552:
532:. The bronze was pulled out of the sea and restored. Because of the amount of corrosion and the thick layer of incrustation that coated the statue when it was found, it can be assumed that it was beneath the water for centuries. This is less than surprising, as most of the classical bronze statues archeologists have found have been fished out of the Mediterranean Sea. It was not uncommon for a shipwreck to occur with something as precious as a sculpture on board. Without any way to find or retrieve them, these pieces were left to sit at the bottom of the ocean for centuries. The damaging corrosion can be removed by cleaning the surfaces mechanically with a scalpel.
33:
412:
506:
250:
192:. Problems confront the study of Lysippos because of the difficulty in identifying his style in the copies which survive. Not only did he have a large workshop and many disciples in his immediate circle, but there is understood to have been a market for replicas of his work, supplied from outside his circle, both in his lifetime and later in the
807:
In the fourth century BCE, Lysippos drew up a canon of proportions for a more elongated figure that that defined by
Polykleitos in the previous century. According to Lysippos, the height of the head should be one-eighth the height of the body, and not one-seventh, as Polykleitos
230:
or coherent balance, of his figures, which were leaner than the ideal represented by
Polykleitos and with proportionately smaller heads, giving them the impression of greater height. He was famous for his attention to the details of eyelids and toenails.
482:
Lysippos has been credited with the stock representation of an inspired, godlike
Alexander with tousled hair and lips parted, looking upward in what came to be known as the 'Lysippean gaze'. One fine example, an early Imperial Roman copy found at
539:. Lysippos's work is described by ancient sources as naturalistic with slender and often lengthened proportions, often with exaggerated facial features. Those depicted in the works of Lysippos had smaller heads than those of his mentor
580:'he made the heads of his statues smaller than the ancients, and defined the hair especially, making the bodies more slender and sinewy by which the height of the figure seemed greater'
551:
1058:
535:
The Getty Bronze is believed by some to be
Lysippos's work, or at least a copy, because the detail on it is consistent with his style of work and his
257:
1053:
755:
339:). Lysippos was also famous for his bronze colossal sculptures of Zeus, 17 metres tall, and Herakles, seven meters seated, both from the city of
395:
signifying "a canon of bodily proportions essentially different from that of
Polykleitos". Lysippos is credited with having established the '
318:
226:
and Sicyon. According to Pliny, he produced more than 1,500 works, all of them in bronze. Commentators noted his grace and elegance, and the
952:
791:
702:
243:
911:
886:
246:. As this statue does not exist today, debate continues as to whether its sections were cast in bronze or hammered of sheet bronze.
989:
431:
1063:
32:
968:
According to
Lysippos, the height of the head should be one-eighth the height of the body, and not one-seventh, as
392:
capita minora faciendo quam antiqui, corpora graciliora siccioraque, per qum proceritas signorum major videretur,
649:
376:
173:
435:
647:, and, in the next generation, Tysikrates produced sculpture scarcely to be distinguished from his. (
536:
463:
274:
427:
861:
314:
239:
189:
488:
419:
907:
882:
454:
775:
602:
520:
511:
500:
430:; indeed, he was the only artist whom the conqueror saw fit to represent him. An epigram by
400:
396:
309:
235:
202:
130:
222:
in his youth. He taught himself the art of sculpture, later becoming head of the school of
864:
exhibition catalogue, illustrates several examples and traces the development of the type.
644:
411:
386:
382:
336:
197:
193:
927:
874:
555:
Head of
Socrates, 210BC copy of bust by Lysippos of 320BC, Museum of Old Masters, Dresden
45:; Roman marble copy (135–150 CE) of Greek original (330–310 BC) attributed to Lysippos.
282:
185:
163:
78:
1047:
484:
439:
223:
543:
because he used a one to eight scale for the head and the total height of the body.
529:
332:
46:
505:
442:(65 Austin-Bastianini), takes as its inspiration a bronze portrait of Alexander:
969:
560:
540:
366:
356:
323:
270:
115:
295:
181:
704:
Praxiteles and the Hermes with the
Dionysos-child from the Heraion in Olympia
418:, a Roman copy of an Alexander bust found at Tivoli, attributed to Lysippos (
206:
or Getty bronze, which resurfaced around 1972, has been associated with him.
249:
528:
to
Italians, was discovered and at the urging of Paul Getty, bought by the
362:
347:, by Glykon, with heavy musculature typical of early third century Rome.
