22:
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395:, while others believe that there is confusion whether the sculpture is meant to depict a mortal or a hero. There have also been discussions on where these sculptures would be located during high Classical period, depending on where they were discovered. For example, the copy in Naples was found in the municipal Gymnasium of Pompeii, which leads us to believe that one may have been placed near fitness programs of the youth. Copies were also common for patrons to place in or outside their home.
518:
325:(MIA), has received some attention in recent years. This copy is 1.98 m high and dates to the first century BC or first century AD. It is the best-preserved surviving copy of the Doryphoros, though missing its left arm, a finger from its right hand, and its right foot. The sculpture was supposedly found in Italian waters during the 1930s and spent several decades in private collections before being loaned to the Munich
437:. The contrapposto style, idealised youthful male nudity, and overall antiquitical inspiration all show echoes of Polykleitos' Doryphoros. There is a chance however that the David was not so much designed with the Doryphoros in mind specifically, but the wider style contrappostic proportioning of which Polykleitos spread as a result of his work, as seen in the aforementioned Prima Porta statue, or with the statue of the
226:. The figure's right leg is straightened, depicted as supporting the body's weight, with the right hip raised and the right torso contracted. The left leg bears no weight and the left hip drops, slightly extending the torso on the left side. The right arm hangs positioned by the figure's side, bearing no load. It is perhaps the earliest extant example of a free-hanging arm in a statue.
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in fact, of everything to everything else, just as it is written in the Canon of
Polyclitus. For having taught us in that work all the proportions of the body, Polyclitus supported his treatise with a work: he made a statue according to the tenets of his treatise, and called the statue, like the work, the 'Canon'.
170:
is an illustration of his writings in Kanon on the symmetry between the body parts. Polykleitos achieved a balance between muscular tensions and relaxation due to the chiastic principle that he relied on. "Scholars agree that
Polykleitos based his calculations on a single module, perhaps the terminal
187:
that dates from 120–50 BC. The original was made out of bronze in about 440 BC but is now lost (along with most other bronze sculptures made by a known Greek artist). Neither the original statue nor the treatise have yet been found; it is widely considered that they have not survived from antiquity.
160:
Chrysippos holds beauty to consist not in the commensurability or "symmetria" of the constituent elements , but in the commensurability of the parts, such as that of finger to finger, and of all the fingers to the palm and wrist, and of those to the forearm, and of the forearm to the upper arm, and
758:
Finalmente è arrivata la notizia tanto attesa: la
Procura della Repubblica di Torre Annunziata ha avviato la rogatoria internazionale per la confisca e restituzione del Doriforo. Questo è stato reso possibile dal lavoro instancabile degli investigatori e ad una serie di accordi internazionali per
455:
165:
Polykleitos is known as the best sculptor of men, with the primary subjects of his works being male athletes with idealized body proportions. He was interested in the mathematical proportions of the human form, which led him to write an essay the Kanon, on the proportions of humans. The
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In the surviving Roman marble copies, a large sculpted tree stump is added behind one leg of the statue in order to support the weight of the stone; this would not have been present in the original bronze (the tensile strength of the metal would have made this unnecessary). A small
207:
The sculpture stands at approximately 6 feet 11 inches tall. Polykleitos used distinct proportions when creating this work; for example, the ratio of head to body size is one to seven. The figure's head turned slightly to the right, the heavily-muscled but athletic figure of the
215:
The left hand originally held a long spear; the left shoulder (on which the spear originally rested) is depicted as tensed and therefore slightly raised, with the left arm bent and tensed to maintain the spear's position. The figure's pose is classical
767:
has issued an international warrant for the confiscation and restitution of the
Doryphoros. This was made possible by the tireless work of investigators and a series of international agreements to counter the illicit trafficking of works of
212:
is depicted standing in the instant that he steps forward from a static pose. This posture reflects only the slightest incipient movement, and yet the limbs and torso are shown as fully responsive.
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La
Redazione Marta (23 February 2022). "Castellammare di Stabia: il ritorno del Doriforo di Policleto" [Castellammare di Stabia: the return of the Doryphoros of Polyclitus].
