was soon expanded to the other arts, attributing to them similar powers of individual and, consequently, collective transformation. His thought would have a profound influence on
1751:. They saw in its values the basis for the formation of a pure society, a healthy race and a strong state, establishing it as a reference standard for state-sponsored art and using it to justify the eradication of races and cultures deemed "degenerate", such as the Jews and
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Among the uses of sculpture, was the composition of funeral monuments, where in general terms it shared the characteristics of decorative sculpture in temples and public buildings. The tradition of building monuments to the dead existed since the Archaic period when the
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doctrine of "nothing in excess", which characterized the true hero. Although highly appreciated, Polykleitos' system, however, was not approved for all cases. Its unsuitability for narrative and violent contexts such as battle scenes was criticized, and writers such as
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was the most perfect achievement of sculpture of all time. Winckelmann is also credited with the distinction between High and Low Classicism, labeling the former as "grand and austere," and the latter as "beautiful and flowing." Meanwhile, Classicism crossed the
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The materials used for miniaturization were bronze, marble, ivory, and eventually other stones. Terracotta, despite its versatility, does not seem to have been considered a worthy material for the reproduction of celebrated works, at least not during Classicism.
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world and to establish definite numerical relationships to replicate this regularity and harmony in art, continuing the philosopher Pythagoras' theory that the universe was structured by numbers. Two other of his compositions are now also called "canonical": The
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period had already achieved. The Archaic marbles already showed a very high mastery of stone, visible especially in their architectural reliefs. In the case of bronze, the main innovation in their history for Greek sculpture was the development of the
1815:, the excessive specialization of trades, wild urban life, ecological problems, the superficiality of mass culture, and the loss of strong moral references, have become threatening aspects for the well-being and the very survival of the human race.
530:), his care in establishing a strict system of proportions that defined the whole composition of the body figure and the relations of the parts to each other, appeared as a great novelty in his time. It represented a perfect visible illustration of
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of Polykleitos. Having taught us in this treatise all the symmetries of the body, Polykleitos ratified the text with a work, having made a statue of a man according to the postulates of his treatise, and calling the statue, like the treatise, the
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1811:, rescuing a line of work inspired by classical humanism, focused on the common good and the ethical and integral education of the public to which their works are directed, in a historical moment in which the emphasis on technology, along with
185:. However, in those times Athens was a much more influential city, hence its greater role as a diffuser of the new trend. Around the middle of the 5th century B.C., Greece was experiencing a moment of glory; after the victory against the
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cult statues could remain hidden or semi-hidden by veils, robes, and various adornments, requiring the devotee to exercise spiritual contemplation that did not require likeness to take place, although it might be facilitated by an
1539:, with finds in mainland Greece being rare. Most of the jewelry of this phase is related to religious contexts, decorating cult statues, being votive offerings, or celebratory, as in the case of the gold crowns used in the
1184:, resolved all outstanding basic difficulties regarding form and technique that might still hinder the free expression of the idea in matter. Thus, they contributed with great achievements in the process of exploring human
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education. With it, a new form of representation of the human body - influential to this day - began, being one of the cores of the birth of a new philosophical branch, Aesthetics, and the stylistic foundation of later
719:(imitation). He argues with Kleitos – an unknown sculptor whom some consider to be Polykleitos – saying that his statues of winning athletes should show not only an ideal of beauty but also what was happening in the
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implications of this new way of seeing the world. Man became the new measure of the world, which was to be judged based on human experience. This is present, for example, in the mathematical irregularity of the
322:'s dimensions, which deviate from strict orthogonality to achieve effects of purely optical regularity. It is also expressed in the rapid and growing naturalism of the sculptural representation of human forms.
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exhibit a great number of specimens. Highlights are those of Late Classicism, which show portraits of the deceased together with family members in scenes sometimes of great sensitivity and poetry.
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history and still holds today attests to its persistent ability to stimulate the popular imagination and to be incorporated into a variety of cultural, ethical, social, and political ideologies.
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This paradox announced the end of the primacy of the ideal. The individual sphere of interest became increasingly important, which would be the essence of the art of the 4th century B.C., when
344:) had a fixed formula: An image of stylized lines that retained from the real human body only the most basic features, that displayed an invariably smiling face and the same bodily attitude.
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This model prevailed with little variation for more than two hundred years, but the artists of the Severe period introduced a new sense of naturalism to it, opening the way for the study of
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revolution, and the ability of classical sculpture to inspire new artists rushed into a fulminant decline, although it never disappeared at all. This recovery was greatly encouraged by the
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723:, the soul. The interpretation of this passage is controversial but it raises a question about the relationship between appearances and truth, and admits the possibility of art expressing
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640:, created in 438 B.C., several reduced copies of poorer quality survived. Other works that persevered through copies and are attributed to him, without much assurance, are the
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89:, found in the sculpture of the Classical period with its idealized portrait of the human being, a particularly apt vehicle for expression, and an efficient instrument of
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As for Phidias, his work inherited the austerity of the Severe style by combining it with the achievements of Polykleitos, and was appreciated for the high idealism and
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57:, but one of remarkable achievement in several fields. It corresponds to most of the 5th and 4th centuries BC; the most common dates are from the fall of the last
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The statues acquire an even more emphatic "presence", also a result of new detailed and realistic treatment given to the face, hair and beard. The individualized
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1128:– the first completely nude female statue in Greek art – made her famous in her day and gave rise to the prolific typological family of the Venus Pudica. His
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relate various intimate interactions of statues with humans, and historical records show that mortals could also fall into the temptation to seek from the
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and were able to induce psychological states and defined behaviors, according to him, if music did not imitate the mathematically expressed harmony of the
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636:, considered one of the Seven Wonders of the ancient world, only literary descriptions and crude images engraved on coins of the time remain. But of the
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At the same time, a tendency is beginning to strengthen among art critics in the direction of abating the practically unanimous prestige that
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would extraordinarily deepen what Socrates had outlined, laying the foundations for the development of an entirely new philosophical branch:
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Scopas became known for the sense of drama, violence, dynamism, and passion with which he imbued his works, especially those he left in the
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multiplied, some achieving great development, with diversified and profitable economies that imitated the social model of the metropolitan
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Polykleitos was, as far as is known, the first to systematize these values and concepts applied to sculpture in a theoretical work, the
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The impersonal, balanced, and austere style of Polykleitos and Phidias, which typifies High Classicism, did not last for long. In his
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561:' formulations of medicine, and therefore believe that the famous physician's thinking was deliberately assimilated by the sculptor.
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dominated local politics between 460 and 429 B.C., aiming to turn the city into a model for the entire Greek world. He encouraged
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1143:, enabling the viewer to appreciate it not only from a single, privileged point of view, as was still the use of Polykleitos.
682:. However, his style still carried some influence from the Severe period, of which he was one of the greatest representatives.
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The period has a different chronology depending on the author consulted. The Encyclopedia Britannica extends it to c. 400 BC.