819:
679:
38:
675:
340:
300:
795:
671:
667:
304:
290:
269:
Lysippos was successor in contemporary repute to the famous sculptor
219:
215:
177:
74:
50:
42:
343:. The only remaining version of one such statue is a Roman copy of
780:. Washington: the Carnegie Institution of Washington. p. 136.
550:
410:
248:
54:
691:
Stokstad, Marilyn. Art
History: Ancient Art. Prentice Hall, 2011.
751:
712:
The canon of Polykleitos was heavy and square, his statues were
451:
which you made in the form of Alexander. In no way can one blame
256:, a Roman marble copy of a lost bronze attributed to Lysippos (
184:, he is considered one of the three greatest sculptors of the
477:"I set Earth under my feet; thyself, Zeus, possess Olympus."
167:
757:
A manual of ancient sculpture: Egyptian–Assyrian–Greek–Roman
623:
608:
136:
1023:
Stewart, A.F. 1983. 'Lysippos and Hellenistic sculpture',
987:
A. F. Stewart, "Lysippan Studies" 2. Agias and Oilpourer"
151:
617:
145:
471:
Lysippus modelled Alexander's daring and his whole form.
1033:
Vermeule, C.C. 1975. 'The weary Herakles of Lysippos',
449:
cunning craftsman, fire is in the glance of the bronze,
426:
During his lifetime, Lysippos was personal sculptor to
906:. California: The J Paul Getty Museum. pp. 7–29.
643:
His son Euthyktates worked in his style, according to
473:
How great is the power of this bronze! The brazen king
289:(known through the marble copy found and preserved in
273:. Among the works attributed to him are the so-called
626:
614:
438:(APl 119), but also found on the recently discovered
154:
142:
831:
Translation taken from C. Austin and G. Bastianini,
620:
605:
148:
133:
611:
457:: cattle may be forgiven for flying before a lion.
139:
111:
103:
85:
62:
23:
881:. California: The J Paul Getty Museum. p. 1.
844:Translation taken from W.R. Paton's Loeb edition,
718:, the canon of Lysippos was more slim, less fleshy
317:, although the surviving marble copy lies in the
1006:Gardner, P. 1905. 'The Apoxymenos of Lysippos',
281:(of which various copies exist, the best in the
777:Olympic Victor Monuments and Greek Athletic Art
468:
444:
792:"Hercules: The influence of works by Lysippos"
928:"Lysippos: Ancient Greek Sculptor, Biography"
8:
701:Charles Waldstein, PhD. (17 December 1879).
475:seems to be gazing at Zeus and about to say:
732:
713:
390:
374:
20:
848:, Cambridge, Massachusetts 1918, p. 227.
504:
447:Lysippus, sculptor of Sicyon, bold hand,
258:National Archaeological Museum of Athens
218:around 390 BC, Lysippos was a worker in
588:
573:
357:Polykleitos § Canon of Polykleitos
833:Posidippi Pellaei quae supersunt omnia
674:copy of a bronze. The original was at
634:) is less used today, even in English.
385:wrote that Lysippos introduced a new
345:The Weary Herakles (Farnese Hercules)
319:Naples National Archaeological Museum
176:of the 4th century BC. Together with
7:
313:(which was originally placed in the
996:.3 (Summer 1978), pp. 301–313.
244:Seven Wonders of the Ancient World
188:era, bringing transition into the
14:
1016:Serwint, N. 1996. 'Lysippos', in
754:. "Lysippos and Macedonian Art".
434:, previously only known from the
369:and this has become known as the
1059:Sculptors of Alexander the Great
601:
129:
31:
990:American Journal of Archaeology
1054:4th-century BC Greek sculptors
1:
774:Walter Woodburn Hyde (1921).
730:Pliny the Elder. "XXXIV 65".
462:And similarly, an epigram by
89:
66:
16:4th-century BC Greek sculptor
365:style than his predecessor
1080:
666:, dedicated by Daochos at
498:
361:Lysippos developed a more
354:
168:
740:cited in Waldstein (1879)
30:
932:www.visual-arts-cork.com
858:The Search for Alexander
563:, another Greek sculptor
822:, Life of Alexander, iv
733:
714:
556:
515:
487:, is conserved at the
480:
460:
423:
407:Lysippos and Alexander
391:
375:
279:Eros Stringing the Bow
261:
1018:The Dictionary of Art
846:The Greek Anthology V
670:, was a contemporary
554:
508:
436:Anthology of Planudes
414:
252:
835:, Milan 2002, p. 89.
