An analysis of the topic of the evolution of the greek sculpture
The repertory of this bronze work is not confined to standing men and horses, however, as vase paintings of the time also depict imagery of stags, birds, beetles, hares, griffins and lions. For pedimental figures practice varied. Uses For Ancient Greek Sculpture The Greeks used statues for so-called cult figures of deities, dedications, monuments on graves and architectural decoration, but it was not until the Hellenistic period that they acquired or commissioned more than statuettes for private enjoyment.
From about BC statues began to depict real people. All emphasize and generalize the essential features of the human figure and show an increasingly accurate comprehension of human anatomy. Next the mold and the preliminary figure had to be separated, and here more uncertainty intrudes.
Inspired by the monumental stone sculpture of Egypt  and Mesopotamiathe Greeks began again to carve in stone. They were able to replace the strict asymmetry of the figure with a free flowing form more true to life, while they approached an ideal aesthetic vision through stone and bronze. Kleobis and Bitonkouroi of the Archaic period, c.
Greek sculpture woman
Evidently the Greek sculptural tradition was founded on and fixed by carving. This limitation applied particularly to sculpture - and to statues more than reliefs - since sculpture of any consequence was set up only in public places. As for bronze, Greek taste preferred to keep it shiny, and patination green or brown sheen was a sign of neglect, although in the Roman period some collectors considered patina a certificate of antiquity. To the first question there is a ready answer: at that time Greeks were certainly visiting Syria, which had some stone sculpture, and perhaps Egypt, which had more. The wax was then melted out and molten bronze poured into the space once occupied by the wax. The repertory of this bronze work is not confined to standing men and horses, however, as vase paintings of the time also depict imagery of stags, birds, beetles, hares, griffins and lions. There are other instances, also infrequent, of combinations of materials: some large statues were 'acrolithie', that is of stone for the flesh and wood for the other parts, and occasionally the hair of marble statues was completed in stucco. Even so, the sculptor of the New York kouros was an eccentric, and more orthodox kouroi of the time show no such conformity. Some statues, especially smallish ones, were put on high pedestals or even columns or piers, but the most normal type of Greek base was relatively low, rectangular and made from marble. When set, the clay was removed and the surface finished off by scraping, fine engraving and polishing. When the empire eventually split and faded from existence, Greek artwork had left its mark on the remaining civilizations. Generally Greek sculptors of reliefs carved no part much further back from the front plane than was required by the effective modelling of that part. Of all this relatively little remains: much has perished from natural causes, but still more was destroyed deliberately during medieval times. Some gods and heroes had a characteristic attribute to identify them - Asklepios a snake, or Heracles his club - but generally till the Hellenistic period the subjects of statues were unspecialized types, and convenient vehicles for artistic expression.
Cult statues, sometimes colossal, were comparatively rare. Common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens.
In addition, there are casual references to sculptors and sculptures by other authors. But Greek artists, unlike Egyptian, were not cramped by hieratic regulations concerning how gods and people should be depicted.
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