Prescribed Early and High Classical Free Standing Sculpture Scholars

Delphic Charioteer, Artemision Zeus, Diskobolos, Doryphoros, Aphrodite of the Agora

Woodford on the Delphic Charioteer

His pose is full of easy asymmetries, and the reflective expression is very different to the exuberant kouroi.

Neer on the Delphic Charioteer

The pose is stiff and old-fashioned, so attention focuses on the impassive face, whose detailing is characteristic of the Early Classical style. The sculptor has elongated the legs and been very inconsistent in rendering the chiton.

Barringer on the Delphic Charioteer

His facial features are typical of the Early Classical period. His outstretched arms and turned head make him seem alert and attentive, and the superb detailing quality on the hair, drapery, and fillet suggest costly commission.

Boardman on the Delphic Charioteer

It is far from the best of the early 5th century bronzes. Whilst it appears in isolation to be a cult statue, we must remember that it was part of a group composition.

Woodford on the Artemision Zeus

The artist has successfully produced a vivid and convincing figure by varying the positions of the limbs. This has created a novel sense of movement. However, the torso has not reacted to the action limbs, and the statue is not very effective from a side view, whilst incredible from the front and back.

Barringer on the Artemision Zeus

The careful rendering of the anatomy bring the god’s concentrated face to life. The long, braided hair, which is tied up, allows the sculptor to show his prowess in chasing. The size, nudity, and action pose all suggest divinity.

Neer on the Artemision Zeus

The elongated left arm is somewhat simian, but this simply makes the sculpture project forcefully into the viewer’s space.

Boardman on the Artemision Zeus

The nudity and realistic stance are awe-inspiring, and the perfect balance is both threatening and static. The hair is arranged in thick, sometimes overlapping, strands.

Harris & Zucker on the Artemision Zeus

The figure conveys divinity through its superhuman focus and impressive pose, as well as the fact that it would have been gleaming and radiant. This is in line with Plato’s view of the gods as perfect manifestations of humanity. There are three distinct views: front, back, and side.

Woodford on Diskobolos

The choice of pose is genius, conveying imminent movement. The composition is a complex one of curves and zig-zags

Boardman on Diskobolos

The sculpture stands on the threshold of realism, in spite of the jarring lack of emotion. However, despite the free pose, the figure is definitely designed for a single viewpoint.

Harris & Zucker on Doryphoros

He is an idealised human form, with the contrapposto creating both harmony and contrast. This said, he is realistic, seeming to “exist in my world”. The marble copies include supports which would not have been present in the original, and have a variety of variations.

Pedley on Doryphoros

He could be either walking or standing still, though motion forward is implied by the balanced figure. Doryphoros is an exploration of the reaction of the body to the contrapposto pose.

Barringer on Doryphoros

Standing in contrapposto, he is not an essay in stop-action motion, like the Artemision Zeus, but instead a study of contrasts, attempting to depict the human form in a less dramatic, but natural, movement. This is indicative of the progress to High Classical.

Neer on Doryphoros

There are both basic and deeper asymmetries, in the left and right sides, and in the contrast between flexed and unflexed. It is a pairing of opposites: moving and still, transient and eternal.

Spivey on Doryphoros

The Doryphoros is distinctly “four-square”. The stance sets up an equilibrium of opposing moments, as if a series of rods has passed through the body, each causing a shift in the pose which must be countered.

Mitropolous & Snook on Doryphoros

The figure’s head is more youthful than its body, and the face is so idealised that it is missing a lifelike expression. This is evidence of Polykleitos’ focus on the body.

Mitropolous & Snook on Aphrodite of the Agora

Employing the wet drapery technique with the tightly wound himation and clinging chiton emphasises Aphrodite’s sexuality. Both the contrapposto and positioning of the himation draw further attention to her hips.

Woodford on Aphrodite of the Agora

Line was everything; mass counted for little. The motionless figure of Aphrodite is swallowed by vigorous drapery, designed to show off virtuosic skill in rendering cloth.