907:
Bildwerke nach
Polyklet. Kopienkritische Untersuchungen zu den männlichen statuarischen Typen nach polykletischen Vorbildern. "Diskophoros", Hermes, Doryphoros, Herakles, Diadumenos
387:. The body would be that of a young athlete that included chiseled muscles and a naturalistic pose. The face is generic, displaying no emotion. Some scholars believe that
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in the late 1970s, and bought by the MIA in 1986. The
Italian government asserts that the statue was illegally excavated between 1975 and 1976 from the Verano hill at
156:
as the perfect visual expression of the Greeks' search for harmony and beauty, which is rendered in the perfectly proportioned sculpted male nude:
545:, 1995: essays by various scholars resulting from a symposium at the University of Wisconsin, 1989, stimulated by the purchase of the Minneapolis
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passed it by in the royal
Bourbon collection at Naples without notable comment. The marble sculpture and a bronze head that had been retrieved at
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Fortunately, several Roman copies in marble—of varying quality and completeness—do survive to convey the essential form of
Polykleitos' work.
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141:(or 'Canon'), translated as "measure" or "rule"), exemplifying what he considered to be the perfectly harmonious and balanced
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was created during the high
Classical period. During this time, there was an emphasis put on the ideal man who was shown in
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840:
J.J. Pollini, "The Augustus of Prima Porta and the transformation of the Polykleitan heroic ideal" in Moon 1995:262-81.
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Another example of the influence the Doryphoros had on sculpture much later than its initial conception can be seen in
295:: "It preserves some of the urgency and concentration of the original" lost in the full-size "blockish" marble copies.
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section of the little finger, to determine the corresponding measurements of each body part" (MIA Doryphoros Plaque).
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923:(University of Wisconsin Press) 1995. Papers from a symposium of 1989 organized round the Minneapolis over-lifesize
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A Doryphorus-type of the canon Polycleitus, ca. 1886–1889. Nicholas Catsimpoolas Collection, Boston Public Library
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564:("On the doctrines of Hippocrates and Plato") 5.3; noted in Richard Tobin, "The Canon of Polykleitos"
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414:. The same depiction has the legs of the emperor arranged in the same manner as the stance of the
333:, near Naples, and has issued an international warrant for confiscation and return of the work.
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A well-preserved, Roman period copy of the statue in Pentelic marble, purchased in 1986 by the
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of Apollonios , considered by many scholars to be an almost flawless replica of the original
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copies. The work nonetheless forms an important early example of both Classical Greek
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763:[Finally the long-awaited news has arrived: the Public Prosecutor's Office of
589:. Translated by Bizzarri, Erika. New York: Harry N. Abrams Incorporated. p.
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but, according to Francis Haskell and Nicholas Penny, early connoisseurs such as
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vol. V 1767, pp 183–87, considered at the time to be a portrait sculpture of
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balanced on his left shoulder. Rendered somewhat above life-size, the lost
733:"This Ancient Roman Statue Embodies the 'Perfect' Man. But Was It Stolen?"
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established by Polykleitos ossified in Hellenistic and Roman times in the
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571:.4 (October 1975:307–321) pp308f, with somewhat differing translation.
287:"conveys the effect of bronze, and is executed with unusual care", as
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33:. Material: marble. Height: 2.12 metres (6 feet 11 inches).
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440 BC, but it is today known only from later (mainly Roman period)
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De la Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
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The sculpture was known through the Roman marble replica found in
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is also usually present to support the right hand and lower arm.
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Taste and the Antique: The Lure of Classical Sculpture 1500–1900
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Una copia del Doríforo en las Termas Marítimas de Baelo Claudia
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At some point in the 2nd century AD, the Greek medical writer
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Actas del XVIII Congreso Internacional de Arqueología Clásica
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represented a young Achilles on his way to battle in the
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as a demonstration of his written treatise, entitled the
823:, Università degli Studi Suor Orsola Benincasa (2013),
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proved highly influential elsewhere in ancient art.
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887:Herbert Beck, Peter C. Bol, Maraike Bückling, eds.
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889:Polyklet. Der Bildhauer der griechischen Klassik.
759:contrastare il traffico illecito di opere d'arte.
1052:Roman copies of 5th-century BC Greek sculptures
821:Pompei/Messene. Il "Doriforo" e il suo contesto
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895:, Frankfurt am Main. (Von Zabern, Mainz) 1990
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660:(noted by Haskell and Penny 1981:118 note 10).
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336:Another copy was found in 2012, in the Roman
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795:, volumen II, pp.1303-1308, Mérida (2014),
612:(9th ed.). Thomson/Wadsworth. p.
