Classical civilisation A Level - Greek Art- Freestanding Statues - Scholarly Sources

The more rigid appearance is deliberate

Woodford

More primitive than NY kouros

Boardman

expression is not to make them look happy, but more alive

Woodford

The decorative, bead-like rendering of the hair...now jars in context to the otherwise more naturalistic forms of the later kouros'

Woodford

It makes the Anavysos kouros look like an inflated balloon in contrast'

Woodford

unnaturally stiff

Woodford

It remains almost embarrassingly inert

Boardman

The head is squarish, the facial features sharply delineated; the eyes, as often in this period, are enormous

Neer

her arms...add interest to the otherwise wholly symmetrical composition

Woodford

'drapery and hair provided an excellent field on which a gifted sculptor could develop his talent for decorative organization'

Woodford

she notes how female figures have less scope for portrayal of anatomy so sculptors turned to detail instead

Woodford

One of the most delightful...found on the Athenian Acropolis...the drapery is treated in terms of broad simple masses. It is enlivened by slight irregularities

Woodford

The most famous (of early 5th century bronzes), but far from being the best

Boardman

Since the car will have hidden most of the charioteer's body, the sculptor has simply elongated his legs to make him stand taller...flagrantly inconsistent...the pose is stiff and old-fashioned...the heavy chin, oval face and full lips are characteristic of the early classical style

Neer

Careful rendering...The god's long hair is braided and tied up offering a venue for the sculptor to display his impressive skill in metal chasing

Barringer

Symmetrical organisation

Woodford

side view is not successful

Woodford

Ancient writers saw this as standing on the threshold of realism in sculpture, though not in expressing emotion...Despite the apparent freedom of the pose, the figure is cut in one plane, for a single viewpoint

Boardman

perfection of human form

Zucker

The statue signifies his success...Paionios abandoned the severity of the Early Classical style...drapery appears to cling to the body as though wet

Neer

a swirl of vigorous curvilinear drapery

Woodford

Athletic and robust...his figure suggests suppressed vigour rather than attenuated grace...traditional Polykleitan contrapposto is enlivened by the unusual position of the right arm...breaks the imaginary front plane...more intimate relationship with the space'

Woodford

The sculptor distorts the anatomy for effect

Neer

About praxiteles 'stylistically,he was revolutionary...his male figures were boyish, even feminine, with soft bodies and undeveloped muscles

Neer

the idea of both revealing and covering"

Zucker

About praxiteles 'his introduction of the female nude as a sculptural type was a crucial innovation'

Boardman

Seems very human...the blending of meanings- imparting a new humanity to divinities

Woodford

argues that men could show how 'good' or ideal they were through their skills and athletic ability, however women could only do so through appearance

Hall

Its glance, gesture and pose invite all-round viewing

Boardman

Penetrating the frontal plane...intruding into the viewers space...a spiral effect that encourages the viewer to walk around the figure

Barringer