Early Classical Statues

Piraeus Apollo

1 of 8

480BC
weight subtly shifted onto back foot (improvement in pose) but reaction through body does not occur
No archaic smile
Head turns slightly to right to give more an impression of life.
Details of anatomy show little advance from Aristodikos and pose changes are small but the difference in effect is dramatic - statue comes to life more
Body is carved with great delicacy and tenderness of youth is well conveyed

2 of 8

480BC
Other sculptors attempted this new 'brought-to-life' effect of the kritios boy. This is a head likely from one of these statues
slight angulation of the head
No archaic smile, more pensive
Hair still decorative but less than previous
Facial features better proportioned

3 of 8

470BC
5ft 11"
Part of a group of charioteers and horses.
Copper lips and eyelashes, eyes ivory and onyx
Headband originally made of silver.
hair is flat, 3D wisps and curls around eyes are good though
Calm expression
Generally the drapery is responsive
From angle of head to the feet there would be a slight twist in body which the drapery skillfully manages to hide
Tensed arm responds to chariot and reins
Not really necessary to show lower half of human form underneath drapery as would have been obstructed by the chariot.

4 of 8

Second quarter of 5th C BC
Bronze statues.
stands with weight on right leg, left slightly bent placed in front
Would have had a shield on left arm, right arm by his side
Hips respond to displacement of the weight onto one leg - right hip higher than left but this upper body less responsive.
Should be more difference in tension between the two arms
Turn on the head gives greater sense of life however
These small improvements got rid of rigidness and symmetry and made the statue alive with potential energy.
Each of sides have character. the back has vitality with the slight S curve up the arched back. Shows how much grace and liveliness small changes in pose can do for the figure
Bronze is dramatic and striking

5 of 8

460-450BC
6ft 10"
Depiction of large scale figure visible from all sides in the middle of action
symmetry abandoned comlpetely here
Outstretched arms like this would only have been achieved with bronze
Concentration - head and pointed finger. Statue looks into the distance
Varied position of limbs - contrasts straight arm with bent, weight bearing leg with the free
Front foot slightly raised, rocking action, about to hurl
Problems though: Difficult to understand this statue from side views however
Torso should be reacting to this action but it is as still as a simple standing statue would be

6 of 8

Second quarter of 5th C
Bronze original
Highly praised of its time
Chose to depict an instant moment of stillness before the action of hurling discus - split second pause between back swing and forward thrust
Suggestion of potential movement so strong - the statue is alive with energy
Both symmetry and repetition are avoided e.g. one side of statue is zig-zag outline (four lines of the body meeting at almost right angles giving great sense of harmony), the other side sweeping curve of arms
Same problem as with artemisium zeus - hard to distinguish what the statue is from seeing it side view for example. looks very confused.
And again the torso is realistic but givces no response to the violent actions of the limbs

7 of 8

Second quarter of 5th C
Great simplicity.
Very severe line of line of overfold
Looks much more restrained than figures of second half of 5th C
Quite serious and stern, stiff stance. Goddess of hearth - perhaps should reflect comfort of hearth and family but definitely doesnt
Veil over head doesnt really flow well or have the softness you would expect from that material
Thick chunky hair, big prominent nose
Two halves of statue quite distinct from each other - sharp line across middle doesnt help
Very structured formulaic folds of skirt - no variation or attempt to show bodily form underneath drapery

8 of 8