Classical Greek Sculpture: Discus Thrower and Panathenaic Frieze
Discus Thrower
Myron, 5th Century BC
National Museum Rome
Technique: Casting
Material: Bronze (marble copy)
Dimensions: 1.35 meters
This work showcases Myron’s groundbreaking study of motion, muscle tension, and spatial integration, all within the principles of classical plasticity and frontal perspective. Ancient critics praised Myron’s realism and innovative approach to movement and symmetry but noted his lack of emotional depth and focus on superficial details.
Early Classical Era Influences
The Discus Thrower belongs to the early Classical era and retains some archaic features. The head echoes the immobility of earlier styles, with the smile resembling the typical expression of Kouroi and the hair appearing as uniform curls.
Composition and Movement
Myron imbued the Discus Thrower’s body with a powerful sense of motion, capturing the moment before the athlete throws the disc. His aim was not strict realism but rather conveying the impression of movement. This hieratic approach distanced him from archaic styles, establishing him as a sculptor of movement.
The composition is built upon triangles and curves:
- The head, hips, and feet form semicircles, echoed by the outstretched arms.
- The right leg provides momentum, while the left rests on the right knee.
- An S-shaped line flows dynamically from the disc to the back, hip, knee, and foot.
Myron also employed the Egyptian technique of depicting the torso frontally while the legs and arms are in profile, enhancing the sculpture’s dynamism.
Content and Interpretation
The sculpture depicts a young man at his physical peak, poised to throw a disc. Myron’s achievement lies in choosing a natural yet dynamic posture. However, this pose is not entirely realistic, as it prioritizes the illusion of movement over the actual mechanics of discus throwing.
The Greek writer Lucian (2nd century BC) described the Discus Thrower as:
“Hunched in the position of those who are preparing to launch. Turned to the hand holding the disc, and bending the other knee a bit as willing to stand up and throw.”
The only surviving Roman copy with the correct head is the Lancelotti copy in the National Museum of Thermas.
The original bronze is lost, like many other Greek bronzes. Bronze allowed for dynamic poses that were difficult to replicate in marble, which often required supports to prevent breakage.
Panathenaic Frieze
Phidias, Classical Greek Period
British Museum, Acropolis of Athens, Louvre
Style: Classical Greek
Material: Marble
Dimensions: 160m x 1.02m high
The Panathenaic Frieze exemplifies the Classical style, though variations suggest Phidias enlisted his workshop’s assistance due to the project’s scale. Despite not being a wholly unified project, the achieved cohesion led to the “Parthenon style,” characterized by:
- Incredible plasticity
- Masterful execution that makes the marble appear modeled rather than carved, evident in the clothing, hairstyles, and anatomy.
Despite the variety of figures (360 people, 220 animals, and 10 chariots), Phidias and his collaborators maintained identifiable styles through poses, physical distinctions, and marble treatment. They avoided overly forced movements and maintained calm expressions.
Composition and Structure
The frieze spanned 160 meters around the Parthenon’s cella. It featured metal attachments (now lost) and color to highlight the carvings. The marble blocks are tilted forward to catch the light from below, with deeper relief in the upper zone for the same reason.
The frieze depicts a procession that occupies 70% of its length, culminating in chariots at the top. It begins with elders carrying branches, musicians, carriers of jars, drivers, and sacrificial livestock.
The procession’s two wings converge on the temple’s eastern facade. Athenian maidens and eponymous heroes of Athens’ ten tribes stand at the corners, participating in the peplos offering. The main Olympian deities observe the scene, with Poseidon, Apollo, and Artemis prominently featured.
The gods are larger than the other figures. The peplos clings to the maidens’ bodies, revealing their forms. The figures move in a solemn procession. To avoid monotony, Phidias included anecdotal scenes like rearing horses and a youth tying his sandals.
Themes and Symbolism
The Parthenon’s sculptural program aimed to glorify Athens and Athena. The frieze was part of a larger iconographic scheme, with gods in the pediments, heroes in the metopes, and the frieze connecting gods and humans.
The frieze depicts the Panathenaic procession, held every four years, culminating in the maidens’ offering of the peplos (a robe woven for Athena) and accompanied by games.
Phidias and his Legacy
This work by Phidias, the leading sculptor of Pericles’ age, established a school that transcended regional boundaries and defined Classical Athenian art. Phidias was accused of embezzling gold intended for Athena’s statue. He was also rumored to have been the teacher and lover of Agoracritus of Paros, whose works were sometimes attributed to Phidias.