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1124:. Praxiteles is likely to have been the first to fully explore the sensual possibilities of marble. The erotic appeal of his
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By the end of the 5th century B.C., Athens' hegemony was in decline, weakened by internal unrest and external wars, and soon
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After an irregular development, as they disappeared in some periods, in the Classic period they became a common practice in
512:. Andrew Stewart mentions that the author's intention with it was to polemicize, criticizing the style of predecessors like
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fulfilled this function. With the advent of democracy in the early 5th century B.C., customs began to change and funerary
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1728:, one of the mentors of the movement, only the Greeks had managed to produce Beauty, and for him and his colleagues, the
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fully resolved. The theoretical debate in the transition to Lower Classicism was advanced by Aristotle, whose theory of
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left more information about the state of art criticism in the transition to Late Classicism. In the text, which recalls
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Philosophy shifted its focus from the natural world to human society, believing that Man could be the author of his own
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was present as a technique of miniaturized sculpture, where there was significant production mainly in the colonies of
483:. Since then, all philosophers and doctors accept that beauty lies in the adequate proportion of the parts of the body.
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An important contribution that crystallized the association between art and ethics was given in the Archaic period by
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character is immersed in battle scenes, their expression shows to be hardly affected by the violence of the events.
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425:'s, who would take the aesthetic discussion even further, thoroughly exploring its moral and social repercussions.
827:, reduced copy of Phidias' Athena Partheno, originally in the Parthenon. National Archaeological Museum of Athens.
616:
Phidia's success among his contemporaries and his enduring memory derive mainly from his colossal cult statues of
3385:
3321:
2741:
Corinth: The Sanctuary of Demeter and Kore: Terracotta Figurines of the Classical, Hellenistic, and Roman Periods
1743:
classics that since the 18th century had been cultivated by German intellectuals, Classicism was co-opted by the
1441:
633:
2274:
1777:
2215:
842:
675:
2375:
2317:
1684:
1606:
current parlance "classic" is that which establishes a measure by which other things of that kind are judged.
1048:
2454:
169:
Classicism in Greek sculpture derives mainly from the Athenian cultural evolution in the 5th century B.C. In
114:. Thus, Classicism had an enormous impact on Western culture and became a reference for the study of Western
2360:
1678:
46:
812:
Phidias Workshop: Dionysus, original. Formerly on the pediment of the Parthenon, now in the British Museum.
140:
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671:
235:
It is as if a life in continual bloom and a spirit of eternal youth had been infused into their creation.
1311:
1072:
779:
564:
369:
947:
1930:
1181:
457:
1146:
3132:
Redner, ↵Harry. "Dialectics of Classicism: The birth of Nazism from the spirit of Classicism". In:
1819:
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illustrates his mastery in depicting the facial expression and grace of flexible, sinuous bodies.
1125:
720:
667:, a master greatly appreciated for the refinement of his works, is regarded as the inventor of the
204:
62:
1562:
1725:
1654:
1640:
Classicism began its spread around the world through the Greek colonies scattered all around the
1410:, while in other regions they would only become popular in Hellenism. One of the first important
1330:
1291:
1029:
906:
733:. Regarding the problem of the imitative representation of nature in art, Stephen Halliwell says:
678:, another relevant name, was Phidias' assistant and is credited with the design of the Parthenon
585:
222:
182:
74:
3179:"Beyond Readiness: New Questions about Cultural Understanding and Developmental Appropriateness"
2882:
2656:
2343:
1673:. Losing their former value, ancient works began to be destroyed. On the other hand, during the
715:' career, it is shown that at this time there was a debate about the capabilities and limits of
377:, with the typical classical figure of idealized features and impassive expression. Roman copy,
3347:
2439:"Western Sculpture: Ancient Greek: The Classical period: Late Classical period (c. 400–323 bc)"
3237:
1641:
998:
983:
824:
660:
103:
1448:
is worth mentioning, suggesting advanced practices in this field already during Classicism.
1756:
1730:
1692:
1367:
1201:
1041:
that looked beautiful or majestic, or that more directly evoked the attributes of the god.
1033:
668:
637:
524:. His neutral and dispassionate expression, his balance between staticity and movement (the
90:
58:
50:
2027:"Western Sculpture: Ancient Greek – The Classical period – Early Classical (c. 500–450 bc)"
1357:
In the purely technical field, there were no radical advances in what the sculptors of the
3352:
3331:
1861:
1696:
1634:
1545:
1384:
1247:
1205:
1006:
922:
651:
Other sculptors working around Polykleitos' proposal in the period of High Classicism are
645:
629:
66:
2218:. In THEML, Neyde; BUSTAMANTE, Regina Maria da Cunha & LESSA, Fábio de Souza (orgs).
3056:
2301:"Social Structure, Cultural Racionalisation and Aesthetic Judgement in Classical Greece"
351:
and for the expression of emotions in a more realistic and varied way. Around 455 B.C.,
1981:
1945:
1845:
1736:
1358:
972:
641:
492:
414:
387:
327:
218:
157:
135:
70:
54:
3161:
491:
Phidia's Workshop: Fragment of the original north frieze of the Parthenon, now in the
3374:
3364:
3046:. 10 Acta Hyperborea, 2003. University of Copenhagen; Museum Tusculanum Press. p. 230
1975:
1911:
1794:
1771:
1721:
1713:
1568:
1557:
1528:
1262:
1197:
1156:
901:
190:
111:
3073:
2784:
2722:
2128:
1739:
and inspired the formation of the North American state and its school of sculpture.
576:
1926:
1665:
seen as an offense to Christian morality, as well as being condemned as diabolical
1658:
1362:
1086:
526:
487:
331:
127:
1440:
objects is an ancient technique; however, its application has been more common in
632:. Both were covered with gold and ivory and had a huge impact at the time. Of the
2691:"The Times They Are A'Changing: Developments in Fifth-Century Funerary Sculpture"
3305:
1812:
1709:
1674:
1585:
1487:
Leda and the Swan, polychrome terracotta, original, Attica school. Louvre Museum
1419:
1002:
793:
664:
593:
558:
434:
200:
178:
145:
115:
107:
32:
3214:"The Theme: Philosophy/Phenomenology of Life inspiring Education for Our Times"
152:
1781:
1752:
1748:
1666:
1540:
1437:
1307:
1228:
1209:
1113:
1112:
Greek sculpture of the 4th century B.C. was dominated by three great figures:
1099:
1081:
1060:
1052:
982:
lost its communitarian character. At the same time, Greek colonies around the
774:
754:
698:
597:
549:
532:
513:
500:
448:
413:. Considering that the various musical genres impressed the soul in different
410:
406:
357:
131:
98:
27:
2695:
The Epigraphy of Death: Studies in the History and Society of Greece and Rome
2678:
The Epigraphy of Death: Studies in the History and Society of Greece and Rome
2234:
Images in mind: Statues in Archaic and Classical Greek Literature and Thought
1566:
Classic torso copy with attempted reconstitution of the original polychrome.
3233:
The Representation of the Past: Museums and Heritage in the Postmodern World
1801:
1767:
1766:
The classical educational model began to lose vigor under the impact of the
1688:
1645:
1536:
1524:
1177:
1165:
1164:
These masters, along with other notable figures of their generation such as
1014:
952:
896:
750:
652:
625:
610:
335:
319:
244:
3100:"Twentieth-Century Rhetoric: Enforcing Originality and Distancing the Past"
3025:
Squire, Michael. "The Legacy of Greek Sculpture". In: Palagia, Olga (ed.).
