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The human body art
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This essay will investigate how the aesthetic of the human body is depicted throughout art, in the classical Greece and Hellenistic period.
The core foundation of depicting the human physique is the anatomy of the body itself. The anatomy of the human physique is an ‘indispensable foundation for any artistic portrayal of human beings’ (Barcsay, J 1973, p.9). The skeleton is the ‘firm framework’ (Barcsay, J 1973, p.14) of the human physique, it serves as ‘a protective cover for the inner organs’(Barcsay, J 1973, p.14).
Figure 1 represents the Vitruvian Man by Leonardo da Vinci in 1487. The drawing itself consists of pen and ink on paper which depicts a male figure that is situated is two superimposed positions with his appendages situated parallel to the floor and one set slightly elevated. Unlike his fellow peers Giacomo Andrea and Francesco di Giorgio, the work of Leonardo was very precise and meticulous.
Rather than creating a simple drawing of the human figure to be used in science, he had ‘used delicate lines and careful shading to create a body of remarkable and unnecessary beauty’ (The inspiration behind Leonardo da Vinci’s Vitruvian Man, online). Figure two embodies a time where science and art intersect to let the viewer ask, ‘how we fit in the grand order of the universe’ (The inspiration behind Leonardo da Vinci’s Vitruvian Man, online).
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His left armpit rests on his club which is adjacent to himself. Here Herakles is depicted ‘naked and bearded with short curly hair’ (Farnese Hercules, Online). His left arm is left hanging as if it is motionless. The intricacy and detail of the statue highlights the mental and physical strain he is under as he completes the labours at hand. The statue was originally created by the sculpture Lysippos of the 4th century BC. The level of detail portrayed in his work has led to him being considered as one of the greatest sculptors of the pre-Hellenistic period, the classical Greek
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 human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
Hellenistic art, let alone architecture, was a period of dramatic transformations that deterred greatly from the Greek Classical period. While the Classical Greek concepts were not entirely abandoned, the Hellenistic period expanded the formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotion, something greatly different from the Classical artists ideas. The conventions and rules of the Classical period gave way to experimentation and a sense of freedom that allowed the artists of the Hellenistic period to explore their subjects from unique points of view that they had not previously done. The Altar to Zeus in Pergamon is the perfect representation of the Hellenistic period. Pergamon contained the Altar to Zeus in the same way that the Athenian Acropolis contained the Parthenon and is considered by the Greek art historian Gisela Richter to be “the most famous altar of Hellenistic times” (Handbook 32). The Altar of Pergamon is uniquely suited as an ideal example of 2nd century Greek culture that is tied to the ideals of the people, and shows off Hellenistic characteristics that define the time just as the Parthenon is a staple in the Classical period. [Stokstad]
Winckelmann like Vasari dealt greatly with the artistic problems concerning representation and imitation of nature including the need for the human beauty in a figure. However he also was interested in art criticism based in historical timelines and causes for the change and evolution of modern art. This greatly seen in this article not only in his thesis that great contemporary art is based in antiquity but also in his explanation for why the Greek art was so well done and why it has risen back into the hands of modern art. First, Greek work came back to contemporary society greatly by the monarch led by Titus who brought authentic work from Greek masters for his artists to learn from and imitate. He also discusses the correlation between the bodies, like that of the Theseus model, with the Greek lifestyle they lived based heavily on training for the Olympic games and the resemblance of youth’s bodies to godlike figures. Great masters of contemporary work use these same bodily model and ideal of beauty in their work. Winckelmann states that their present good taste is due to the fact that they, “partook of good taste at its source.” Overall the Greeks set up rules of art that could be imitated to capture nature and its ideal form of beauty, an idea that many sought to accomplish.
Those familiar with Greek mythology will recognize the name of Iolaos, as he is the nephew of Herakles. In many renderings of Herakles’ labors, Iolaos is nearby. Sometimes, Iolaos is in the center of the action of Herakles’ endeavors, just as he is in the thick of this fight on this chous. Some versions of the story of Herakles and the hydra say that Herakles asked for Iolaos help to cauterize the decapitated stumps of the hydra. Perhaps this is why Iolaos is displayed holding torches at such an odd angle over the hydra as Herakles attacks the hydra. If this is the reason for Iolaos’ presence, one suspects that Iolaos’ help is a vital part of Herakles’ venture. One of the most interesting details to note about the depiction of Iolaos is the similarity in appearance to Herakles. In fact, the resemblance is shocking. Though the two are related, one would not expect for Herakles to look exactly like his nephew. Yet, the artist chose to present the viewer with very similar young males. The only clear distinctions are Herakles’ cloak and the fact that Herakles has a bit more muscular development than Iolaos. Otherwise, these two could easily be mistaken for each other in this work of
The Greek believed the human body was the measure of all things, therefore the artists created sculptures in a very detailed fashion which made them very life-like although the size of
Greek art progressed through four divisible periods from ninth century B.C. to the second century B.C. The primary subject matter for all of these periods was humans. (Sowerby, 150) Each period progressed further than the last with developing the human form and making it continually more realistic and natural. (Boardman, 275) The most basic human forms were depicted in the Geometric period where triangles and ovals were used to make a rough human form. The Archaic period came next with artists slowly moving away from set geometric figures and incorporating more human detail into their art. Great change in art came in the Classical period. Sowerby states this by saying: "The classical artist concentrates up...
Perhaps one of the most defining and easily identifiable aspects of the ancient Greek culture was the immortalization of humans and gods in sculpture. Sculpture had existed in the world for thousands of years before the ancient Greeks made their stake in the art, but the Greeks added an entirely new set of aspects to their sculptures. Unlike the Egyptian and Mesopotamian sculpture centuries earlier, the Greeks set forth not just to capture the image of a man but to capture that which made him a man. The Greeks set in place three base tenants to display the tone of a sculpture. Through the use of Humanism, Realism, and Idealism the ancient Greeks were able to capture humans and gods forever in marble.
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.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.
The quote of Aristotle was uncannily appropriate to the naturalists of the Renaissance and Baroque artists. The human body with its movement and underlying muscle and bone were understood by Greco-Roman artists, and were used by 1400-1700s artists as ideals to gain understanding from, be inspired by, and to build on after learning new technical and scientific skills. The straight lines, smooth paint, and crisp ideal forms serve as an example of perfection to many artists (Boundless, 2015, para. 2), as they were once intended by the Greeks and Romans to illuminate the perfection of their gods. In fact, artists of the later time periods, such as Bernini, would choose to sculpt religious statues that immediately call Greek statues and gods to mind, and in fact often feature them, such as "Apollo and Daphne" (1622-25) as well as Christian subjects, such as the elegantly alive "Bust of Jesus Christ". With sculpture, contrapposto was also cherished by more modern artists as a way to bring a sculpture to life, and the used it and the more technically advanced "S pose" generously, such as seen in Alexandros of Antioch's Aphrodite of Milos.
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
The Greek sculptors technical skills were increased. They depicted the human body in a relaxed figure. Sculptors introduced contrapposto (a weight shift) to their figures. For example, figure 5-40 on page 132, Polykleito’s Doryphoros
From the portrayals of earlier kouroi to the “canonical” nudes, the meaning underlies the nudity of Greek sculptures from different periods of time has been changed as time gone by.