Ancient Greek Sculpture: Phidias to Hellenistic Period

Phidias and Classical Greek Sculpture

Phidias represents the peak of Greek classicism. His figures are ideal prototypes, full of serenity, balance, and beauty. His works are characterized by the serene expression on the faces and the flexibility and transparency of the garments. He is the artist who best represented the gods. Phidias cultivated both free-standing sculpture and relief, reaching a very high degree of perfection.

Decoration of the Parthenon

Phidias was entrusted with the sculptural decoration of the Parthenon, primarily situated in the pediments, friezes, and metopes. He devised and supervised the work. Some characteristics of Phidias' style are:

• The clothing, using the technique of "wet drapery," allows the anatomy to be appreciated, especially in female figures.
• The perspective representation is achieved by graduating the relief to create a sense of depth.
• Ease in representing figures in different attitudes, perfection in anatomical study, and representation of motion.

The most interesting reliefs from the Parthenon are:

• The Frieze of the Panathenaic Procession: A parade of young maidens followed by riders in different degrees of movement.
• The Representations of the Gods: In the pediments and the frieze of the "Banquet of the Gods."

Athena Parthenos

This was a gold and ivory, free-standing figure, approximately 12 meters tall. It was inside the Parthenon. It was characterized by its monumentality, the serenity of its attitude, and expertise in the representation of drapery. Athena appears as a warrior goddess, holding a small female figure representing victory against the Persians.

Post-Classical Period (4th Century BC)

Certain developments appear in this period:

• The gods become more human.
• Forms are softened. The modeling is softer, and curved lines begin to dominate.
• More attention is paid to the expression of feelings in the face, and expressions are passionate and violent movements.
• The canon is elongated, and figures appear more stylized.

The main representatives are Praxiteles, Scopas, and Lysippos.

Praxiteles

His figures gain in grace and gentleness. Their gods have indolent postures, carrying their weight on one leg, forming the Praxitelean curve. The faces can take on a nostalgic and dreamy quality. Praxiteles increased the canon of Polycletus to 8 heads, making his figures more stylized. His figures are more complex, with the limbs separated from the body. Examples:

• Hermes with the Infant Dionysus: Dionysus is represented as a child.
• Apollo Sauroktonos
• Resting Satyr

Scopas

Scopas was interested in violent movement and the expressiveness of the figures. Example:

• The Maenad: Represents a priestess of Dionysus in religious delirium, with her hair loose and half-naked. In one hand, she carries a knife with which she will sacrifice a kid she holds in the other. The movement is violent.

Lysippos

Lysippos varied the anatomical ideals and adopted the canon of 8 heads. He especially represented athletes, gods, and heroes. His figures lose their heroism, and their characters are depicted in everyday, even vulgar, actions.

• The Apoxyomenos: An athlete who is removing oil and dust from his body after the race. The attitude is not heroic, almost vulgar. The canon is elongated. His face has lost its classical severity. The anatomical study is of great quality.

Hellenistic Period (4th-2nd Century BC)

Technical perfection is maintained. However, Hellenistic authors incorporate innovative features:

• Figures assume greater expressiveness and movement. The faces are much more expressive. The bodies acquire positions in a movement that can become violent.
• There is greater realism, and the portrait appears. Sometimes they highlight realistic and even unpleasant aspects.
• Everyday, anecdotal, and even vulgar issues are now depicted.

Schools and sculptors appear, such as those from Rhodes and Pergamon.

• The Venus de Milo: This is an example of Hellenistic sculpture with Phidian influence. In one hand, she held an apple, and in the other, she was holding her cloak. It is a balanced figure, representing ideal beauty.
• The Winged Victory of Samothrace: This figure was part of a memorial of a victory and was located on the prow of a ship. The victory, represented as a winged woman, is shown with wings extended, with the wind blowing from the front. The skin-tight clothes reveal the anatomy, creating the sensation of movement.