3005:"The Force of Classical Greece in the Formation of Romantic Age in Germany"
310:
whatever the future brings. Only from death he doesn't know how to escape,
737:
Even within the confines of the conversations reported by Xenophon in the
1893:
1877:
1717:
1670:
1623:
1453:
1344:
1243:
1121:
1107:
1038:
937:
863:
858:
712:
708:
656:
517:
516:– not to be confused with the philosopher – who were more concerned with
509:
409:, based on his research in the field of mathematics applied to music and
248:
208:
196:
186:
2362:
A History of Greek Sculpture. Vol. II. Under Pheidias and his Successors
2275:"Notes on the Reception of the Polykleitan Style: Diomedes to Alexander"
1277:
Unknown author: Dionysius Sardanapalo, Roman copy. National Roman Museum
1988:
1949:
1807:
1615:
1185:
1169:
1068:
968:
880:
716:
694:
438:
393:
374:
348:
334:. The Archaic style made use of several conventions inherited from the
240:
174:
536:, self-control, and moderation, one of the basic virtues that made up
1744:
1611:
1532:
1445:
1407:
1393:
1193:
1151:
1117:
1103:
964:
956:
797:
725:
679:
617:
544:
521:
418:
398:
340:
189:, Athens had assumed the leadership of the Greek cities, heading the
177:, but Classicism owes an equally important aesthetic contribution to
170:
94:
86:
286:"With his inventions he subdues the fierce beasts of the mountains,
498:
The statue Galen speaks of is today identified as likely being the
1776:
1720:
was a significant impulse for the consolidation of democratic and
1683:
1628:
1399:
1383:
Unknown author: Funerary stele of Thrasea and Euandria, original.
1047:
1020:
978:
917:
769:
746:
605:
538:
486:
462:
442:
422:
368:
352:
45:
has long been regarded as the highest point in the development of
3042:. In FEJFER, Jane; FISCHER-HANSEN, Tobias & RATHJE, Annette.
2744:. The American School of Classical Studies at Athens, 2000. p. 23
1610:
regimes and personalisms of various kinds, as it happened during
243:. More than that, Man was now considered the center of Creation.
3148:
Lukács e a atualidade da defesa do realismo na estética marxista
1076:
621:
557:' balance (based on a delicate balance of opposing forces) and
1622:
the appearance of homogeneity and consensus. The execution of
845:: Southern metope of the Parthenon, original. British Museum.
313:
for even for the most serious illnesses, he has found a cure.
2948:
Classical Bearings: Interpreting Ancient History and Culture
2640:. In KOLOSKI-OSTROW, Ann Olga & LYONS, Claire L. (eds).
2480:
The Aesthetics of Mimesis: Ancient Texts and Modern Problems
508:
has suggested, almost without objection, that it represents
3117:"Propaganda Art in Nazi Germany: The Revival of Classicism"
2483:. Princeton University Press, 2000. pp. 37-ss; 72-ss; 98-ss
2376:"The Statue of Athena and other Treasures in the Parthenon"
2045:. In BOARDMAN, John; GRIFFIN, Jasper & MURRAY, Oswin.
1747:, who saw in its formal models the glorified image of the
1499:
Terracotta theatrical mask model, original. British Museum
65:
in 323 BC. The Classical period in this sense follows the
2546:
Italian and Spanish Art, 1600–1750: Sources and Documents
277:
the one that is immortal and immune to old age, he works
2674:"Athenian Funerary Monumentos: Style, Grandeur and Cost"
1793:
customs related to sexuality and the concept of body in
1347:: Eros stringing his bow, Roman copy. Capitoline Museums
2365:. Adamant Media Corporation, 1883–2005. pp. 9–13; 17–20
3315:
Western Sculpture: Ancient Greek: The Classical period
2047:
The Oxford History of Greece and the Hellenistic World
451:, Roman copy. National Archaeological Museum of Athens
262:
There are many wonders, but none so admirable as Man.
207:, with Phidias as the artistic director of the works.
3336:
1788:, possibly original. Archaeological Museum of Olympia
1511:
Priapic statuette of an actor, terracotta, original.
1469:
Terracotta statuette with articulated limbs, original
1192:
the construction of concepts and practices regarding
3123:. Trinity College Digital Repository, Hartford, 2014
2346:. In BARRINGER, Judith & POLLITT, Jerome (eds).
1294:, original. National Archaeological Museum of Athens
35:, paradigm of the classical male canon. Copy in the
2723:"Greek Terracotta Figurines with Articulated Limbs"
1371:although always with some advances in refinement.
609:it expressed. As director of the decoration of the
338:, and its most important genre, the male nude (the
283:turning the soil with the horses it has fed. (...)
2281:. University of Wisconsin Press, 1995. pp. 248–249
1831:The classical heritage in the history of sculpture
1059:, version of the Aphrodite of Knidos, Roman copy.
2951:. University of California Press, 1998. pp. 17–18
2344:"The Parthenon and the Temple of Zeus at Olympia"
2237:. Princeton University Press, 2001. pp. 26–33; 35
1892:Unknown author: The genius Hada, 2nd century AD,
624:, which used to be installed respectively in the
292:as he does with the indefatigable mountain bull.
211:later described the enthusiasm that boiled over:
3183:The Praeger Handbook of Education and Psychology
2525:. Crete University Press, 2001. pp. 40–42; 46–48
2129:"The Art of Classical Greece (ca. 480–323 B.C.)"
1403:– relief plaques with inscriptions – appeared.
644:, the Apollo of Cassel, a wounded Amazon, and a
298:and learned for himself how to live in society,
289:the wild horse he muzzles and puts a halter on,
2417:. Edinburgh University Press, 2000. pp. 101–102
2249:Aesthetics from classical Greece to the present
2166:. Princeton University Press, 1992. pp. 363–364
2060:"Beauty is in the eye of a Greek chisel holder"
295:He taught himself language, swift as the wind,
2621:"Late Classical Era Sculpture (c.400–323 BCE)"
2350:. University of Texas Press, 2005. pp. 135–142
2324:. University of Wisconsin Press, 1995, pp. 3–7
2307:. Edinburgh University Press, 2000. pp. 185-ss
2252:. University of Alabama Press, 1966. pp. 27–28
1964:Unknown author: The German Man, 1934, Nazi art
1227:: Eirene bearing Plutus, Roman copy. Munich's
307:He can face anything, he is never unprepared,
274:And the earth, the most ancient of goddesses,
2697:. Liverpool University Press, 2000. pp. 25–58
2680:. Liverpool University Press, 2000. pp. 59–79
2115:. Cambridge University Press, 1972. pp. 64–66
1864:, 3rd century BC, Hellenistic Egypt, original
1763:, but it did not have much practical impact.
600:, as they are variations of the basic model.
397:, art had a privileged space as a creator of
301:how to escape from the impetus of the storms
53:covers only a short period in the history of
8:
2856:. Cambridge University Press, 1973. pp. 1-ss
2853:The classical heritage and its beneficiaries
2549:. Northwestern University Press, 1992. p. 10
2413:. In RUTTER, N. Keith & SPARKES, Brian.
2382:Cambridge University Press, 2005. pp. 261-ss
2303:. In RUTTER, N. Keith & SPARKES, Brian.
