Archaic free standing sculpture

Woodford’s view of the New York Kouros

symmetry and pattern makes the statue more beautiful

rigid appearance is deliberate

John Boardman on the New York Kouros

pattern conscious however the patterns are not realistic

the statue has not shrugged free from the rectangular block of stone (can’t sing I want to break free)

technically speaking primitive work

Boardman on the Sounion Kouros

slightly more developed than the New York Kouros

Woodford on Kleobis and Biton

more interested robustness than patterning the surface

archaic smile = more alive

Boardman on Kleo and Biton

a) primitive: e.g. grooved

eye-brows,

b) chunky flexed arms point to the

story behind their kleos, and

c) idealised

display of arete e.g. biceps and chunky thighs.

Mitropoulos and Snook on the Anavyssos Kouros

more rounded and three dimensional

more naturalistic

Woodford on the Anavyssos Kouros

rounded planes suggest soft flesh rather than hard stone

however patterns in harmony NY now jarring in contrast to the more rounded forms

Woodford on Aristodikos

it makes Ana seem like an inflated balloon

appears unnaturally stiff = has not yet learnt how movement 1 limb affects the others

Boardman on the Aristodikos Kouros

almost embarrasingly inert

= more obvious here than on earlier = only when the figure has become otherwise so natural that we begin to question

Woodford on the Berlin Standing Goddess

arms add interest by breaking the symmetry

female figures = drapery and hair an excellent field for a talented sculptor to show arete

suggestion living body behind drapery

Neer on the Berlin standing goddess

pomegranite = fertility

drapery muffles the body

squarish head and sharp unrealistic facial features

Woodford on peplos kore

admires irregularities

upper torso rounded planes

Spivey on Peplos Kore

polychromatic nature riot of colour