1000 Scupltures of Genius. Patrick Bade
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Название: 1000 Scupltures of Genius
Автор: Patrick Bade
Издательство: Parkstone International Publishing
Жанр: Энциклопедии
Серия: The Book
isbn: 978-1-78310-933-3, 978-1-78310-407-9
isbn:
54. Anonymous Farnese Heracles, copy after a Greek original created during the 5th century B.C.E. Marble, h: 313 cm. Museo Archeologico Nazionale, Naples (Greece). Greek Antiquity.
Here, Heracles rests after obtaining the apples of the Hesperides, which he holds in his right hand. The sculpture is a Roman copy in marble of a Greek bronze original, usually attributed to Lysippos, a sculptor of the fourth century B.C.E. The weight of the figure is borne almost completely by Heracles’ right leg and by the club, covered with his signature lion skin, on which he leans. The exaggerated contrapposto, or shift in weight, that results is typical of fourth-century B.C.E. sculpture. However, the heavy, muscled form is not. The uncharacteristic weightiness of the figure may be due to the subject, the notoriously strong Heracles. Or, it may be an exaggeration created by the Roman copyist, in response to the aesthetic ideals of the Roman audience. The weighty realism of this piece inspired artists of the Italian Renaissance and later periods after it was discovered in the ruins of the Baths of Caracalla in Rome in the sixteenth century.
55. Anonymous. Marsyas, copy after a Greek original created around 450 B.C.E. by Myron. Marble. Museo Gregoriano Profano, Vatican (Italy). Greek Antiquity.
Like Myron’s Discobolus, his Marsyas, pictured here, is shown in a dramatic stance that marks an important departure from the stiff, frontal poses of Archaic statues. The Roman copy in marble requires a strut for support, but the bronze original would have appeared even more dynamic, delicately balanced on the balls of his feet. The subject has been identified as Marsyas, a satyr, who at the moment shown, has spotted a reed instrument upon the ground, discarded by Athena. He is poised in motion, recoiling in surprise at his good luck, but momentarily fearful of taking the precious item. He will pick it up and become of a master of the instrument, but in the way of Greek tragedy, his gift will be his downfall. Hubris, or pride, leads him to challenge the god of music, Apollo, to a contest. He loses, of course, and is flayed alive as punishment.
56. Anonymous. Riace Bronze A, Roman copy after a Greek original created around 450 B.C.E. by Phidias. Bronze, h: 198 cm. Museo Nazionale, Reggio Calabria (Italy). Greek Antiquity.
57. Anonymous. Riace Bronze B, Roman copy after a Greek original created around 450 B.C.E. by Phidias.Bronze, h: 197 cm. Museo Nazionale, Reggio Calabria (Italy). Greek Antiquity.
A sunken treasure, this bronze statue was pulled from the sea, having been lost in a shipwreck in antiquity. Ironically, its loss in the sea resulted in it being one of the few bronze statues to survive from antiquity, since it was never melted down for its valuable metal. The warrior is one of a pair that has been attributed to the fifth century B.C.E., or High Classical Period. In this piece we can see the ideals of High Classical period sculpture fully realised. At the same time realistic and idealistic, the sculpture shows a lifelike, but perfect, body, each muscle articulated, the figure frozen in a relaxed, life-like pose. The solid, athletic body reflects the ideal of a young athlete, although this figure represents an older warrior, who once would have held a spear and a shield. The nudity of the figure also alludes to the athlete, who in Greece would have practised or competed in the nude, and also to the mythical hero, a reminder that the man represented here was no ordinary warrior, but a semi-divine hero, an appropriate offering for one of the great sanctuaries of the Greek world.
58. Anonymous. Zeus or Poseidon, Cape Artemision, c. 460 B.C.E. Bronze, h: 209 cm. National Archaeological Museum, Athens (Greece). Greek Antiquity.
59. Anonymous. Youth of Antikythera, middle of the 4th century B.C.E. Bronze, h: 194 cm. National Archaeological Museum, Athens (Greece). Greek Antiquity.
60. Anonymous. Battle of the Lapiths and the Centaurs, south metope No.29, Parthenon, Athens (Greece), c. 446–438 B.C.E. Marble, h: 134 cm. The British Museum, London (United Kingdom). Greek Antiquity.
61. Anonymous. Battle of the Lapith and the Centaurs, south metope No.30, Parthenon, Athens (Greece), c. 446–438 B.C.E. Marble, h: 134 cm. The British Museum, London (United Kingdom). Greek Antiquity.
62. Anonymous. A Lapith tackles a Fleeing Centaur and prepares to Strike a Decisive Blow, south metope No.27, Parthenon, Athens (Greece), c. 446–438 B.C.E. Marble, h: 135 cm. The British Museum, London (United Kingdom). Greek Antiquity.
The Parthenon, part of the Acropolis sanctuary to Athena in Athens, is seen as a paradigm of classical architecture and the pinnacle of classical architectural sculpture. Its sculptural program included two pediments, an interior Ionic frieze and exterior Doric frieze, with sculpted metopes on all four sides, each showing a mythical battle. This metope is from the south side, which illustrated the Centauramachy, or battle between the Centaurs and Lapiths. Here, a Lapith man wrestles a Centaur. Both figures are shown actively straining, pulling in opposite directions, creating a strong sense of dynamism in the piece. That dynamic force is emphasised by the folds of the Lapith’s robe that spills out behind him, also enlivening the background of the piece. Dramatic movement, and patterning such as that created by the folds of cloth, along with the addition of paint, would make the metope more visually arresting to the viewer far below on the ground.
63. Anonymous. Goddesses, east pediment, Parthenon, Athens (Greece), c. 438–432 B.C.E. Marble, h: 130 cm. The British Museum, Athens (Greece). Greek Antiquity.
Most of this pediment was lost when the temple was converted into a Christian church and an apse was added to the east end. This group of goddesses survives, however, and illustrates why the Parthenon’s decoration is seen as the pinnacle of Greek architectural sculpture. The triangular shape of the pediment can be seen in this group, which would have occupied most of one of the corners. The problem of how to fill a triangular space has been solved with mastery here: the three goddesses lounge together, sitting, squatting, and reclining in a relaxed group, their poses naturally filling the angled space. A far cry from the straight, frontal figures of the Archaic period, these bodies bend, twist, reach and lean, their sheer drapery serving only to accentuate the curves of their bodies.
64. Anonymous. Head of the Pan-Athenaic Procession, slab No.7, east frieze, Parthenon, Athens (Greece), 445–438 B.C.E. Marble, h: 96 cm, l: 207 cm. Musée du Louvre, Paris (France). Greek Antiquity.
65. Anonymous. Horse of Selene, east pediment, Parthenon, Athens (Greece), c. 438–432 B.C.E. Marble, l: 83.3 cm.The British Museum, London (United Kingdom). Greek Antiquity.
66. Anonymous. Mounted Riders, slab No.38, north frieze, Parthenon, Athens (Greece), c. 438–432 B.C.E. Marble, h: 106 cm. The British Museum, London (United Kingdom). Greek Antiquity.
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