2049:. Oxford University Press, 1991. pp. 330–331
355:, a sculptor of the transition, created his
3277:. Biblo & Tannen Publishers, 1969. p. 1
3106:. University of Michigan Press, 2002. p. 26
2823:. University of Massachusetts Amherst, 2000
2014:. Cambridge University Press, 2001. pp. 3–4
265:Across the stormy sea in the winter storms
3185:. Greenwood Publishing Group, 2007. P. 434
2712:. Cambridge University Press, 1969. p. 195
2522:Aristotle on the Function of Tragic Poetry
2322:Polykleitos, the Doryphoros, and Tradition
2279:Polykleitos, the Doryphoros, and Tradition
2127:HEMINGWAY, Colette & HEMINGWAY, Seán.
1848:, 3rd century BC, Hellenistic, Roman copy.
193:and being the custodian of its treasury.
2774:. Taylor & Francis, 1961. pp. 122–134
1880:, 1st - 2nd century A.D., Roman, original
1584:Reduced bronze copy of the Diadumenos by
1261:Amazonomachy, frieze of the Mausoleum of
304:and the piercing cold of the white days.
3074:"American Neoclassical Sculptors Abroad"
2985:. Oxford University Press, 1992. pp. 1–5
2820:Greek Color Theory and the Four Elements
1579:
1561:
1378:
1329:Timothy: Leda and the Swan, Roman copy.
1316:National Archaeological Museum of Athens
1145:
946:
942:National Archaeological Museum of Naples
931:
580:Attributed to Polykleitos or Crésilas:
575:
563:
379:National Archaeological Museum of Naples
280:plowing back and forth, year after year
213:
151:
139:
37:National Archaeological Museum of Naples
20:
3343:
2543:ENGGASS, Robert & BROWN, Jonathan.
2001:
1914:, 4th century, paleochristian, original
1900:
1834:
1544:along with the appearance of the first
1459:
1281:
1214:
831:
759:
3121:The First-Year Papers (2010 – present)
3076:. In: The Metropolitan Museum of Art.
3059:. In: The Metropolitan Museum of Art.
3029:. Walter de Gruyter, 2019, pp. 657–689
2787:. In: The Metropolitan Museum of Art.
2756:Ancient Sculptural Copies in Miniature
2725:. In: The Metropolitan Museum of Art.
2216:"Corpo e Cidadania em Atenas Clássica"
2205:BOARDMAN, GRIFFIN & MURRAY. p. 332
2131:. In: The Metropolitan Museum of Art.
2112:Art and experience in classical Greece
1001:was born, an innovation attributed to
163:National Archaeological Museum, Athens
3309:. Encyclopedia of Irish and World Art
3216:. In TYMIENIECZKA, Anna-Teresa (ed).
3040:"Wiedewelt, Winkelmann and Antiquity"
3021:
3019:
3017:
2878:
2876:
2866:
2864:
2862:
2802:"Sculpture show of a different color"
2652:
2650:
2616:
2614:
2434:
2432:
2260:
2258:
2222:. Mauad Editora Ltda, 2003. pp. 48–49
2201:
2199:
2164:Daidalos and the Origins of Greek Art
1759:tried to propose a similar model for
330:pattern for another which was called
106:movements of importance, such as the
7:
2123:
2121:
2022:
2020:
628:in Athens and the temple of Zeus in
2887:Encyclopedia of Irish and World Art
2783:Department of Greek and Roman Art.
2661:Encyclopedia of Irish and World Art
2625:Encyclopedia of Irish and World Art
1160:, Roman copy. National Roman Museum
572:, Roman copy. National Roman Museum
3317:. Encyclopaedia Britannica On line
2964:. In TSETSKHLADZE, Gocha R. (ed).
2318:"The Doryphoros: Looking Backward"
1876:Unknown author: Genius of Emperor
867:, Roman copy. Munich Glyptotheque.
385:perfection, in a concept known as
14:
3078:Heilbrunn Timeline of Art History
3061:Heilbrunn Timeline of Art History
2912:. Oxford University Press, p. 240
2789:Heilbrunn Timeline of Art History
2727:Heilbrunn Timeline of Art History
2133:Heilbrunn Timeline of Art History
2011:The Archaeology of Ancient Greece
1633:Chalimachus: Memade, Roman copy.
584:, Roman copy signed by Sosicles.
3358:
3346:
3289:The Greek Tradition in Sculpture
2415:Word and image in ancient Greece
2305:Word and image in ancient Greece
2031:Encyclopaedia Britannica On line
1957:
1938:
1919:
1903:
1885:
1869:
1853:
1837:
1818:Cultural tourism to museums and
1504:
1492:
1480:
1462:
1337:
1322:
1299:
1284:
1270:
1254:
1236:
1217:
927:Archaeological Museum of Piraeus
888:
872:
850:
834:
817:
805:
786:
762:
227:Archaeological Museum of Olympia
73:and is in turn succeeded by the
3259:Classical Archaeology of Greece
2909:Archaic and Classical Greek Art
2785:"Roman Copies of Greek Statues"
2693:. In OLIVER, Graham John (ed).
2676:. In OLIVER, Graham John (ed).
2443:Encyclopaedia Britannica online
2348:Periklean Athens and its Legacy
2100:. Kessinger Publishing. pp. 353
1452:suggesting an association with
1094:Praxiteles, Scopas and Lysippos
247:expresses this new thinking in
173:, the main artistic figure was
2644:. Routledge, 1997. pp. 267–269
2584:. Routledge, 1995. pp. 448–450
2459:Routledge, 1973. pp. 21–22; 25
2456:Athens in Decline, 404-86 B.C.
1786:Hermes and the Infant Dionysus
1130:Hermes and the Infant Dionysus
268:this creature makes their way
165:. Example of the Archaic style
1:
3292:. Ayer Publishing, 1950. p. 8
3262:. Routledge, 1996. pp. 176-ss
3162:"Nós que éramos tão modernos"
2981:. In JENKYNS, Richard (ed.).
2936:. Kessinger Publishing, 2005.
2638:"Epilogue: Gender and Desire"
2608:. Prentice Hall PTR, 2003. pp
465:stated that according to the
252:
229:. Example of the Severe style
3274:Greek ideals and modern life
3104:The ancient art of emulation
3102:. In GAZDA, Elaine K. (ed).
3044:The rediscovery of antiquity
3007:. In THOMAS, Carol G. (ed).
2966:Ancient Greeks West and East
2709:Greek and Roman architecture
2079:. In THOMAS, Carol G. (ed).
2043:"Greek Art and Architecture"
1513:Staatliche Antikensammlungen
1473:Staatliche Antikensammlungen
689:x pathos in artistic mimesis
271:through the gigantic waves.
3271:LIVINGSTONE, Richard Winn.
3212:TYMIENIECZKA, Anna-Teresa.
3027:Handbook of Greek Sculpture
2320:. In MOON, Warren G. (ed).
2277:. In MOON, Warren G. (ed).
1246:: Apoxiomenon, Roman copy.
883:, original. British Museum.
85:association of beauty with
3404:
3323:Greek Art and Architecture
2768:HIGGINS, Reynold Alleyne.
2706:ROBERTSON, Donald Struan.
2519:SIFAKIS, Gregory Michael.
1555:
1432:Greek terracotta figurines
1429:
1137:Mausoleum of Halicarnassus
1097:
1005:, the first, according to
692:
432:
125:
61:in 510 BC to the death of
3220:. Springer, 2000. pp. 2–3
3011:. Brill, 1988, p. 118- ss
3009:Paths from Ancient Greece
2994:ENGASS & BROWN, p. 15
2968:. BRILL, 1999. pp. vii-ss
2771:Greek and Roman jewellery
2657:"Ancient Greek Sculpture"
2580:. In POWELL, Anton (ed).
