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Analysis of greek mythology
Analysis of greek mythology
Analysis of greek mythology
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Antoine-Louis Barye, a famous French sculptor, creates a sculpture named Theseus Fighting the Centaur Bianor in 1849. In his sculpture Barye portrays the mythic fight between Theseus, who is considered a hero, and the Centaur Bianor. This fight is described in Book XII of Ovid’s Metamorphoses. The sculpture consists of two full-body characters, one in top of the other one. Barye uses bronze as medium. An important characteristic from this sculpture is that the bronze used is a shiny black. The color and medium used in this artwork provide a better contrast between light and shadow. This effect makes us appreciate the emphasis the sculptor put in each one of the characters’ musculature. Even thought, centaurs are mythic creatures Barye creates a realistic full-body portrait of one combining the upper body of a human and the lower body of a horse. The sculptor creates a soft and realistic muscular texture for his characters and also creates the texture of cloth, rock and what appears to be a small bush. Bianor, the centaur, reflects a facial expression of fear because his life is being threatened. Meanwhile, Theseus displays a calmed facial expression and his body language shows us he is in control of the fight. The ground where they are standing suggests this fight is taking place in a mountain. The most notorious principal of design in this artwork is proportion; Theseus has a normal human body and Bianor’s body is proportionally similar to Theseus’ body. This sculpture has …show more content…
asymmetrical balance. When we discuss its cultural background it is worth noting that Antoine-Louis Barye is well known for portraying animals in action.
This sculpture has heavy influences from ancient Greek. Nudity and the emphasis in human musculature is one of the easiest ways to recognize Greek artwork other than its characteristic mythology. Contrapposto is present in both characters, Theseus and Bianor. As mentioned before this piece of artwork is an illustration from the Book XII of Ovid’s
Metamorphoses. The artwork is relevant to my life because it shows me that as humans we have not changed much through centuries. Even though, the sculpture portraits a fight between two mythical-fictional characters it displays how little we have changed; we still fight wars in order to stablish superiority and we look for excuses to cause them. It is amazing how art has changed since it first appeared and how far we have come. All the techniques created in different mediums. However, the most impressing period where art starts to evolve faster is the Greek and Roman Era. Even thought, Barye creates this artwork in the nineteenth century he is inspired by Greek culture and their humanistic way to create art. Art slowly putting aside gods and replacing them with humans inspire me to see how important we are. In conclusion, the influences from Greek culture and animals led Barye to create a magnificent sculpture. The explanations and definitions provided in this class helped me to appreciate art in a deeper lever. It is important to mention that every single detail such as the context of the artwork, the references, textures, and principles of art and many other aspects that could be analyzed contribute to create a unique piece of art.
There are many similarities between the sculpture of the kouros and King Menkaure and His Queen. Since the Greeks used the same technique as the Egyptians, the statue of the kouros is posed stiffly with his arms straight down at his sides in the same manner that Egyptian pharaohs were often depicted. His left foot is slightly in front of the right, just as King Menkaure’s left foot is. Both figures are looking straight ahead, have their feet planted on the ground, and have long hair. The kouros represented the ideal form of a young male to the Greeks, just as the figures of King Menkaure and his queen depict the ideal notion of beauty to the Egyptians. The kouros emulates the stiff pose
Around the time 530 bce a statue was carved out of marble and given the name Anavyos Kouros. It represents a male figure completely nude. It is a sculpture in the round and stands a height of six foot four inches. Starting from the top we see the man's head. His hair looks odd to that of a normal human, it does not look like it belongs on his head. Looking at his facial structure his eyes are large similar to art of ancient Egypt. His nose, lips, cheeks, and ears are well defined and proportional. His body is muscular and he looks to be in great shape. The sculptor who made this paid close
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
The Statue of a kouros depicts a Greek man in the nude. Although he looks like a man, the large scale, and the miss proportioned features makes it unnaturalistic. The toes are too long, the genetalia is unrealistically small, and the joint lines are exaggerated.
In regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
Where one is a bronze statue with a singular figure, the other is a painting with a central figure, from which the story is built. However, their contrasts go beyond what they are made of, to their different subjects and their complexity. Donatello’s David shows youthful beauty and strength, which he confidently exudes through his body language. Standing with one foot atop Goliath’s severed head while turning his body to balance his weight to the other leg, this statue is a clear example of Contrapposto, which the Greeks invented and introduced into their sculptures. Donatello’s statue of David stands triumphant and proudly atop his trophy, while telling the audience I am the conqueror of Giants. His expression is stern to match his
Conlin, Diane Atnally. The artists of the Ara Pacis: the process of Hellenization in Roman relief sculpture. Chapel Hill: University of North Carolina Press, 1997. (P. 4)
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
The primary focus of ancient Greek sculptures was that of the human body. Almost all Greek sculptures are of nude subjects. As the first society to focus on nude subjects, Greek sculptors attempted to "depict man in what they believed was the image of the gods and so would come to celebrate the body by striving for verisimilitude or true – likeness (realism and naturalism!)."(Riffert) Not only did the Greeks celebrate the human form in their art but also in everyday life. (Riffert) One of the favorite topics for sculptors was that of the athlete. In Greek culture athletes were described as "hero–athletes". (Riffert) This shows that athletes were revered and looked upon as heroes. The influence of athleticism is evident in many famous sculptures. I will attempt to show how the human form influenced Greek art. It is important to note that many of the Greek sculptures discussed do not exist in their original form but rather in Roman copies of the original bronze sculptures. (Riffert)
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
We find that, in conclusion, that these pieces are very similar in many ways. They are both originally created in the same style and time period. They are Hellenistic and dramatic, although in their own, individualistic way. Each sculpture was created in different mediums and have different stories. These are both very individualistic pieces of Greco/Roman sculpture that has influenced many artists throughout time and will
Grave Stele of a Little Girl is an Ancient Grecian work from roughly 450-440 BC that depicts a small girl bidding her doves farewell. The girl has wavy hair pulled up behind her head and cascading down to her shoulders, as well as a tunic-like dress, presumably a peplos, that creases down her body, and recedes along her sandals. The creases in this gown reveal her stance to be slightly shifting forward, with the gravity of her attention being directed towards the doves she holds. Her face is turned down sullenly towards the birds. Grave Stele of a Little Girl uses detailed lines that define form and textured skin and hair to emphasize the humanity and youth of the figure to create a sullen piece with a heavy gravity of tragedy. The proportion and directional force place focus on the birds and the girl’s face, highlighting
Aphrodite leg is creating a V shape. Hera seems to be modeled after Aphrodite of Knidos, with her hand somewhat modestly place to cover the female part and her body shape is also quite similar too Aphrodite of Knidos. Athena on the other hand, is giving the audience her full back. Her body creates “s” shape with gives a sense of motion. All four females depicted in the painting have that ideal female body congruent with Greek ideal at that time, 0.7 waists to hip ratio, unfit, non-muscular body. Same can be said with all the males depicted in the painting, they all adhere to the male ideal body; they are all extremely muscular and ripped, ready to protect their town and women, even Eros, a child has an extremely muscular body. Paris is seen horizontally extending his arm towards to Aphrodite granting her the apple, show casing every arm muscle just like in Discus Thrower, as if the artist just capture the exact moment of motion. There is an implied line, directing the viewer’s eyes towards the focal point, Aphrodite and Paris. All the character’s eye direction in the painting is going towards Paris choice of giving the apple to Aphrodite instead of choosing to give it to Hera or Athena. Furthermore, a dog, next to Paris, is seen horizontally lying down on the floor, which according to Greek culture, dogs were the protectors, they are calm, loyal and devoted to their masters. The viewer based on location and proximity of the dog to Paris can conclude that he will protect Paris from harm, foreshadowing the Trojan War, which Paris escapes alive. There is also iconography in the painting such as Eros, to identify Aphrodite, a peacock to identify Hera, and armor for