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- Fallen Warrior
- Era: Archaic, 490-480 BCE
- Location: East Pediment of the Temple of Aphaia
- Techniques:
- made of marble
- 6'1" tall
- more natural and complex posture - twisted torso - not fully frontal
- trying to fight his wounds but death is inevitable and he still has an archaic smile
- pronounced cheeks
- stylized kneecaps and calves
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- The Riace Bronzes, Warrior Figure
- Era: Severe Style, 460-450 BCE
- Location: Riace, Italy
- Techniques:
- made of bronze
- 6'6" tall
- lacking his shield, spear, and helmet
- copper highlights on his eyelashes, lips and nipples add life
- teeth made of silver mixed with bronze
- inlaid glass paste eyes
- lost wax process
- emphasis on musculature and tendons
- left foot forward - pronounced weight shift
- feet firmly placed on the ground
- natural motion
- natural hairstyle
- arms free from body
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- Temple of Hera II
- Era: Early Classical/Severe Style, 460 BCE
- Location: Tuscan, Italy
- Techniques:
- 6 columns on the facade and 2 columns in antis
- double row of columns (2 stories of Ionic columns) in the cella to offer a better view of the diety sculpture
- stereobate
- peristyle collanade
- narrower and longer
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- Charioteer of Delphi
- Era: Severe Style
- Location: Sanctuary of Apollo, Delphi
- Techniques:
- pleated folds - fluting on a column
- no body contour
- v-shaped pattern of folds on chest
- eyes inlaid with glass paste
- stern, fixed position
- immobility of expression
- hair is cropped, shorter, and more natural
- inlaid band of silver on head
- feet are firmly placed on the ground
- feet and head facing opposite directions
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- West Pediment Temple of Zeus
- Era: Early Classical/Severe Style, 468-460 BCE
- Location: Olympia
- Techniques:
- centaurs are drunk and rape maidens
- Greek victory over Persians
- sacred truce of Olympia
- resposibility of men
- all figures in the same scale
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- Apollo
- Era: Early Classical/Severe Style, 470-456 BCE
- Location: West Pediment of the Temple of Zeus, Olympia
- Techniques:
- outstretched hand
- lack of motion
- minimal muscle in the torso
- stylized hair
- triumph of law and order
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- Hippodemia and the Centaur
- Era: Early Classical/Severe Style, 470-456 BCE
- Location: West Pediment of the Temple of Zeus, Olympia
- Techniques:
- slight hint at body countour
- calm, serenity of the statues, frozen pose
- muscles in horse not defined
- stylized folds on garment
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- East Pediment of the Temple of Zeus
- Era: Early Classical/Severe Style, 468-460 BCE
- Location: Olympia
- Techniques:
- 87ft wide
- story of the chariot race between Pelops and King Oinomaos
- posed, static
- Oinomaos is a balding man with sagging musculature
- his shocked expression creates realism and naturalism
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- Kritios Boy
- Era: Severe Style
- Location: Acropolis, Athens
- Techniques:
- Kritios is the believed sculptor (not verified)
- slender form
- no inverted-U diaphragm
- more natural muscles
- short curly hair is more natural but the top of the head is stylized
- shift in the hips
- defined groin line
- head turns to the right and tilts just slightly - moving away from strict frontality
- counter-balance, contrapposto
- eyes were inlaid
- no archaic smile - more natural expression
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- Zeus (Posiedon)
- Era: Early Classical/Severe Style, 460-450 BCE
- Location: Greece
- Techniques:
- made of bronze
- 6'10" tall
- male human form in motion
- bearded god who once hurled a weapon
- heel off the ground creates motion
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- Discobolos
- Artist: Myron
- Era: Early Classical/Severe Style, 450 BCE
- Techniques:
- Roman copy after bronze original
- tree stump for stability
- creates a vigorous motion
- profile limbs but a nearly frontal chest - extreme tension
- two intercpting arches of a slightly stretched bow
- advanced body anatomy
- stylized hair
- play of light an shadow - high patina shine
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- Doryphorus
- Artist: Polyclightus
- Era: High Classical
- Techniques:
- model for Roman athletes
- ideal male nude athlete
- canon of proportions, measured from joint to joint
- slight sense of motion
- one foot is flat and the other is raised
- uneveness in groin line
- s-shaped body
- imposing order on human movement by a system of cross-balance
- right side has coulmner stability and the left side is in motion
- right side anchors the statue
- limbs oppose eachother diagonally
- movement vs. stability
- head turned to the right and hips turned to the left
- harmonyof opposites
- hanging defined muscles over the groin
- volume in hair
- vacancy in stare
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- Parthenon
- Artists: Iktinos and Kallikrates
- Era: High Classical, 447-438 BCE
- Location: Acropolis, Athens
- Techniques:
- dedicated to Athena
- 8 columns on the facade and 17 on the sides
- x=2y+1 is the equation used for the proportion of the temple
- anti-optical illusion
- -stylobate is curved upward at the center
- -entablature also curves
- -peristyle columns lean inward slightly
- curving of horizontal lines and tilting of vertical ones create a dynamic balance and a greater sense of life
- peripteral temple - exterior columns are all Doric
- two sections - larger room for statue of Athena and the smaller one for the treasury
- 4 Ionic columns in the treasury room and it has an Ionic frieze
- mix of Droic and Ionic means that the Ionians descended from the Athenians
- tile roof
- originally painted with emerald green, royal blue, magenta, and gold
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- Statue of Athena
