Early Classical free standing sculpture

Boardman on the severe facial expression

may be an attempt to express the statues human or divine mood

Spivey on new Early Classical ability differentiate between human and divine meant superhuman majesty and power but other figures also …

more human than human

Ridgeway on the Early classical period

heavy drapery

human body as a whole vs emphasis on outlines in archaic statues

Woodford on the Krit

THIS STATUE HAS COME TO LIFE = gone mechanical smile, rigid stance and formal symmetry

youth is well conveyed

Boardman on the Giustiniani Hestia

doughy blanket like peploi

Boardman on Delphic charioteer

see statue as part of a group

Neer on Delphic Charioteer

legs elongated and xystis inconsistently rendered

Woodford on Delphic charioteer

pose full of easy asymmetries

Barringer on Delphic charioteer

heavy chin and thick eyelids typical of the severe style

Harris and Zucker on the Artemision Zeus

limbs apart = possibility of bronze vs marble very contained

bronze gleamed and shines in the light

Woodford on the Artemision Zeus

Likes = admires contrast straight arm with bent weight bearing leg with free

However 2 problems …

torso should be affected by the action limbs

less powerful for side viewers (lose triangles)

Neer’s view on the Artemision Zeus

elongated the left arm to nearly simian length

Barringer on Artemision Zeus

admires the anatomy and careful rendering of muscle flesh and bone structure

Woodford on the Diskobolos

a) stroke of

genius with mid action

pose,

b) torso doesn’t

reflect the action limbs

c) beautiful contrasts zig zags vs curve

Boardman on the Diskobolos

a) threshold

of realism but emotion-less,

and c) cut

in one plane: frontal in

nature.