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Ancient greek art ap art history
Ancient greek art ap art history
Ancient greek art
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Introduction
Almost always, when we look at Greek sculptures, they are copies of Roman originals. These copies have are made of marble unlike the originals that had been sculpted out of bronze. Very rare is it that original Greek sculptures are found. One such original was the ‘Boxer of Quirinal’, sometimes simply termed as ‘The Boxer’. This sculpture dates back to the Greek Hellenistic period (300’s B.C). Hellenistic refers to the period just after the rule of Alexander the Great and typically it is considered as the last phase of ancient Greek art. The sculpture was discovered on the Quirinal Hill of Rome in 1885 near the Baths of Constantine. It was assumed for a long time that the sculpture was buried in antiquity with the Hellenistic prince in order to protect him.
The sculpture is a captivating masterpiece and is different from the ideal; athletic young figured sculptures of that time. This, however, does not in any way mean that it does not represent the skill and beauty in work that other sculptures also possessed. Due to lack of history the artist of this great piece remains unknown but the details in the statue showcase true talent from that era.
A closer look at the sculpture
The overall sculpture:
The statue is of a boxer who is seated with his arms placed on his knees. His head is turned towards the right with a slight raise portraying an open mouth. He is completely naked wearing only boxing gloves and some sort of athletic suspender tying up the foreskin of his penis, which was not only protective, but also added an element of decorum. His gloves are of an ancient Greek type with strips of leather attached to the rings around his knuckles along with woolen paddings. The sculpture in itself is somewhat over life si...
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... of museums around the city were created- Palazzo Massimo, Palazzo Altemps and Crypta Balbi. The museums display celebrated masterpieces of art and one of them is the Boxer at Rest. Occasionally the Boxer is loaned out to other Museums around the world or is showcased in many exhibitions. Recently it was loaned out to the Metropolitan Museum of Art.
Several of the answers regarding this particular sculpture remain unanswered today. There are so many modern interpretations as to what the statue signifies. Also, because it has existed for so long, it is possible that interpretations were many in the ancient times too. For an ancient viewer, the statue could have had political messages, commemorative interpretations or just aesthetic reasons. Whatever it was, until we find any further information on it, the cause of bewilderment of the boxers face will be ours too.
In Ancient Greek and Roman times, Romans often made replicas of Greek statues. The Greek were extremely good at art and the Romans wanted to possess the art themselves and thus, created copies of the most famous and beautiful Greek sculptures. However, it seems to be for the better since most Greek statues were created in bronze and were later repurposed for war. The Roman duplicates of these statues remained, due to their stone medium. What there is to ponder, however, is if there are any differences between a Greek and a Roman statue. “The Seated Boxer” is a famous work of Greek sculpture that remained preserved so that we might be able to view it
It is from the Neo-Assyran period during 883-859b.c.e. The highest relief would be its head. The writing was all around the statue in a different writing. It is very big and tall. It is on a good portion of the corner of a hallway. It looks kind of cool with a bull’s body with wings and a human’s head on it. The face is kind of funny because of the beard I guess if long and real even. The human-headed wing bull had five legs.
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
Around the time 530 bce a statue was carved out of marble and given the name Anavyos Kouros. It represents a male figure completely nude. It is a sculpture in the round and stands a height of six foot four inches. Starting from the top we see the man's head. His hair looks odd to that of a normal human, it does not look like it belongs on his head. Looking at his facial structure his eyes are large similar to art of ancient Egypt. His nose, lips, cheeks, and ears are well defined and proportional. His body is muscular and he looks to be in great shape. The sculptor who made this paid close
The Terme Boxer or Boxer at Rest is a bronze statue with copper inlays that is cast in a manner representative of early Hellenistic statues. The exact location that this piece was used in is currently uncertain as the bronze statue was located in a form of storage within the foundations of an ancient unidentified building. Estimates regarding the date on this statue are mixed and generally fall loosely between 100 to 400c.e.. Following past examples of this type of statuary indicates that most likely this statue would have been located in a sanctuary or public commons like a bath to celebrate the athlete in question.
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
Discus Thrower type sculptures, art and architecture is typical of Greek High Classical and Hellenistic art and concerns. High Classical and Hellenistic art desire to portray healthy and vigorous athletes of ideal physical proportion and beauty, to represent the vigorous, healthy and active Greek individuals and citizens. In this way, sculptures, along with other art mediums and architecture, hope to elevate Greek's victory and to celebrate Greek's triumph of a democratic and enlightened city-state over Persia's imperial forces; Greek civilization over Persia's barbarism; reason over animal passion.
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
The warrior from the West pediment seems to be more comical because of the fact that he is actually facing the viewer and has a more artificial look to him. Information from “Art through the Ages Fourteenth Edition” states that the Dying warrior from the east pediment has a more “natural” posture, exhibits a “new self-consciousness, and is not facing the viewer because of him dealing with his terrible pain. This artwork is from the west pediment of the Temple of Aphaia, Aegina, Greece, ca. 490 BCE. It is also made of marble, and is a little shorter than the other warrior, being only 5’2’ in length. What is more is that both Fallen Warrior sculptures currently stand (or should I rather say lay) on Glyptothek,
The sculpture is small, approximately 4 3/8 inches, and is carved of oolitic stone, a porous limestone. Since this particular stone is not found in the area, it is believed that the sculpture was brought from another region. The size and shape of the figurine fit comfortably in the hand which suggests the figurine was meant to be carried. (Witcombe, sec. 3) The Venus of Willendorf has achieved renown because the work is believed to be the earliest known sculpture of a human being. The statuette clearly depicts an overweight female with braide...
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
...m 1643 – 1715 AD. By the 1630s, an Italian sculptor by name of Giovanni Francesco Susini made a bronze replica available to a larger group of audience. Such replication process became socially acceptable for artists looking for inspired works as well as the local and international art students. People from various parts of the world, such as: England, United States of America, Russia, China, and many more – continue to visit the Capitoline Museum of Rome to grab a full view of the renowned piece: Galata Morente.
This sculpture seems to epitomize the ideal male human form. All of the body parts seem perfectly proportioned and the muscles are beautifully defined as if the image were of an athlete. The image is youthful with a calm demeanor. The right missing forearm looks as if it used to be resting at his side, while the left elbow was probably at a 90 degree angle, with the hand holding something. The slight bend in the left leg gives the impression of movement, as if the image was frozen while walking. The counterpoised stance adds an air of nobility to the "man".