2468:STEINER, pp. 57–58; 62–65
2081:Paths from Ancient Greece
1353:Other uses and techniques
634:Statue of Zeus at Olympia
43:Classical Greek sculpture
2636:KAMPEN, Natalie Boymel.
2602:JANSON, Horst Woldemar.
2096:. In LIVINGSTONE, R. W.
2094:"The Lamps of Greek Art"
1090:to discover themselves.
923:Bronze statue of Artemis
3381:Ancient Greek sculpture
3330:28 October 2009 at the
3286:AGARD, Walter Raymond.
2960:TSETSKHLADZE, Gocha R.
2921:THOMAS, pp. 1–5; 187-ss
2214:LESSA, Fábio de Souza.
1952:, c. 1800, neoclassical
1724:concepts. According to
1679:Giovanni Pietro Bellori
1601:Legacy and Perspectives
905:type head, Roman copy.
568:Attributed to Phidias:
429:Polykleitos and Phidias
47:Ancient Greek sculpture
16:Ancient Greek sculpture
3325:. Encyclopedia Encarta
2492:HALLIWELL, pp. 107–108
2400:STEINER, pp. 34–35; 42
2378:. In NEILS, Jennifer.
2083:. BRILL, 1988. pp. 1–5
1789:
1706:
1699:
1637:
1589:
1573:
1387:
1225:Cephisodotus the Elder
1174:Cephisodotus the Elder
1161:
1063:
960:
944:
929:
743:
588:
573:
495:
485:
452:
381:
315:
237:
230:
166:
149:
122:Context and background
39:
3230:Walsh, Kevin (1992).
3181:. In KINCHELOE, Joe.
3136:, 2019; 152 (1):19–37
2672:OLIVER, Graham John.
1780:
1701:
1687:
1669:and bad reminders of
1653:synthesis was called
1632:
1583:
1565:
1414:of Classicism is the
1382:
1312:Aphrodite of Syracuse
1149:
1051:
955:: Paris, Roman copy.
950:
935:
921:
841:Possibly designed by
796:: Venus, Roman copy,
780:National Roman Museum
735:
579:
567:
490:
471:
446:
372:
260:
232:
217:
155:
143:
24:
3166:O Estado de S. Paulo
2979:"The Legacy of Rome"
2933:The Legacy of Greece
2759:. BRILL, 1992. p. 20
2753:BARTMAN, Elizabeth.
2477:HALLIWELL, Stephen.
2411:"Plato and Painting"
2409:HALLIWELL, Stephen.
2290:STEWART, pp. 247–253
2098:The Legacy of Greece
1910:Unknown author: The
1820:archaeological sites
3194:BOLGAR, pp. 380–393
3168:, 16 December 2007.
3115:Sauquet, Mathilde.
2930:LIVINGSTONE, R. W.
2593:SPIVEY, pp. 454–445
2246:BEARDSLEY, Monroe.
1933:, 1504, Renaissance
1650:Alexander the Great
1535:, and the southern
1126:Aphrodite of Knidos
205:Acropolis of Athens
63:Alexander the Great
2983:The Legacy of Rome
2977:JENKYNS, Richard.
2832:BARTMAN, pp. 16-ss
2567:STEINER, pp. 85–93
2558:SIFAKIS, pp. 73-ss
2374:LAPATIN, Kenneth.
2342:HURWITT, Jeffrey.
2316:HURWIT, Jeffrey.
2264:STEINER, pp. 39–40
2231:STEINER, Deborah.
2193:POLLITT, pp. 80–81
2109:POLLITT, Jerome.
1896:culture, original.
1790:
1700:
1638:
1590:
1574:
1388:
1331:Capitoline Museums
1292:Antikythera Ephebe
1162:
1064:
1030:Hellenistic school
961:
945:
930:
925:, Greek original.
907:Capitoline Museums
589:
586:Capitoline Museums
574:
496:
453:
382:
231:
223:Apollon of Olympia
167:
150:
148:, classical period
75:Hellenistic period
40:
3256:SHANKS, Michael.
3177:CLAIBORNE, Lise.
2883:"Greek Sculpture"
2808:, 6 January 2008.
2721:MURATOV, Maya B.
2273:STEWART, Andrew.
2075:THOMAS, Carol G.
1375:Funeral sculpture
1061:Munich Glyptothek
825:Varvakeion Athena
3393:
3386:Classical Greece
3363:
3362:
3361:
3351:
3350:
3342:
3293:
3284:
3278:
3269:
3263:
3254:
3248:
3247:
3227:
3221:
3210:
3204:
3201:
3195:
3192:
3186:
3175:
3169:
3158:
3152:
3145:DUAYER, Juarez.
3143:
3137:
3130:
3124:
3113:
3107:
3098:WEISBERG, Ruth.
3096:
3090:
3087:
3081:
3072:TOLLES, Thayer.
3070:
3064:
3055:GONTAR, Cybele.
3053:
3047:
3036:
3030:
3023:
3012:
3001:
2995:
2992:
2986:
2975:
2969:
2958:
2952:
2943:
2937:
2928:
2922:
2919:
2913:
2906:OSBORNE, Robin.
2904:
2898:
2895:
2889:
2880:
2871:
2868:
2857:
2848:
2842:
2839:
2833:
2830:
2824:
2815:
2809:
2806:The Boston Globe
2798:
2792:
2781:
2775:
2766:
2760:
2751:
2745:
2738:MERKER, Gloria.
2736:
2730:
2719:
2713:
2704:
2698:
2687:
2681:
2670:
2664:
2654:
2645:
2634:
2628:
2618:
2609:
2600:
2594:
2591:
2585:
2578:"Bionic Statues"
2574:
2568:
2565:
2559:
2556:
2550:
2541:
2535:
2532:
2526:
2517:
2511:
2510:BOARDMAN, p. 331
2508:
2502:
2499:
2493:
2490:
2484:
2475:
2469:
2466:
2460:
2451:
2445:
2436:
2427:
2424:
2418:
2407:
2401:
2398:
2392:
2389:
2383:
2372:
2366:
2357:
2351:
2340:
2334:
2331:
2325:
2314:
2308:
2299:TANNER, Jeremy.
2297:
2291:
2288:
2282:
2271:
2265:
2262:
2253:
2244:
2238:
2229:
2223:
2220:Olhares do corpo
2212:
2206:
2203:
2194:
2191:
2185:
2182:
2176:
2173:
2167:
2160:
2154:
2151:
2145:
2142:
2136:
2125:
2116:
2107:
2101:
2092:GARDNER, Percy.
2090:
2084:
2073:
2067:
2058:HERSEY, George.
2056:
2050:
2041:BOARDMAN, John.
2039:
2033:
2024:
2015:
2008:WHITLEY, James.
