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:

СКАЧАТЬ statues were sometimes used as grave markers. While female statues were modestly dressed, the male versions were nude, perhaps indicating a god or a hero. Like the Auxerre Kore, these statues developed both from a local tradition of small figurines, and from the Egyptian tradition of large stone sculpture. The early date of this piece is revealed through the style, which is more decorative than realistic. The eyes and eyebrows are deeply-incised, the contours of the face are flat, and shape of the ear is indicated with concentric, curved lines. The hair is patterned in an Egyptian manner and held back with a band. Over the course of the sixth century, Greek sculpture would lose this patterned, decorative quality and become increasingly realistic and lifelike.

      9. Anonymous. Kore dedicated to Hera by Cheramyes of Samos, c. 570–560 B.C.E. Marble, h: 192 cm. Musée du Louvre, Paris (France). Greek Antiquity.

      This kore is best understood through comparison to the earlier Auxerre Kore. It continues the tradition sculpting the standing female in stone, but shows the development in the art form. This kore, like the earlier example, is modestly draped in a long gown and a shawl, but the form of her body is more visible underneath, especially the curves of her shoulders, breasts, and belly. The sculptor has drawn attention to these forms by showing how the clothing gathers, pleats and falls as it drapes over the woman’s body. Instead of the heavy, patterned woollen peplos worn by the Auxerre Kore, this kore wears a chiton, a tightly pleated, lightweight garment made of linen. The pleats are shown in detail, creating a vertical pattern that contrasts with the diagonal drapery of the shawl. This attention to the patterns of drapery would continue to characterise female sculpture in Greece over the coming centuries.

      10. Anonymous. Ornithe, Geneleos Group, Heraion of Samos, Samos (Greece), c. 560–550 B.C.E. Marble, h: 168 cm.Staatliche Museen zu Berlin, Berlin (Germany). Greek Antiquity.

      11. Anonymous. Kore, Keratea, c. 570–560 B.C.E. Marble, h: 193 cm.Staatliche Museen zu Berlin, Berlin (Germany). Greek Antiquity.

      12. Anonymous. Kore 679, called the “Peplos Kore”, Acropolis, Athens (Greece), c. 530 B.C.E. Marble, traces of painting, h: 118 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      Known as the Peplos Kore, this piece was another victim of the Persian invasion, found buried in the ruins of the Acropolis in Athens. While her heavy garment hangs straight over her body, the sculptor has taken care to show the curves of her shoulders, breasts, and hips. Underneath the straight skirt, she wears the lightweight, crinkly linen chiton. Her full face has more life and realism in it than earlier korai. The vitality of the piece is heightened, for the modern viewer, by the remains of paint on the statue, and also through the very slight movement shown through the upraised arm and the left leg, which steps very slightly forward.

      13. Anonymous. Kore 671, Acropolis, Athens (Greece), c. 520 B.C.E. Marble, h: 177 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      14. Anonymous. Kouros, called the “Apollo from Tenea”, c. 560–550 B.C.E. Marble, h: 153 cm. Glyptothek, Munich. Greek Antiquity.

      15. Anonymous. Head of a Cavalier called the “Cavalier Rampin”, Acropolis, Athens (Greece), c. 550 B.C.E. Marble, traces of painting, h: 27 cm. Musée du Louvre, Paris (France). Greek Antiquity.

      When the Persians attacked Athens in 480 B.C.E., they destroyed the Acropolis, setting fire to the great temples it held. The scorched and broken relics of statuary were buried like victims of war by the Athenians. Archaeologists have since recovered the buried statues, and so we have a rich array of sculptural examples from Greece’s “Archaic” period. The examples include a number of korai, or standing females, but also this rare example of a figure on horseback. Like the earlier small bronze figurines of men on horseback, this life-size stone sculpture evokes a heroic figure. The rich patterns of the hair and beard are characteristic of Near Eastern art, a style presumably brought to Athens via the Greek colonies in Asia Minor. The name of the statue comes from the French diplomat who purchased the head, separated from the rest of the piece, in the nineteenth century. The head remains in Paris, in the Louvre, while the other fragments are housed on the Acropolis in Athens.

      16. Anonymous. Kouros, Asclepieion, Paros, c. 540 B.C.E. Marble, h: 103 cm. Musée du Louvre, Paris (France). Greek Antiquity.

      17. Anonymous. Head of a Blond Youth, c. 485 B.C.E. Marble, h: 25 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      18. Anonymous. Kouros, Agrigento, c. 500–480 B.C.E. Marble, h: 104 cm. Archaeological Museum, Agrigente (Italy). Greek Antiquity.

      19. Anonymous. The Kritios Boy, Acropolis, Athens (Greece), c. 480–470 B.C.E. Marble, h: 116 cm. Acropolis Museum, Athens (Greece). Greek Antiquity.

      20. Anonymous. Heracles, Temple of Portonaccio, Veii (Italy), 510–490 B.C.E. Terracotta. Museo Nazionale Etrusco di Villa Giula, Rome (Italy). Etruscan Antiquity.

      Unlike Greek temples, Etruscan, or Tuscan, temples were traditionally decorated with large terracotta sculptures balanced on the roof, along the ridgepole. One of the most important temples in Etruria was in the city of Veii. The temple at Veii, called the Portonaccio temple, featured a group of figures sculpted out of baked clay, or terracotta, along the ridge of the temple’s roof. The two principle figures of the group are Apollo and Heracles. Heracles, shown here, is controlling a hind, a deer sacred to the goddess Artemis. The task of capturing the hind was one of the twelve labours of Heracles, a penance he was ordered to perform by the Oracle of Delphi as punishment for killing his family. The pose of Heracles as he rests his foot on the hind (the head of the animal is not preserved) is typical of the dynamism of Etruscan statuary. While Archaic Greek statues were still and static, this Archaic Etruscan example is frozen in motion, engaged in restraining the animal, showing the strength and power of Heracles.

      21. Anonymous. Apollo, Temple of Portonaccio, Veii (Italy), c. 510 B.C.E. Terracotta, h: 180 cm. Museo Nazionale Etrusco di Villa Giula, Rome (Italy). Etruscan Antiquity.

      22. Anonymous. Warrior from Cerveteri, c. 530–510 B.C.E. Terracotta. Ny Carlsberg Glyptotek, Copenhagen (Denmark). Etruscan Antiquity.

      23. Anonymous. Athena introducing Heracles on Mount Olympus,c. 530–520 B.C.E. Terracotta. Museo Nazionale Etrusco di Villa Giula, Rome (Italy). Etruscan Antiquity.

      24. Anonymous. Young Girl running, pediment, Temple of Eleusis, Eleusis (Greece), c. 490–480 B.C.E. Marble, h: 65 cm. Archaeological Museum, Eleusis (Greece). Greek Antiquity.

      25. Anonymous. СКАЧАТЬ