537:canon of proportions
495:The Victorious Youth
275:Horses of Saint Mark
902:Frel, Jiří (1982).
524:, Getty Bronze, or
428:Alexander the Great
335:marble copy in the
1064:Ancient Sicyonians
734:Historia Naturalis
557:
516:
424:
377:Historia Naturalis
315:Baths of Caracalla
262:
254:Hermes of Atalante
240:Colossus of Rhodes
238:, constructed the
190:Hellenistic period
662:The rediscovered
371:Canon of Lysippos
351:Canon of Lysippos
265:Career and legacy
122:
121:
1071:
1020:vol. 19: 852–54.
975:
974:
965:
963:
949:
943:
942:
940:
938:
924:
918:
917:
904:The Getty Bronze
899:
893:
892:
879:The Getty Bronze
871:
865:
855:
849:
842:
836:
829:
823:
817:
811:
810:
804:
802:
788:
782:
781:
771:
765:
764:
762:
750:George Redford,
747:
741:
739:
736:
727:
721:
720:
717:
709:
698:
692:
689:
683:
660:
654:
641:
635:
633:
632:
629:
628:
625:
622:
619:
616:
613:
610:
607:
593:
581:
578:
521:Victorious Youth
512:Victorious Youth
501:Victorious Youth
401:body proportions
397:eight heads high
394:
380:
310:Farnese Hercules
236:Chares of Lindos
203:Victorious Youth
171:
170:
161:
160:
157:
156:
153:
150:
147:
144:
141:
138:
135:
95:(aged around 90)
94:
91:
71:
68:
35:
21:
1079:
1078:
1074:
1073:
1072:
1070:
1069:
1068:
1044:
1043:
1003:
1001:Further reading
984:
979:
978:
961:
959:
951:
950:
946:
936:
934:
926:
925:
921:
914:
901:
900:
896:
889:
873:
872:
868:
856:
852:
843:
839:
830:
826:
818:
814:
800:
798:
790:
789:
785:
773:
772:
768:
760:
749:
748:
744:
729:
728:
724:
707:
700:
699:
695:
690:
686:
661:
657:
650:Natural History
642:
638:
604:
600:
594:
590:
585:
584:
579:
575:
570:
549:
503:
497:
479:
476:
474:
472:
459:
452:
450:
448:
409:
383:Pliny the elder
359:
353:
337:Vatican Museums
331:, known from a
293:), the similar
267:
212:
186:Classical Greek
132:
128:
99:
96:
92:
81:
72:
69:
58:
26:
17:
12:
11:
5:
1077:
1075:
1067:
1066:
1061:
1056:
1046:
1045:
1042:
1041:
1031:
1021:
1014:
1002:
999:
998:
997:
983:
980:
977:
976:
944:
919:
912:
894:
887:
866:
850:
837:
824:
812:
783:
766:
763:. p. 193.
742:
722:
715:quadrata signa
710:. p. 18.
693:
684:
655:
653:xxxiv. 61-67).