2006:
1961:
1942:
1923:
1907:
1889:
1873:
1857:
1844:Unknown author:
1841:
1731:Apollo Belvedere
1693:Apollo Belvedere
1552:Copies and Color
1508:
1496:
1484:
1466:
1341:
1326:
1303:
1288:
1274:
1258:
1240:
1221:
1202:social inclusion
892:
879:Monument to the
876:
854:
838:
821:
809:
790:
766:
638:Athena Parthenos
257:
254:
51:Classical Greece
3403:
3402:
3396:
3395:
3394:
3392:
3391:
3390:
3371:
3370:
3369:
3359:
3357:
3345:
3337:
3332:Wayback Machine
3302:
3297:
3296:
3285:
3281:
3270:
3266:
3255:
3251:
3244:
3229:
3228:
3224:
3211:
3207:
3202:
3198:
3193:
3189:
3176:
3172:
3159:
3155:
3144:
3140:
3131:
3127:
3114:
3110:
3097:
3093:
3089:WHITLEY, p. 270
3088:
3084:
3071:
3067:
3057:"Neoclassicism"
3054:
3050:
3037:
3033:
3024:
3015:
3003:BEHLER, Ernst.
3002:
2998:
2993:
2989:
2976:
2972:
2959:
2955:
2944:
2940:
2929:
2925:
2920:
2916:
2905:
2901:
2896:
2892:
2881:
2874:
2869:
2860:
2850:BOLGAR, R. R.
2849:
2845:
2841:WHITLEY, p. 269
2840:
2836:
2831:
2827:
2816:
2812:
2800:McQUAID, Cate.
2799:
2795:
2782:
2778:
2767:
2763:
2752:
2748:
2737:
2733:
2720:
2716:
2705:
2701:
2689:STEARS, Karen.
2688:
2684:
2671:
2667:
2655:
2648:
2635:
2631:
2619:
2612:
2601:
2597:
2592:
2588:
2582:The Greek World
2576:SPIVEY, Nigel.
2575:
2571:
2566:
2562:
2557:
2553:
2542:
2538:
2533:
2529:
2518:
2514:
2509:
2505:
2500:
2496:
2491:
2487:
2476:
2472:
2467:
2463:
2453:MOSSÉ, Claude.
2452:
2448:
2437:
2430:
2425:
2421:
2408:
2404:
2399:
2395:
2391:STEWART, p. 254
2390:
2386:
2373:
2369:
2358:
2354:
2341:
2337:
2332:
2328:
2315:
2311:
2298:
2294:
2289:
2285:
2272:
2268:
2263:
2256:
2245:
2241:
2230:
2226:
2213:
2209:
2204:
2197:
2192:
2188:
2183:
2179:
2174:
2170:
2162:MORRIS, Sarah.
2161:
2157:
2152:
2148:
2143:
2139:
2126:
2119:
2108:
2104:
2091:
2087:
2074:
2070:
2057:
2053:
2040:
2036:
2025:
2018:
2007:
2003:
1998:
1972:
1965:
1962:
1953:
1943:
1934:
1924:
1915:
1908:
1897:
1890:
1881:
1874:
1865:
1862:Ptolemy I Soter
1858:
1849:
1842:
1833:
1772:post-modernists
1697:Vatican Museums
1603:
1560:
1554:
1522:
1515:
1509:
1500:
1497:
1488:
1485:
1476:
1467:
1434:
1428:
1416:Stela of Eufero
1385:Pergamon Museum
1377:
1355:
1348:
1342:
1333:
1327:
1318:
1304:
1295:
1289:
1278:
1275:
1266:
1259:
1250:
1248:Vatican Museums
1241:
1232:
1222:
1110:
1096:
1034:anthropomorphic
1007:Pliny the Elder
916:
909:
893:
884:
877:
868:
855:
846:
839:
828:
822:
813:
810:
801:
791:
782:
767:
701:
691:
646:Hermes Ludovisi
570:Hermes Ludovisi
474:written in the
441:
431:
367:
365:High Classicism
255:
138:
124:
67:Greek Dark Ages
59:Athenian tyrant
17:
12:
11:
5:
3401:
3400:
3397:
3389:
3388:
3383:
3373:
3372:
3368:
3367:
3355:
3335:
3334:
3319:
3311:
3301:
3300:External links
3298:
3295:
3294:
3279:
3264:
3249:
3242:
3222:
3205:
3196:
3187:
3170:
3160:PIZA, Daniel.
3153:
3151:. UNICAMP, sd.
3138:
3125:
3108:
3091:
3082:
3065:
3048:
3038:FEJFER, Jane.
3031:
3013:
2996:
2987:
2970:
2962:"Introduction"
2953:
2945:GREEN, Peter.
2938:
2923:
2914:
2899:
2890:
2872:
2858:
2843:
2834:
2825:
2817:BENSON, J. L.
2810:
2793:
2776:
2761:
2746:
2731:
2714:
2699:
2682:
2665:
2646:
2629:
2610:
2605:History of Art
2595:
2586:
2569:
2560:
2551:
2536:
2534:STEINER, p. 35
2527:
2512:
2503:
2501:TANNER, p. 197
2494:
2485:
2470:
2461:
2446:
2428:
2426:TANNER, p. 183
2419:
2402:
2393:
2384:
2380:The Parthenon.
2367:
2359:MURRAY, John.
2352:
2335:
2333:STEINER, p. 40
2326:
2309:
2292:
2283:
2266:
2254:
2239:
2224:
2207:
2195:
2186:
2177:
2175:POLLITT, p. 74
2168:
2155:
2153:POLLITT, p. 70
2146:
2144:POLLITT, p. 66
2137:
2117:
2102:
2085:
2077:"Introduction"
2068:
2066:, 31 May 1996.
2051:
2034:
2016:
2000:
1999:
1997:
1994:
1993:
1992:
1985:
1982:Kalos kagathos
1978:
1971:
1968:
1967:
1966:
1963:
1956:
1954:
1944:
1937:
1935:
1925:
1918:
1916:
1909:
1902:
1899:
1898:
1891:
1884:
1882:
1875:
1868:
1866:
1859:
1852:
1850:
1846:Pasquino Group
1843:
1836:
1832:
1829:
1695:, Roman copy.
1602:
1599:
1553:
1550:
1521:
1518:
1517:
1516:
1510:
1503:
1501:
1498:
1491:
1489:
1486:
1479:
1477:
1468:
1461:
1430:Main article:
1427:
1424:
1376:
1373:
1354:
1351:
1350:
1349:
1343:
1336:
1334:
1328:
1321:
1319:
1314:, Roman copy.
1306:Attributed to
1305:
1298:
1296:
1290:
1283:
1280:
1279:
1276:
1269:
1267:
1260:
1253:
1251:
1242:
1235:
1233:
1223:
1216:
1150:Attributed to
1095:
1092:
1067:statues. From
951:Attributed to
940:, Roman copy.
915:
914:Low Classicism
912:
911:
910:
895:Attributed to
894:
887:
885:
878:
871:
869:
857:Attributed to
856:
849:
847:
840:
833:
830:
829:
823:
816:
814:
811:
804:
802:
792:
785:
783:
778:, Roman copy,
768:
761:
690:
684:
642:Lemnian Athena
582:Wounded Amazon
493:British Museum
430:
427:
366:
363:
219:Olympia Master
158:Kroisos Kouros
136:Ancient Greece
123:
120:
71:Archaic period
55:Ancient Greece
15:
13:
10:
9:
6:
4:
3:
2:
3399:
3398:
3387:
3384:
3382:
3379:
3378:
3376:
3366:
3356:
3354:
3349:
3344:
3340:
3333:
3329:
3326:
3324:
3320:
3318:
3316:
3312:
3310:
3308:
3304:
3303:
3299:
3291:
3290:
3283:
3280:
3276:
3275:
3268:
3265:
3261:
3260:
3253:
3250:
3245:
3243:9780415079440
3239:
3236:. Routledge.
