1000 Scupltures of Genius. Patrick Bade

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      Greek temples often featured large sculpture decorating the pediment, the triangular space under the eave of the roof. The first examples of pedimental sculpture show that the early artists were not adept at filling the awkward triangular space with a cohesive composition; the figures in the corners were shrunk to a diminutive scale in comparison to the central figures. However, in this pediment group from the end of the Archaic period, the sculptors showed new skill in conceiving the composition. The central figures, not shown, engage in lively battle, lunging and parrying with swords and shields. One archer crouches to take aim, his low position allowing him to fit into the smaller space toward the corner of the pediment. The Dying Warrior next to him fills that corner, the angle of his falling body perfectly fitting into the smallest part of the pediment. A single, cohesive narrative is thereby created across the triangular space, telling the story of a battle fought by local heroes.

      46. Anonymous. The Battle between the Lapiths and the Centaurs, west pediment, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, height of Apollo: 330 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.

      47. Anonymous. Heracles fighting the Cretan Bull, west metope, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, h: 160 cm. Musée du Louvre, Paris (France). Greek Antiquity.

      48. Anonymous. Heracles receiving the Golden Apples of the Hesperides from the Hand of Atlas, while Minerva rests a Cushion on his Head, east metope, Temple of Zeus, Olympia (Greece), c. 470–456 B.C.E. Marble, h: 160 cm. Archaeological Museum, Olympia (Greece). Greek Antiquity.

      This metope, or square component of the frieze of the temple, is from the Temple of Zeus at Olympia, the largest and most important structure of the first half of the fifth century. Together, the metopes of the Temple of Zeus told the story of the twelve labours of Heracles. Each metope showed one of his labours, or tasks. This metope shows the eleventh labour, the apples of the Hesperides. Heracles was told he had to steal apples belonging to Zeus. He met up with Atlas, who had to hold up the world for all of time. Atlas said he would get the apples for Heracles if Heracles would hold the earth for him. In the scene shown, Atlas has returned with the apples, and Heracles must figure out how to get Atlas to take back the weight of the world. Athena stands behind Heracles, gently helping him hold his burden.

      49. Anonymous. Pensive Athena, Acropolis, Athens (Greece), c. 470–460 B.C.E. Marble, h: 54 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      Athena was the patron goddess of Athens, worshipped by Athenians on the Acropolis, and honoured in special events such as the Panathenaic festival. For her part, Athena aided the Athenians in battle and brought them prosperity through the cultivation of the olive tree. In this relief, we are meant to see the depth of her affection for the Athenians. She reads a list of Athenian soldiers killed in war, and mourns them sorrowfully, her head bowed, her body resting heavily against her spear. The melancholy mood of the piece is characteristic of Severe style sculpture. That style is also seen in the heavy, straight folds of Athena’s dress, or peplos, and the still, heaviness of her pose. In comparison to earlier Archaic sculpture, however, in this piece we see a fleshed, realistic person in a natural pose, expressing real emotion. These qualities reveal the increasing skill of the artists from the sixth to the fifth century B.C.E.

      50. Anonymous. Hades and Persephone, pinax relief (fragment), c. 470–450 B.C.E. Terracotta, h: 255 cm. Museo Nazionale, Reggio Calabria (Italy). Greek Antiquity.

      This terracotta plaque shows Hades, the god of the underworld, with his bride, Persephone. Hades abducted Persephone and brought her to the underworld; in her grief, Persephone’s mother, Demeter, made the world infertile. Zeus had to intervene, demanding that Hades let Persephone spend half the year with her mother. The cycle of Persephone’s annual passage from her mother to the underworld is reflected in the seasons, with the cold, frozen winter the result of her time in the underworld, and Demeter’s grief. On this plaque, Hades and Persephone are shown ruling the underworld. Their stiff, regal poses indicate their status as rulers, but also reflect the style of the early fifth century B.C.E., the Severe style. The stillness of the figures, the straight folds of drapery, and the serious facial expressions are all characteristic of the Severe style.

      51. Anonymous. Apollo, called the “Apollo Parnopios”, copy after a Greek original created around 450 B.C.E. by Phidias. Marble, h: 197 cm. Staatliche Museen, Kassel (Germany). Greek Antiquity.

      Apollo was the god of music, poetry, medicine, archery, and prophecy, and was always shown as young and beautiful. Here, he has the idealised body of a young male athlete. The naturalism of his anatomy, with its sculpted muscles and graceful movement, is expressed through the relaxed, contrapposto stance. His expression is thoughtful but emotionless. This classic fifth-century B.C.E. statue type is transformed into Apollo by the addition of the elaborately curled long hair, and his attributes, the bow and laurel wreath, which he would have held in each hand.

      52. Anonymous. Bust of Perikles, copy after a Greek original created around 425 B.C.E. Marble, h: 48 cm. The British Museum, London (United Kingdom). Greek Antiquity.

      53. Anonymous. Discobolus, copy after a Greek original created around 450 B.C.E. by Myron. Marble, h: 148 cm. Museo Nazionale Romano, Rome (Italy). Greek Antiquity.

      In Myron’s Discobolus, we see the human form freed from the standing, frontal pose of earlier statues. Here, the artist is clearly interested not only in the body of the athlete, but in the movement of the discus thrower. His muscles tense СКАЧАТЬ