Notes on The Classic as Realism in Greek Art
Thesis and core argument
William A. P. Childs argues that classical Greek monumental sculpture (ca. 480–300 B.C.) developed towards realism, challenging the traditional view of it as purely idealized (Winckelmann).
He proposes that realism drove the classical canon, with high classical works becoming increasingly naturalistic and 4th-century works prefiguring Hellenistic illusionism.
Foundational context and theoretical framing
Winckelmann's "noble simplicity and quiet grandeur" shaped the view of classical style as anti-realist.
Childs counters that this obscured realist development in 5th- and 4th-century sculpture, linking it to debates on phusis (nature) and art's relation to nature.
Key terms and conceptual framework
Phusis: The essential character or nature of a subject.
Realism: Accurate, objective rendering of physical form, anatomy, and muscular relationships.
Illusionism: Art creating convincing appearances/perceptual effects, sometimes at realism's expense (e.g., Zeuxis and Parrhasios stories).
The 4th century shift introduces "illusionistic/expressive" tendencies, moving towards objective realism, leading to Hellenistic developments.
Chronology and periodization (overview)
Classic period: 480 ext{ B.C.} \rightarrow 300 ext{ B.C.}
Early Classical ("severe style"): 480 ext{ B.C.} \rightarrow 450 ext{ B.C.}
High Classical: 450 ext{ B.C.} \rightarrow 420 ext{ B.C.}
Late Classical ("Rich Style"): 430 ext{ B.C.} \rightarrow 380 ext{ B.C.}
The Rich Style serves as a transitional period (430–380 B.C.), characterized by individualized and expressive forms, evolving into Hellenistic realism.
The Parthenon west pediment, and what it reveals about realism
Figure A (437–432 B.C.) shows highly naturalistic torso torsion and anatomy, contrasting with earlier, more rigid figures (Aphaia, Olympia).
This illustrates a clear shift towards greater naturalism in the later 5th century, seen as early signs of realism rather than just "noble grandeur."
The Lansdowne Amazon and the emergence of the exomis
Lansdowne Amazon (c. 440–430 B.C.) is more expressive and individualized.
Wears an exomis (one-shouldered garment), new in the high classical period, symbolizing a shift in Amazonomachy iconography from formidable to heroic/athletic female figures.
Her expressive posture (leaning, implying pain) departs from generic idealism.
Other high classical developments: movement, drama, and anatomy
Progression from exaggerated gestures to subtle, integrated naturalism in high classical works (e.g., Parthenon figures, Diadoumenos).
Myron’s Diskobolos, while active, is idealized and planar; Polykleitos's Doryphoros demonstrates precise anatomical realism with a scientific grasp of musculature (one side resting, one flexed).
Pliny's remark about Lysippos representing things "as they appeared" suggests an illusionistic/impressionistic dimension, not just strict realism.
The philosophical backdrop: art, perception, and the problem of realism
Plato critiqued art's mimetic truth; Zeuxis and Parrhasios anecdotes highlight illusionism/deception, not literal realism.
Aristotle and pre-Socratics contextualize phusis and art's relation to nature.
Childs argues 4th-century illusionism added a new dimension to realism, signaling a more modern concept of art with artist's interpretation.
The fourth century and the emergence of a more explicit realism
The 4th century is marked by illusionism, impressionism, and expressionism.
Lysippos is key, his canon emphasizing subjective appearance over static phusis.
Old and new tendencies merge, synthesizing naturalistic description with expressive style, expanding descriptive form towards Hellenistic style.
The mechanics of development: from “static” phusis to a more precise observational realism
Early classical (ca. 480–450 B.C.): static representation of essential figures.
High classical (ca. 450–420 B.C.): precise depiction of muscular interrelationships,