Dionysus and Hermes: A Classical Sculpture Analysis
Dionysus: Children with Hermes
Praxiteles
General Documentation:
Name: Hermes with Infant Dionysus
Architect: Praxiteles
Chronology: 343 BC
Current Location: Archaeological Museum of Olympia
Original Location: Temple of Hermes, in Olympia.
Style: Classical Greek
Materials Used: Marble
Construction Technique: Cuts
Topic: It represents the winner of a race, who, after much effort and tension during the test, continues to rise and make further progress while wearing a headband.
This sculpture is from the classical period, 447-432 BC, during the time following the Punic Wars. This period marks the death of Alexander the Great and is significant during the administration of Pericles in Athens. Athens was the largest city and the center of the democratic system. In the late stages of this period, the Peloponnesian Wars took place between Athens and Sparta, involving almost every Greek city-state allied to one side or the other, ending with a shift in hegemony. The Acropolis buildings were constructed during this time. Macedonia was subjected to various influences. Two trends dominated at this time: naturalism and idealization.
Formal Analysis:
Support Elements and Supported:
One important element in this work is the mole curve of Praxiteles, which contrasts with the static vertical line that represents airiness and lightness in the figures. This line causes the body of Hermes to center vertically and form an ‘S’ shape, providing a sense of equilibrium between movement and rest. There are few human bodies as well composed and beautiful as the Greek statues. The Greeks were artists who trained from real models, removing imperfections and substituting forms for a more perfect representation. The sinuosity of the figure highlights Hermes even more, thanks to the small height of Dionysus and the tunic.
Style:
Hermes with Infant Dionysus belongs to the moment of maximum splendor in classical art, questioning the severity and previous commitment to softness and harmony, leading to greater expressiveness and attention to human feelings. Realism gained ground during this time. The tunic, resembling wet fabric, does not follow the frieze of noodle-like patterns, which are beautiful but perhaps too orderly in their parallel folds; however, the pleats are a faithful copy of reality. For the first time, gods and heroes displayed their feelings and emotions. Praxiteles is attributed with the introduction of the female nude, which he reserved for the goddess Aphrodite. Around 360 BC, he sculpted Aphrodite bathing, completely nude, which shocked the inhabitants of Cnidus (Asia Minor). Praxiteles used his mistress, Phryne, as a model.
Interpretation:
This work includes the time when Hermes, fearing revenge for the infidelity of his marriage to the new Hera, leads his brother, the king of Orchomenos, who hopes to age gracefully. In a sympathetic reference to the future of Dionysus as the god of wine, Hermes offers his brother a bunch of grapes. Praxiteles preferred tenderness in humanizing the gods, exemplified by the tenderness with which Hermes watches over his brother. Unfortunately, both Hermes’ right arm, which offered the grapes, and Dionysus’ right arm are missing. The lower legs and left foot of Hermes are modern restorations.
This work, inspired by Greek mythology, was intended for public exhibition at a crossing in the city. It is unclear whether it was commissioned by an individual or by public authorities.
Function:
Hermes with Infant Dionysus may have been sculpted to commemorate the peace between Elis and Arcadia, as Dionysus was the patron of Hermes, serving as both the first and second pattern.