636:
587:
586:
583:
582:
572:
571:
569:
566:
565:
564:
548:
545:
526:Atleta di Fano
499:Main article:
496:
493:
469:
445:
408:
405:
352:
349:
283:British Museum
266:
263:
211:
208:
200:periods. The
174:Greek sculptor
120:
119:
113:
109:
108:
105:
101:
100:
98:Sicyon, Greece
97:
87:
83:
82:
73:
64:
60:
59:
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
1076:
1065:
1062:
1060:
1057:
1055:
1052:
1051:
1049:
1039:
1036:
1032:
1029:
1026:
1022:
1019:
1015:
1012:
1009:
1005:
1004:
1000:
995:
992:
991:
986:
985:
981:
973:
971:
958:
954:
948:
945:
933:
929:
923:
920:
915:
913:0-89236-039-9
909:
905:
898:
895:
890:
888:0-89236-039-9
884:
880:
876:
870:
867:
863:
859:
854:
851:
847:
841:
838:
834:
828:
825:
821:
816:
813:
809:
797:
794:. Paris: The
793:
787:
784:
779:
778:
770:
767:
759:
758:
753:
746:
743:
737:
735:
726:
723:
719:
716:
706:
705:
697:
694:
688:
685:
681:
677:
673:
669:
665:
659:
656:
652:
651:
646:
640:
637:
631:
598:
592:
589:
577:
574:
567:
562:
559:
558:
553:
546:
544:
542:
538:
533:
531:
527:
523:
522:
518:In 1972, the
514:
513:
507:
502:
494:
492:
490:
486:
478:
467:
465:
458:
456:
443:
441:
440:Milan Papyrus
437:
433:
429:
421:
417:
413:
406:
404:
402:
398:
393:
388:
384:
379:
378:
372:
368:
364:
358:
350:
348:
346:
342:
338:
334:
330:
326:
325:
320:
316:
312:
311:
306:
302:
298:
297:
292:
288:
284:
280:
276:
272:
264:
259:
255:
251:
247:
245:
242:, one of the
241:
237:
232:
229:
225:
221:
217:
209:
207:
205:
204:
199:
195:
191:
187:
183:
179:
175:
165:
159:
126:
117:
114:
110:
106:
102:
93: 300 BC
88:
84:
80:
76:
70: 390 BC
65:
61:
56:
52:
48:
44:
40:
34:
29:
22:
19:
1037:
1034:
1027:
1024:
1017:
1010:
1007:
993:
988:
972:recommended.
967:
960:. Retrieved
956:
947:
935:. Retrieved
931:
922:
903:
897:
878:
869:
857:
853:
845:
840:
832:
827:
815:
808:recommended.
806:
799:. Retrieved
786:
776:
769:
756:
745:
731:
725:
711:
703:
696:
687:
663:
658:
648:
639:
596:
591:
576:
534:
530:Getty Museum
525:
519:
517:
510:
481:
470:
461:
446:
425:
416:Hermes Azara
415:
370:
360:
344:
328:
322:
308:
294:
286:
278:
268:
253:
233:
227:
213:
201:
124:
123:
47:Prado Museum
18:
970:Polykleitos
937:19 November
561:Lysistratus
541:Polykleitos
466:(APl 120):
464:Asclepiades
399:' canon of
367:Polykleitos
329:The Scraper
324:Apoxyomenos
271:Polykleitos
234:His pupil,
194:Hellenistic
116:Lysistratus
1048:Categories
982:References
953:"Hercules"
875:Frel, Jiří
595:Latinized
509:The Getty
432:Posidippus
389:into art:
355:See also:
296:Oil Pourer
228:symmetria,
182:Praxiteles
104:Occupation
41:wearing a
962:4 October
957:louvre.fr
801:4 October
373:. In his
210:Biography
118:(brother)
112:Relatives
1040::323–32.
1013::234-59.
877:(1982).
820:Plutarch
680:Thessaly
597:Lysippus
547:See also
455:Persians
214:Born at
172:) was a
169:Λύσιππος
125:Lysippos
107:sculptor
39:Heracles
37:Head of
25:Lysippos
676:Farsala
363:gracile
307:), the
301:Dresden
910:
885:
796:Louvre
672:marble
668:Delphi
489:Louvre
485:Tivoli
420:Louvre
321:) and
305:Munich
291:Delphi
220:bronze
216:Sicyon
178:Scopas
79:Greece
75:Sicyon
51:Madrid
43:kausia
1030::262.
761:(PDF)
708:(PDF)
664:Agias
645:Pliny
568:Notes
387:canon
341:Taras
333:Roman
287:Agias
224:Argos
198:Roman
164:Greek
55:Spain
964:2020
939:2015
908:ISBN
883:ISBN
862:1976
860:, a
803:2020
752:FRCS
453:the
327:(or
303:and
196:and
180:and
86:Died
63:Born
1035:AJA
1025:AJA
1008:JHS
678:in
285:),
1050::
1038:79
1028:87
1011:25
994:82
966:.
955:.
930:.
805:.
609:aɪ
491:.
403:.
381:,
277:,
166::
162:;
137:aɪ
90:c.
77:,
67:c.
53:,
49:,
941:.
916:.
891:.
738:.
682:.
630:/
627:s
624:ə
621:p
618:ɪ
615:s
612:ˈ
606:l
603:/
599:(
422:)
299:(
260:)
158:/
155:s
152:ɒ
149:p
146:ɪ
143:s
140:ˈ
134:l
131:/
127:(
57:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
