Archaic and Classical Greek Sculpture: Evolution
Archaic Period
The Archaic Period is one of the first moments that characterized Greek sculpture. It shows a style relating to the Oriental representative systems:
- Figures adopt closed forms, and geometry dominates. Frontalism, statism, symmetry, and stiffness are present.
- Movement is limited to one leg forward, and forms are unnatural and angular.
- Simplification is rigid and geometric. Hair forms almond shapes, and eyes are parallel lines.
- Faces are inexpressive and without individualization, with an “archaic” smile.
Examples: Kuroi (athletes) and Korai (clothed priestesses). At the end of the period, observe the evolution towards a more natural representation, with an uptake of movement and anatomic configuration. An example of transition is the Charioteer of Delphi (CHU2).
Classical Period
The Classical Period is the culminating moment of Greek art. It exceeds archaic language. The human figure represents idealistic values: taking reality as a starting point, the artist seeks to obtain an ideal model of beauty, a compendium of proportion, balance, and physical and spiritual beauty. It represents a higher humanity of heroes, gods, and stages.
5th Century BC: The Golden Age of Athens (Pericles)
1. Myron
Considered the initiator of classicism. The Discus Thrower shows great progress in representing the human body and movement. The athlete is not in a flat position, showing movement and instability. A complex composition uses geometric forms (triangles and semicircles). There is disconnection between action and expression.
2. Polykleitos
A great bronze sculptor and theorist (through the “Canon”). His works feature naked athletes (Doryphoros, Diadumenos) with classic ideals:
- Perfect anatomy and beautiful forms.
- Canon of proportions.
- Contrapposto: compensated rhythm or crossover movement.
- Serene calm and emotional equilibrium.
3. Phidias
The culminating figure of the classical style. He represents ideal beauty, serenity, archetypes of physical and moral balance, perfection, grandeur, and majesty. He shows interest in the human body and anatomical perfection, with plasticity in the treatment of powerful figures. He developed the technique of “wet drapery”: clothes that cling to the body to appreciate anatomical forms, folds, and chiaroscuro effects. He is known for his representation of the gods and the mythical world of Greek religion.
His most splendid activity is linked to Athens. He directed the sculptural decoration of the Parthenon with the objective of proclaiming the glory of Athens and Athena. Notable works include:
- Lemnian Athena
- Athena Parthenos
- Zeus at Olympia
- Parthenon reliefs: The Fates, Struggle of Lapiths and Centaurs, and the Panathenaic Frieze.
Second Classicism (4th Century BC)
There is a tendency towards a more human, everyday, and naturalistic treatment of expressive values and themes. Humanized attitudes increase.
1. Praxiteles
He shows interest in perfection and formal beauty, with balanced and more humane attitudes:
- Gods are represented as adolescents, often nude, with slender bodies and soft, blended forms. Tactile values dominate.
- Polishing and comminution of surfaces and forms by blurring the effects of light.
- Faces are more expressive, without losing classical serenity, showing a kind or melancholy expression, sensuality, and human grace.
- Dynamic contrapposto is accentuated. Composition is more focused on long curves (Praxitelean curve), bodies in the form of an “S”, and angled faces.
- Natural, relaxed, and languid positions, showing the sensual beauty of young bodies.
Examples: Hermes of Olympia, Apollo Sauroctonos, and the Aphrodite of Knidos (the first monumental female nude).
2. Lysippus
He moves towards greater realism and naturalism, with a new canon (1/8, more slender and dynamic). Realism increases. Any axis of symmetry disappears, allowing for multiple visions of the figure (stereometry). Athletes and gods are shown in trivial actions. Example: The Apoxyomenos. Lysippus is also considered the creator of the Greek portrait.
3. Scopas
He is considered “anti-classical” and a precursor of Hellenistic art. He triggered the expression of moods, tragic and tormented sentiments, violent movement, and misrepresentation. Example: Maenad.