- Bronze statue 6ft 3"
- More relaxed and natural to what we've seen before
- Bronze colour is more alike sun-tanned skin of Greek men
- Stance is freer with hands totally free from body - easier to do with bronze
- No need for plinth as it bears its own weight
- left foot not at front - right leg advanced but less so than before
- Hair still very formulaic
- Musculature is subtle and soft - not very complex
- No fat ankles
- Blank expression
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- 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
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- 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
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- 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- Headband originally made of silver.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.
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- 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
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- 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
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Diskobolos by Myron
- 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
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- 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
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