- Artist: Phidias
- Era: High Classical, 438-432 BCE
- Location: Parthenon, Athens
- Techniques:
- 38ft tall
- fully armed
- held a figure of Nike (personification of victory) in her right hand
- triumph of order over chaos, civilization over barbarism, Athens over Persia
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- Dionysis (Herakles)
- Era: High Classical, 448-432 BCE
- Location: East Pediment of Parthenon, Athens
- Techniques:
- made of marble
- 4'3" tall
- young but mature mature athlete
- high muscular torso
- kind of relaxed
- legs would've been crossed
- weight in elbows and but
- tilted shoulders
- low cropped hairstyle - naturalism
- sculpted on ground and then lifted into pediment - not attached to wall
- east pediment depicts the contest to become the patron diety of Athens
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- Three Goddesses
- Era: High Classical, 448-432 BCE
- Location: East Pediment of Parthenon, Athens
- Techniques:
- made of marble
- 4'5" tall
- natural deep folds
- naturalism and high sense of body contours
- play of light and shadow
- majestic, realistic, relaxed
- nyx (night) or selune (moon) reference
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- Lapith and Centaur
- Era: High Classical, 447-438 BCE
- Location: Parthenon, Athens
- Techniques:
- made of marble
- 4'8" tall
- giants and gods struggling - Athens over Persia
- very balanced
- lapith has an arched back to mirror centaur
- cloak links the two figures
- very high relief
- substractive style of sculpture
- natural folds
- bodies and pleats curve softly
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- Horsemen
- Era: High Classical, 438-432 BCE
- Location: Parthenon, Athens
- Techniques:
- Ionic frieze on north side
- high relief
- continuous motion
- lots of overlap
- natrurally turning torso
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- Propylaia
- Artist: Mneskiles
- Era: High Classical, 437-432 BCE
- Location: Acropolis, Athens
- Techniques:
- gateway to the Acropolis
- disguised the change in ground level
- Doric temple front facade
- Doric column spacing was wide enough for chariots
- Ionic columns allowed for a split hieght in the roof
- never completed due to Peloponesian War
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- Temple of Athena Nike
- Artist: Kallikrates
- Era: High Classical, 427-424 BCE
- Location: Acropolis, Athens
- Techniques:
- early classical Ionic order
- first completely Ionic building on Acropolis
- no triglyphs instead - frieze of decisive battle that turned the tide against the Persians
- amphiprostyle temple
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- Erechtheion
- Era: High Classical, 421-405 BCE
- Location: Acropolis, Athens
- Techniques:
- served as the tomb of Kekaros who judged the contest for the patron diety of Athens
- honored Athena and other gods
- early classical Ionic (not fully)
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- Porch of the Maidens
- Era: High Classical, 421-405 BCE
- Location: Erechtheion, Athens
- Techniques:
- carytids not baring much weight
- drapery mimics the fluting of a column
- some sense of body contour
- flexibility of the body under the clothing gives the statues life
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- Nike Fastening Her Sandal
- Era: High Classical, 410 BCE
- Location: Temple of Athena Nike, Athens
- Techniques:
- relief sculpture
- play of light and shadow
- body contour underneath clothing
- deep undercut folds
- realistic with implied motion
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- Hermes and Dionysos
- Artist: Praxiteles
- Era: Late Classical, 340 BCE
- Location: Olympia
- Techniques:
- camoflagued support with drapery
- pronounced weight shift
- s-curve of body
- hair is slightly sculpted
- softening of facial muscles
- tender human interaction of adult and child
- thighs are soft and smooth
- beauty that appeals the the mind and not the mind (didn't use mathematical proportions)
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- Mausolus
- Era: Late Classical
- Location: Halicarnassus, Turkey
- Techniques:
- 9'10" tall
- heavy fabric, deep cut folds
- implied motion
- deep sunken eyes
- long wavy hair
- dragging under the weight of the fabric
- part of the mausoleum that is one of the 7 Wonders of the Ancient World
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- Apoxyomenos
- Artist: Lysippos
- Era: Late Classical, 330 BCE
- Techniques:
- 6'9" tall
- set the canon for proportion
- moves the figure in space, nervous energy
- slender figure
- smaller head 1/8 size of the body
- less bulky musculature
- viewed from all 4 sides
- scraper
- slight curve of the bent arms give the statue life
- court sculpture of Alexander the Great
- Roman copy
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- Athlete (Getty Bronze)
- Artist: Lysippos
- Era: Late Classical
- Techniques:
- rounded, fluid arms
- small head
- shift in body weight evident in hips
- inlaid eyes
- wavy hair
- taller and thinner
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- Antikythera Youth
- Era: Late Classical
- Location: Antikythera, Greece
- Techniques:
- large muscles
- firmly planted walking stance
- implied motion with arms
- thin legs
- loose hair
- inlaid eyes give it life
- reaching out to grab a fruit?
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- Head of Herakles or Telephos (Son)
- Era: Late Classical, 340 BCE
- Location: West Pediment of the Temple of Athena Alea, Tegea, Greece
- Techniques:
- made of marble
- 1’ ½” tall
- Skopas of Paros was architect - sculpture same style - general trend of humanization of Greek gods/heroes - known for intense emotionalism
- hero wearing lion-skin headdress
- pedimental subject was battle with Achilles
- hero turns abruptly, facial expression=psychological tension
- large eyes deeply set in head
- fleshy overhanging brows cast deep shadows
- lips slightly parted
- passionate face reveals anguished soul within
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