The Head of a Youth (a.k.a. The Nelson Head) was constructed about mid-2nd century CE and after slight damage to the sculpture, the tip of the nose and the right side of the mouth were restored with marble. Interestingly, the bust (images below) obtained its name from the man who it was procured from, Dr. Philip Nelson, since the subject of the model is unclear (Museum of Fine Arts Boston, 2018). The head, which was sculpted with Dolomitic marble from the Greek island of Thasos, is currently located at the Museum of Fine Arts in Boston, Massachusetts.
Sculpting is the art of shaping materials such as stone, wood, ivory and other materials (Sculpture, 2003) and was quite a popular method of creating art during the Imperial Period when this
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It strongly resembles the Ares Ludovisi (image below), which is a famous model of a war god found in Rome that was created during the late 4th century BCE by a Greek artist (the Roman copy was made 2nd century BCE), but there are slight differences between the two (Museum of Fine Arts Boston, 2018). For example, the Ares statue displays curly ringlets for hair and a chiseled chin, whereas The Nelson Head has wavy locks and a softer expression with features one would not expect the god of war to portray. However, both sculptures portray similar forms of naturalism and expressionism that depict a bold and powerful subject, meaning it is possible that they are both depictions of …show more content…
In contrast to the smoothness on the face, lines in the ear add to the 3D aspect of the tops of the ear, (where cartilage would be) adding an incredible sense of realism. On the Ares statue, the realism is intensified within the ear as well as the mouth. This due to the addition of more depth into the ear canal, whereas the bust had a somewhat superficial canal. As for the mouth, the artist allowed the subject’s lips to be parted, so the teeth behind the lips could be visible and detailed for the
The first glance you’ve taken at those two statues, you just see a man standing there. They are not doing anything in particular, just standing there. That was only in the first glance of course. Now take a good look at each one. In the archaic Greek kouros figure, the pose of the figure is very frontal. The entire figure is relatively stiff with the exception of the left leg, which is in front of the body giving it the early contrapposto pose. Even though it does have a much more natural pose to it with the one leg out, the rest of the body is not in a pose as if the weight of the body was put into one leg. The head is stiff with the hair being geometric and with the hair falling back on the body. The physical stature of the body is moderately realistic. The muscles are not quite as well defined but they are still semi-realistic. They are portrayed as if they were tense. The arms are also at the side.
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
practice amongst the men, which is nudity. The sculptor depicted Dionysos with a slightly S-shaped body
In terms of head and neck features, the figures seem to be most distant. While the Apollo statue has a large smile on his face, the Metele has an expression of stern seriousness. The Apollo statue has no more facial detail than cheekbones roughly instilled. The Metele shows complete understanding of the human muscle and bone structure in the face.
The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.
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
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
Two main devices used in Egyptian art from the fourth dynasty, that also help classify it, are a strive for naturalism and the use of sculpture in the round. In addition to the large burial monuments being built, portraiture became quite popular at this time in history. Paintings featuring humans used their own form of "sculpture in the round" by painting in ...
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.
...os because he is taller and that 's what caught my attention. Dionysos is also taking up more space than the female figure. The texture of this marble piece had a smooth finish even the intricate detail in the folds on Dionysos cloak and tunic is smoothly sculpted into soft, careful folds.
To conclude, both sculptures do not have much in common, but it is obvious that the artists had knowledge in human anatomy and was able to sculpt them spectacularly. It is also obvious the break from somewhat idealistic to realistic human nature. The change is so drastic that one might not believe that both sculptures come from the same Greece because it is so well-known for its astonishing artworks found in temples, building, etc.
In regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
The Romans have adopted many features from the Greek style of art and architecture during the third and second centuries B.C. During that time period the Romans discovered that they have taking a liking to Greek statues, which they placed in many different places. The Roman sculptors then decided to also start making statues alongside the Greeks. The statues that the Romans created were realistic looking with, sometime, unpleasant details of the body. The Greeks made statues with, what they thought of, ideal appearances in the statues figure. Sculpture was possibly considered the highest form of art by the Romans, but figure painting was very high considered as well. Very little of Roman painting has survived the tests of time.
The sculpture is a Roman copy of the original Greek bronze made by artist Polykleitos in 450BC. It is recorded that he made the Doryphoros as an example of perfect proportion. He wrote a book to accompany the statue called, "The Cannon of Proportion, " and countless artists copied the statue because of its perfection. This regal figure was named Doryphoros (Greek for "spearbearer") because it originally held a long spear in its left hand.