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Introduction How representative our remains are of Hellenistic Greek sculpture is hard to guess. We have a fair number of original statues, mostly mediocre in quality and concentrated in the later part of the period, but copies - some themselves Hellenistic - make a useful supplement.
Portraits too are numerous and include important originals, but the copies mostly show the philosophers popular in later times. Reliefs of high quality are rare, perhaps less because they were not produced than because they were not copied, and of pedimental sculpture almost nothing important has survived.
For information about ceramics from ancient Greece, including the Geometric, Black-figure, Red-figure and White-ground technique, see: Poses might be rather more informal, but the old four-square construction remained regular, except for such undignified subjects as Satyrs and representations of low life.
The standing draped female offered at least the drapery to play with, though here the new formula soon degenerated into a mannerism. The Baker statuette, an original bronze sculpture just over eight inches high, is a fairly early example, if as dated terracottas suggest it was made around BCE.
The figure is almost completely enveloped by its dress, which flares out to cover the feet, and imprisons the arms. And the bodily forms of the new feminine canon are only implied, though evidently understood. In full-size statues with this kind of drapery the pose is usually designed for a frontal view and so does not twist; it is also usually more upright and compact, often with one arm folded across the.
Such statues were still being made for portraits in the late second century.
By then Classical types, of which modified versions had never disappeared, were coming back into favour. This extraordinary work, an original of Parian marble and about six feet eight inches high, was set up on the prow of a ship carved in an inferior stone and projecting obliquely into an artificial pool among carefully disposed rocks.
Because of its situation the Nike could be seen well, though at some distance, from in front and more closely along the left side, but the right side and the back were reckoned to be out of sight and so never finished: The transition between these two views is made by a spiralling twist, though this spiral is in the drapery - in the heavy folds between the legs and the opposite system around the left hip - but the figure, if stripped, has a four-square construction.
The forms of the body are fairly Classical, except for the breadth of the hips, and even in the drapery the High Classical devices of transparency, modelling lines and motion lines are used with skilful if in part only decorative purpose.
A detailed comparison of the Samothracian Nike with the Nike of Paionios is worth making and does credit to both statues. On style it would be hard to date the Nike of Samothrace, but the context of the monument puts it near BCE. In a generic way, it may be classed as Pergamene.
Venus de Milo The standing female nude or semi-nude did not offer much scope for novelty.
The proportions might be made more feminine and the surface be treated more softly, but the range of action was small. The Aphrodite of Melos or, as it is better known, the Venus de Milo, has become the most familiar example of the type.
Of Parian marble and six feet seven inches high, it is an original in a Classicizing style and for stylistic reasons is usually dated towards the end of the second century.
The anatomy is that of Late Classical Greek sculpture - the face, for instance, may be compared with that of the Leconfield head - and so too is the drapery, though there are discordances in detail; but the pose has a marked spiralling below the hips and the statue offers satisfactory views from almost all round.
Though a mixture of Classical and Hellenistic occurs also in the Nike of Samothrace, the two figures are essentially different in style; one might put it that in the Nike, Classical forms are applied to an original Hellenistic conception, but in the Aphrodite a Classical conception has been modernized by the use of Hellenistic novelties.
Even so, it is a confident work of sculpture and to dismiss it offhand as an academic concoction is doctrinaire. For later sculptors and movements inspired by Hellenistic statues and reliefs, see: Classicism in Art onwards.
Boy with a Goose It is useless to generalize about the poses of Hellenistic statues, many of them twisting or contorted and unsuited to the Classical four-square construction. For instance the sitting Boy with a Goose has an obvious front view, but because of the outstretched arm and leg and the compactness of the whole most of the other views are satisfactory.| Jani Smith | Ancient Cultures | | March 18, | | Winged Victory Contents Introduction 2 Discovering 2 Hellenistic architecture and style 2 Composition and atmosphere 2 Genres and audience 3 Conclusion 4 Introduction One of the best known works of Hellenistic sculpture is Nike of Samothrace, now located in the Louvre .
Sculpture of Nike of Samothrace The headless statue of the Nike of Samothrace with her wings outstretched, and folds of garment billowing in the strong gusts of sea breeze, is a fine example of Hellenistic art. Victory is an extremely decorative figure who appeared widely in Greek art from the Archaic period (sixth century BC) onwards.
She is found in a multiplicity of forms – statues, reliefs, vessels, coins, and terracotta or bronze figurines. Nike (Victory) of Samothrace (reduced size) Modern plaster replica (given to the Wilcox by the KU Department of French and Italian) at a about 1/2 scale of a Greek original of ca.
BCE (original is just over 8 ft tall). According to the small metal oval in the back, the cast was purchased from the Caproni Bros.
cast company of Boston probably in Learn Nike of Samothrace (Winged Victory) with free interactive flashcards. Choose from 14 different sets of Nike of Samothrace (Winged Victory) flashcards on Quizlet.
Work The Winged Victory of Samothrace. Department of Greek, Etruscan, and Roman Antiquities: Hellenistic Art (3rd-1st centuries BC).