Kouros

Greek Archaic, c. 600 BCE, marble

• Grave marker, replacing huge vases of the Geometric period
• not a real portrait, but a general representaiton of the dead
• rigidly frontal
• emulates stance of Egyptian sculpture, but is nude; arms and legs largely cut free from the stone
• freestanding and able to move in contrast to many Egyptian works that are reliefs or are attached to stone
• hair is knotted and falls in neatly braided rows down the back

Calf Bearer

Greek Archaic, c. 560 BCE, marble

• Rhonbos the calf bearer bringing an offering to Athena in thanksgiving for his prosperity
• thin coat draped over figure
• two figures are united; tightly woven composition
• archaic smile, knotted hair

Peplos Kore

Greek Archaic, c. 530 BCE, marble

• Broken hand used to carry offering to Athena
• hand emerges into our own space, breaks out of the mold of static Archaic statues
• tightened waist
• breasts revealed beneath drapery
• so-called because she is named for the peplos, the garment she is wearingrounded an naturalistic face
• much of the paint still remains, animating the face and hair

Gods and Giants from the Siphnian Treasury

Greek Archaic, c. 530 BCE, marble

• Mythic battlebetween the Greek gods and the giants, called a gigantomachy
• shows contemporary military tactics and weapons
• undercutting of forms creates shadows around legs
• varying relief depth; attempt at placing figures one behind the other; however, they are all on the same ground line

Dying Warrior from the Temple of Aphaia, Aegina

Greek Archaic, c. 500-490 BCE, marble

• Warrior dying, fits neatly into the corner of the pediment
• hair in rows of tight curls
• rigid masculature
• pose of the crossed legs is awkward and unnatural, especially given the life-and-death struggle the dying warrior is undergoing
• archaic smile

Kritios Boy

Greek Classical, c. 480 BCE, marble

• Introduction of contrapposto, body standing naturally
• slight turn to the body, head not strictly frontal but a bit to one side
• transitional piece between Archaic and Classical art

Athena, Herakles, and Atlas from the Temple of Zeus

Greek Classical, c. 470-456 BCE, marble

• Atlas returning to Herakles with the apples of the Hesperides; Herakles held the world (with a cushion to soften the discomfort) for Atlas while he was gone
• transitional phase between the stiff Archaic and the more relaxed Classical forms
• Athena's body revealed under her clothes,l idealized forms on the bodies of Herakles and Atlas
• Archaic smile is gone
• figures appear to be able to think

The Discus Thrower

Greek Classical, Myron, c. 450 BCE, marble copy from a bronze original

• In between motion, mid swing
• impossible pose to throw the discus, but optically the pose works
• viewpoin mainly from the frontexpressionless face, or perhaps thinking
• use of negative space opens large areas in the sculpture
• idealized heroic body

Spear Bearer

Classical, Plykleitos, c. 450-440 BCE, marble copy from a bronze original

• closed stance
• alternating tense and relaxed elements of the body
• blocklike solidity
• broad shoulders, thick torso, muscular body
• movement restrained, spartan ideal of body
• warrior and athlete
• hand once held a spear
• he averts his gaze; you may admire him, but he does not recognize the admiration

Three Goddesses, from the Parthenon

Classical, c. 438-432 BCE, marble

• Figures are related to one another in their poses, positions, and interconnected meaning
• clnging, 'wet' drapery reveals the voluptuous bodies beneath; deeply cut drapery
• figures sit naturally within the frame work of the pediment
• poetic pose

Nike Adjusting Her Sandal, from the Temple of Athena Nike

Classical, c.. 410 BCE, marble

• Graceful winged figure modeled in high relief
• deeply incised drapery lines reveal body, wet drapery

Aphrodite of Knidos

Classical, Praxiteles, c. 350-340 BCE, marble copy

• statue once was housed in a round temple and could only have been seen by someone through peeking around columns; voyeuristic view
• novel in its approach to nudity for females' not openly erotic, but sensual
• aphrodite steps into a bath
• she is admired, but averts her gze
• she is taking a cloak off a water jar
• sensuous S curve to the budy
• gentle, dreamy quality
• modest - hand that is missing would have covered her pelvis