Free Standing Sculpture High Classical Period

Clark on Polykleitos

clarity balance and completeness

Laisne on Poly’s canon

strove to achieve the ideal beauty

broke the traditional frontality of Greek statuary

Neer on Poly

not new = canons and grids were basic to archaic sculpture

Harris and Zucker on the Doryphoros

ideally beautiful in proportions and musculature

asymmetrical unlike kouros - lives in our world

Pedley on the Dory

explores the reaction of the body to movement

Barringer on Dory

rather than stop action motion like Artemision Zeus

= dory a study of contrasts tense v relaxed to portay less dramatic but natural movement

Neer on Dory

a paring of opposites

Woodford on high classical drapery

vs straighter lines - CURVILINEAR = takes on more naturalistic curved shapes

Harris and Zucker on drapery techniques on the parthenon which influences high classical sculpture

water flowing around the body

Mitropolous and Snook

wet drapery technique = so thin clings to female body emp. attractiveness and sexuality

Pedley on Nike

drapery

1. contrast with the bare flesh

2. accentuates anatomy

   1. billowing out behind = sense of forward motion

Woodford on Nike

transparency modelling and sweeping motion lines

= drama and impact

Mitropolous and Snook on Aphrodite from the Agora

wet drapery technique emphasises sexuality and enticing nature

contrast thin chiton and and thick folds of the himation

Woodford on Aphrodite from the Agora

line was everything

Harris and Zucker on the Caryatid from the Erechtheion

drapery mirrors fluting of the column

subtle sway to her body because contrapposto

Woodford on the Caryatid

each slightly different from the others

catenary contrasts fluting of the legs