3235:
3234:
3226:
3223:
3219:
3215:
3209:
3206:
3200:
3197:
3191:
3188:
3184:
3180:
3174:
3171:
3167:
3163:
3157:
3154:
3150:
3149:
3142:
3139:
3135:
3134:Thesis Eleven
3129:
3126:
3122:
3118:
3112:
3109:
3105:
3101:
3095:
3092:
3086:
3083:
3079:
3075:
3069:
3066:
3062:
3058:
3052:
3049:
3045:
3041:
3035:
3032:
3028:
3022:
3020:
3018:
3014:
3010:
3006:
3000:
2997:
2991:
2988:
2984:
2980:
2974:
2971:
2967:
2963:
2957:
2954:
2950:
2949:
2942:
2939:
2935:
2934:
2927:
2924:
2918:
2915:
2911:
2910:
2903:
2900:
2897:TANNER, p. 10
2894:
2891:
2888:
2884:
2879:
2877:
2873:
2867:
2865:
2863:
2859:
2855:
2854:
2847:
2844:
2838:
2835:
2829:
2826:
2822:
2821:
2814:
2811:
2807:
2803:
2797:
2794:
2790:
2786:
2780:
2777:
2773:
2772:
2765:
2762:
2758:
2757:
2750:
2747:
2743:
2742:
2735:
2732:
2728:
2724:
2718:
2715:
2711:
2710:
2703:
2700:
2696:
2692:
2686:
2683:
2679:
2675:
2669:
2666:
2662:
2658:
2653:
2651:
2647:
2643:
2639:
2633:
2630:
2626:
2622:
2617:
2615:
2611:
2607:
2606:
2599:
2596:
2590:
2587:
2583:
2579:
2573:
2570:
2564:
2561:
2555:
2552:
2548:
2547:
2540:
2537:
2531:
2528:
2524:
2523:
2516:
2513:
2507:
2504:
2498:
2495:
2489:
2486:
2482:
2481:
2474:
2471:
2465:
2462:
2458:
2457:
2450:
2447:
2444:
2440:
2435:
2433:
2429:
2423:
2420:
2416:
2412:
2406:
2403:
2397:
2394:
2388:
2385:
2381:
2377:
2371:
2368:
2364:
2363:
2356:
2353:
2349:
2345:
2339:
2336:
2330:
2327:
2323:
2319:
2313:
2310:
2306:
2302:
2296:
2293:
2287:
2284:
2280:
2276:
2270:
2267:
2261:
2259:
2255:
2251:
2250:
2243:
2240:
2236:
2235:
2228:
2225:
2221:
2217:
2211:
2208:
2202:
2200:
2196:
2190:
2187:
2181:
2178:
2172:
2169:
2165:
2159:
2156:
2150:
2147:
2141:
2138:
2134:
2130:
2124:
2122:
2118:
2114:
2113:
2106:
2103:
2099:
2095:
2089:
2086:
2082:
2078:
2072:
2069:
2065:
2061:
2055:
2052:
2048:
2044:
2038:
2035:
2032:
2028:
2023:
2021:
2017:
2013:
2012:
2005:
2002:
1995:
1991:
1990:
1986:
1984:
1983:
1979:
1977:
1976:Gods in Color
1974:
1973:
1969:
1960:
1955:
1951:
1947:
1941:
1936:
1932:
1928:
1922:
1917:
1913:
1912:Good Shepherd
1906:
1901:
1895:
1888:
1883:
1879:
1872:
1867:
1863:
1856:
1851:
1847:
1840:
1835:
1830:
1828:
1824:
1821:
1816:
1814:
1810:
1809:
1803:
1798:
1796:
1795:media culture
1787:
1783:
1779:
1775:
1773:
1769:
1764:
1762:
1761:Fascist Italy
1758:
1754:
1753:modernist art
1750:
1746:
1740:
1738:
1733:
1732:
1727:
1723:
1719:
1715:
1714:Neoclassicism
1711:
1705:
1698:
1694:
1690:
1686:
1682:
1680:
1676:
1672:
1668:
1662:
1660:
1656:
1651:
1647:
1643:
1642:Mediterranean
1636:
1631:
1627:
1625:
1619:
1617:
1613:
1607:
1600:
1598:
1594:
1587:
1582:
1578:
1571:
1570:
1564:
1559:
1558:Gods in Color
1551:
1549:
1547:
1542:
1538:
1534:
1530:
1526:
1519:
1514:
1507:
1502:
1495:
1490:
1483:
1478:
1475:
1474:
1465:
1460:
1458:
1455:
1449:
1447:
1446:Louvre Museum
1443:
1439:
1433:
1425:
1423:
1421:
1417:
1413:
1409:
1404:
1402:
1401:
1396:
1395:
1386:
1381:
1374:
1372:
1369:
1364:
1360:
1352:
1346:
1340:
1335:
1332:
1325:
1320:
1317:
1313:
1309:
1302:
1297:
1293:
1287:
1282:
1273:
1268:
1264:
1263:Halicarnassus
1257:
1252:
1249:
1245:
1239:
1234:
1230:
1226:
1220:
1215:
1213:
1211:
1207:
1203:
1199:
1195:
1189:
1187:
1183:
1179:
1175:
1171:
1167:
1159:
1158:
1157:Ludovisi Ares
1153:
1148:
1144:
1142:
1138:
1133:
1131:
1127:
1123:
1119:
1115:
1109:
1105:
1101:
1093:
1091:
1088:
1085:
1083:
1078:
1074:
1070:
1062:
1058:
1054:
1050:
1046:
1042:
1040:
1035:
1031:
1025:
1023:
1022:
1016:
1010:
1008:
1004:
1000:
995:
991:
989:
985:
984:Mediterranean
981:
980:
974:
970:
966:
958:
954:
949:
943:
939:
934:
928:
924:
920:
913:
908:
904:
903:
902:Ares Borghese
898:
891:
886:
882:
875:
870:
866:
865:
860:
853:
848:
844:
837:
832:
826:
820:
815:
808:
803:
799:
795:
789:
784:
781:
777:
776:
771:
765:
760:
758:
756:
752:
748:
742:
740:
734:
732:
728:
727:
722:
718:
714:
710:
706:
700:
696:
688:
685:
683:
681:
677:
673:
670:
666:
662:
658:
654:
649:
647:
643:
639:
635:
631:
627:
623:
619:
614:
612:
608:
607:
601:
599:
595:
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583:
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519:
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511:
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506:Arnold Hauser
503:
502:
494:
489:
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477:
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447:Polykleitos:
445:
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191:Delian League
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112:Neoclassicism
109:
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68:
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56:
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23:
19:
3322:
3314:
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3258:
3252:
3232:
3225:
3217:
3208:
3203:GREEN, p. 16
3199:
3190:
3182:
3173:
3165:
3156:
3147:
3141:
3133:
3128:
3120:
3111:
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3094:
3085:
3077:
3068:
3060:
3051:
3043:
3034:
3026:
3008:
2999:
2990:
2982:
2973:
2965:
2956:
2947:
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2926:
2917:
2908:
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2893:
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2846:
2837:
2828:
2819:
2813:
2805:
2796:
2788:
2779:
2770:
2764:
2755:
2749:
2740:
2734:
2726:
2717:
2708:
2702:
2694:
2685:
2677:
2668:
2660:
2642:Naked Truths
2641:
2632:
2624:
2604:
2598:
2589:
2581:
2572:
2563:
2554:
2545:
2539:
2530:
2521:
2515:
2506:
2497:
2488:
2479:
2473:
2464:
2455:
2449:
2442:
2422:
2414:
2405:
2396:
2387:
2379:
2370:
2361:
2355:
2347:
2338:
2329:
2321:
2312:
2304:
2295:
2286:
2278:
2269:
2248:
2242:
2233:
2227:
2219:
2210:
2189:
2180:
2171:
2163:
2158:
2149:
2140:
2132:
2111:
2105:
2097:
2088:
2080:
2071:
2063:
2054:
2046:
2037:
2030:
2010:
2004:
1987:
1980:
1927:Michelangelo
1825:
1817:
1806:
1799:
1791:
1765:
1741:
1729:
1716:, classical
1707:
1702:
1663:
1659:Ancient Rome
1639:
1635:Prado Museum
1620:
1608:
1604:
1595:
1591:
1588:. BnF Museum
1575:
1569:Bunte Götter
1567:
1529:Magna Grecia
1525:Goldsmithery
1523:
1520:Goldsmithery
1512:
1470:
1450:
1435:
1415:
1411:
1405:
1398:
1392:
1389:
1356:
1190:
1163:
1154:
1140:
1134:
1111:
1087:Aristophanes
1080:
1065:
1056:
1055:: Aphrodite
1043:
1026:
1019:
1011:
996:
992:
987:
977:
962:
900:
862:
773:
744:
738:
736:
730:
724:
704:
702:
686:
650:
615:
604:
602:
590:
581:
569:
554:
537:
531:
527:contrapposto
525:
499:
497:
480:
475:
472:
466:
456:
454:
404:
392:
388:kalokagathia
386:
383:
356:
346:
339:
324:
316:
312:
309:
306:
303:
300:
297:
294:
291:
288:
285:
282:
279:
276:
273:
270:
267:
264:
261:
238:
233:
225:, original.