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921:Polykleitos, the Doryphoros, and Tradition
543:Polykleitos, the Doryphoros, and Tradition
87:original of the work would have been cast
25:A well-preserved Roman period copy of the
930:Greek Ideas & Values: (adapted from
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29:of Polykleitos from the collection of
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310:. Held in the same museum is a bronze
308:Museo Archeologico Nazionale di Napoli
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248:Naples National Archaeological Museum
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31:Naples National Archaeological Museum
16:Sculpture by Polykleitos of a warrior
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398:The canonic proportions of the male
1021:Artistic canons of body proportions
561:De placitis Hippocratis et Platonis
298:Perhaps the best known copy of the
123:Artistic canons of body proportions
640:(Yale University Press), 1981:105.
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585:Art of Crete, Mycenae, and Greece
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688:The Nude: A Study in Ideal Form
566:American Journal of Archaeology
293:The Nude: A Study in Ideal Form
271:For modern eyes, a fragmentary
608:Gardner's Art Through the Ages
1:
934:, translated by J.J. Pollitt)
143:proportions of the human body
731:Recker, Jane (25 May 2022).
708:Minneapolis Institute of Art
323:Minneapolis Institute of Art
127:The renowned Greek sculptor
675:Der Doryphoros des Polyklet
477:National Gallery of Denmark
475:3D model of replica at the
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891:Exhibition catalog at the
291:noted, illustrating it in
252:Johann Joachim Winckelmann
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851:"Polykleitos, Doryphoros"
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71:is one of the best known
1047:Ancient Greek sculptures
1042:Sculptures by Polyclitus
650:Le Antichità di Ercolano
261:Le Antichità di Ercolano
1015:Polykleitos the Younger
581:Hafner, German (1969).
522:Polykleitos, Doryphoros
431:Galleria dell'Accademia
408:Augustus of Prima Porta
374:Augustus of Prima Porta
331:Castellammare di Stabia
306:and now resides in the
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352:, near the village of
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183:is a marble copy from
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145:in the sculpted form.
105:; as such, the iconic
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919:Moon, Warren G., ed.
909:. Mann, Berlin 1990,
815:Il Doriforo di Pompei
690:, 1956, fig 26 p. 69.
429:, now located in the
406:, exemplified by the
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246:and conserved in the
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812:Vincenzo Franciosi,
737:Smithsonian Magazine
541:Warren G. Moon, ed.
119:Canon of Polykleitos
56:[dorypʰóros]
52:Greek pronunciation:
905:Detlev Kreikenbom:
865:on October 27, 2014
636:Haskell and Penny,
238:Extant Roman copies
201:Villa of the Papyri
77:Classical antiquity
787:2017-12-07 at the
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258:were published in
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59:, "Spear-Bearer";
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801:978-84-606-7949-3
752:Sardegna Reporter
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244:Herculaneum
175:Description
131:designed a
129:Polykleitos
69:Polykleitos
1036:Categories
991:Diadumenos
984:Doryphoros
976:Sculptures
925:Doryphoros
547:Doryphoros
504:References
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416:Doryphoros
412:Doryphoros
393:Trojan War
389:Doryphoros
381:Doryphoros
372:Statue of
327:Glyptothek
316:Doryphoros
300:Doryphoros
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266:Doryphorus
210:Doryphoros
203:in Pompeii
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168:Doryphoros
154:Doryphoros
113:Conception
107:Doryphoros
65:Doryphorus
40:Doryphoros
27:Doryphoros
768:art.]
713:10 August
656:, son of
364:Influence
275:torso in
61:Latinised
48:Δορυφόρος
785:Archived
778:VV. AA.,
487:See also
435:Florence
195:Head of
1008:Related
686:Clark,
658:Agrippa
558:Galen,
354:Bolonia
340:thermae
304:Pompeii
279:in the
185:Pompeii
103:realism
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350:Tarifa
318:head.
285:Uffizi
281:Medici
277:basalt
224:pelvis
93:marble
85:bronze
1017:(son)
673:, in
427:David
400:torso
358:Spain
312:herma
232:strut
150:Galen
138:Κανών
89:circa
81:spear
67:) of
45:Greek
911:ISBN
897:ISBN
871:2013
825:ISBN
797:ISBN
715:2022
618:ISBN
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