195:
181:, active in
168:
161:, original.
156:
128:Severe style
83:
79:
42:
41:
26:
18:
1813:consumerism
1726:Winckelmann
1675:Renaissance
1667:cult images
1586:Polykleitos
1426:Terracottas
1141:Apoxiomenon
1003:Lysistratus
794:Callimachus
739:Memorabilia
705:Memorabilia
665:Callimachus
594:Discophoros
559:Hippocrates
435:Polykleitos
201:imperialism
179:Polykleitos
146:Tetradrachm
116:art history
108:Renaissance
33:Polykleitos
3375:Categories
1996:References
1782:Praxiteles
1749:Aryan race
1722:republican
1572:Exhibition
1556:See also:
1541:apotheosis
1438:terracotta
1420:archeology
1308:Praxiteles
1265:, original
1229:Glyptothek
1210:aesthetics
1204:, affect,
1114:Praxiteles
1100:Praxiteles
1098:See also:
1053:Praxiteles
775:Discobolus
755:Aesthetics
699:Aesthetics
693:See also:
669:Corinthian
598:Diadumenos
555:Doryphoros
550:Quintilian
545:Apollonian
533:Sophrosyne
514:Pythagoras
501:Doryphoros
449:Diadumenos
433:See also:
411:psychology
407:Pythagoras
358:Discobolus
258:), saying:
132:Classicism
126:See also:
104:revivalist
28:Doryphoros
3307:Greek Art
2064:The Offer
1802:Modernism
1768:Modernist
1757:Mussolini
1710:Romantics
1689:Leochares
1655:Hellenism
1646:Black Sea
1537:Black Sea
1206:sexuality
1182:Timotheus
1178:Euphranor
1166:Leochares
1082:simulacra
1073:Pygmalion
1015:catharsis
953:Euphranor
897:Alcamenes
751:Aristotle
653:Alcamenes
626:Parthenon
611:Parthenon
336:Egyptians
320:Parthenon
245:Sophocles
144:Athenian
99:aesthetic
3353:the arts
3328:Archived
1970:See also
1894:Gandhara
1878:Domitian
1860:Bust of
1737:Atlantic
1718:humanism
1708:For the
1671:paganism
1644:and the
1624:Socrates
1368:lost wax
1345:Lysippos
1244:Lysippos
1122:Lysippos
1108:Lysippos
999:portrait
938:Socrates
936:Bust of
864:Diomedes
859:Kresilas
713:Socrates
709:Xenophon
661:Paeonius
657:Kresilas
596:and the
543:and the
518:symmetry
510:Achilles
373:Bust of
249:Antigone
209:Plutarch
197:Pericles
187:Persians
3339:Portals
3218:Paideia
3080:, 2000.
3063:, 2000.
2791:, 2000.
2729:, 2000.
2135:, 2000.
1989:Paideia
1950:Perseus
1808:paideia
1616:Fascism
1454:Cthonic
1442:pottery
1436:Making
1359:Archaic
1186:anatomy
1170:Bryaxis
1069:Pandora
1057:Braschi
969:Corinth
881:Nereids
843:Calamis
717:mimesis
695:Mimesis
680:metopes
676:Calamis
672:capital
630:Olympia
469:beauty:
439:Phidias
399:symbols
394:paideia
375:Artemis
349:anatomy
328:Archaic
241:destiny
175:Phidias
95:ethical
3365:Greece
3240:
3119:. In:
2870:HERSEY
1946:Canova
1612:Nazism
1546:cameos
1533:Cyprus
1412:stelae
1408:Attica
1400:stelae
1394:kouros
1363:Severe
1198:status
1194:gender
1180:, and
1152:Scopas
1118:Scopas
1106:, and
1104:Scopas
973:Thebes
971:, and
965:Sparta
959:Museum
957:Louvre
798:Louvre
726:pathos
721:psyche
674:, and
659:, and
618:Athena
522:rhythm
504:, and
467:Canon,
419:cosmos
341:kouros
332:Severe
171:Athens
134:, and
87:virtue
1931:David
1745:Nazis
1077:myths
1021:polis
988:polis
979:polis
770:Myron
747:Plato
731:arete
687:Arete
606:ethos
539:arete
481:Canon
476:Canon
463:Galen
458:Canon
423:Plato
353:Myron
183:Argos
91:civic
31:, by
3238:ISBN
1614:and
1361:and
1120:and
1039:idol
749:and
697:and
622:Zeus
620:and
520:and
437:and
415:ways
110:and
97:and
69:and
25:The
1797:.
1618:.
1071:to
1024:.
3377::
3164:.
3016:^
2885:.
2875:^
2861:^
2804:.
2659:.
2649:^
2623:.
2613:^
2441:.
2431:^
2257:^
2198:^
2120:^
2062:.
2029:.
2019:^
1948::
1929::
1784::
1755:.
1691::
1681::
1657:.
1648:.
1548:.
1531:,
1471:.
1310::
1208:,
1200:,
1196:,
1176:,
1172:,
1168:,
1155::
1116:,
1102:,
1075:,
967:,
899::
861::
772::
757:.
707:,
663:.
655:,
648:.
253:c.
221:.
130:,
93:,
77:.
49:.
3341::
3246:.
2663:.
2627:.
1231:.
1084:.
800:.
541:,
251:(
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