Famous Ancient Greek Sculptors

These six sculptors (Myron, Phidias, Polyclitus, Praxiteles, Scopas, and Lysippus) are among the most famous artists in ancient Greece. Most of their work has been lost except as it survives in Roman and later copies. Art during the Archaic Period was stylized  but became more realistic during the Classical Period. The late Classical Period sculpture was three dimensional, made to be viewed from all sides. These and other artists helped move Greek art — from Classic Idealism to Hellenistic Realism, blending in softer elements and emotive expressions.   The two most commonly cited sources for information about Greek and Roman artists are the first century CE writer and scientist Pliny the Elder (who died watching Pompeii erupt) and the second century CE travel writer Pausanias. Myron of Eleutherae 5th C. BCE. (Early Classical Period) An older contemporary of Phidias and Polyclitus, and, like them, also a pupil of Ageladas, Myron of Eleutherae (480–440 BCE) worked chiefly in bronze. Myron is known for his Discobolus (discus-thrower) which had careful proportions and rhythm. Pliny the Elder argued that Myrons most famous sculpture was that of a bronze heifer, supposedly so lifelike it could be mistaken for a real cow. The cow was placed at the Athenian Acropolis between 420–417 BCE, then moved to the Temple of Peace at Rome and then the Forum Taurii in Constantinople. This cow was on view for nearly a thousand years — the Greek scholar Procopius reported that he saw it in the 6th century CE. It was the subject of no less than 36 Greek and Roman epigrams, some of which claimed that the sculpture could be mistaken for a cow by calves and bulls, or that it actually was a real cow, attached to a stone base. Myron can be approximately dated to the Olympiads of the victors whose statues he crafted (Lycinus, in 448, Timanthes in 456, and Ladas, probably 476). Phidias of Athens c. 493–430 BCE (High Classical Period) Phidias (spelled Pheidias or Phydias), the son of Charmides, was a 5th century BCE sculptor known for his ability to sculpt in nearly anything, including stone, bronze, silver, gold, wood, marble, ivory, and chryselephantine. Among his most famous works is the nearly 40-foot tall statue of Athena, made of chryselephantine with plates of ivory upon a core of wood or stone for the flesh and solid gold drapery and ornaments. A statue of Zeus at Olympia was made of ivory and gold and was ranked among one of the Seven Wonders of the Ancient World. The Athenian statesman Pericles commissioned several works from Phidias, including sculptures to celebrate the Greek victory at the Battle of Marathon. Phidias is among the sculptors associated with the early use of the Golden Ratio, the Greek representation of which is the letter Phi after Phidias. Phidias the accused of trying to embezzle gold  but proved his innocence. He was charged with impiety, however, and sent to prison where, according to Plutarch, he died. Polyclitus of Argos 5th C. BCE (High Classical Period) Polyclitus (Polycleitus or Polykleitos) created a gold and ivory statue of Hera for the goddesss temple at Argos. Strabo called it the most beautiful rendering of Hera hed ever seen, and it was considered by most ancient writers as one of the most beautiful works of all Greek art. All his other sculptures were in bronze. Polyclitus is also known for his Doryphorus statue (Spear-bearer), which illustrated his book named canon (kanon), a theoretical work on ideal mathematical proportions for human body parts and on the balance between tension and movement, known as symmetry. He sculpted Astragalizontes (Boys Playing at Knuckle Bones) which had a place of honor in the atrium of the Emperor Titus. Praxiteles of Athens c. 400–330 BCE (Late Classical Period) Praxiteles was the son of the sculptor Cephisodotus the Elder, and a younger contemporary of Scopas. He sculpted a great variety of men and gods, both male and female; and he is said to have been the first to sculpt the human female form in a life-sized statue. Praxiteles primarily used marble from the famous quarries of Paros, but he also used bronze. Two examples of Praxiteles work are Aphrodite of Knidos (Cnidos) and Hermes with the Infant Dionysus. One of his works that reflects the change in Late Classical Period Greek art is his sculpture of the god Eros with a sad expression, taking his lead, or so some scholars have said, from a then-fashionable depiction of love as suffering in Athens, and the growing popularity of the expression of feelings in general by painters and sculptors throughout the period. Scopas of Paros 4th C. BCE (Late Classical Period) Scopas was an architect of the Temple of Athena Alea at Tegea, which used all three of the orders (Doric and Corinthian, on the outside and Ionic inside), in Arcadia. Later Scopas made sculptures for Arcadia, which were described by Pausanias. Scopas also worked on the bas-reliefs that decorated the frieze of the Mausoleum at Halicarnassus in Caria. Scopas may have made one of the sculptured columns on the temple of Artemis at Ephesus after its fire in 356. Scopas made a sculpture of a maenad in a Bacchic frenzy of which a copy survives. Lysippus of Sicyon 4th C. BCE (Late Classical Period) A metalworker, Lysippus taught himself sculpture by studying nature and Polyclitus canon. Lysippus work is characterized by lifelike naturalism and slender proportions. It has been described as impressionistic. Lysippus was the official sculptor to Alexander the Great. It is said about Lysippus that while others had made men as they were, he had made them as they appeared to the eye. Lysippus is thought not to have had formal artistic training but was a prolific sculptor creating sculptures from tabletop size to colossus. Sources Bellinger, Alfred R. The Late Bronze of Alexandria Troas. Museum Notes (American Numismatic Society) 8 (1958): 25–53. Print.Corso, Antonio. Love as Suffering: The Eros of Thespiae of Praxiteles. Bulletin of the Institute of Classical Studies 42 (1997): 63–91. Print.Lapatin, Kenneth, D. S. Pheidias. American Journal of Archaeology 101.4 (1997): 663–82. Print.Palagia, Olga. Pheidias Epoiesen: Attribution as Value Judgement. Bulletin of the Institute of Classical Studies. Supplement.104 (2010): 97–107. Print.Squire, Michael. Making Myrons Cow Moo? Ecphrastic Epigram and the Poetics of Simulation. The American Journal of Philology 131.4 (2010): 589–634. Print.Stewart, Andrew. Praxiteles. American Journal of Archaeology 111.3 (2007): 565–69. Print.Waldstein, Charles. The Argive Hera of Polycleitus. The Journal of Hellenic Studies 21 (1901): 30–44. Print.Wycherley, R. E. Pausanias and Praxiteles. Hesperia Supplements 20 (1982): 182–91 . Print.

Descriptive Essay - The Football Practice Field - 798 Words

The Beauty of the Football Practice Field Imagine a small town with green trees and windy roads slowly fading into the dobes of the desert that surround its southern border. Along with the desert is a vast mountain range that snuggles against its northern and eastern borders. The heart of this small town is its high school, which resides on the outer edge of the town where the green stops and the dry dobes begin. The school is completely surrounded by dry plains that stretch as far as you can see except for a small oasis of green grass. This small oasis of grass is known to many as the practice field. To those who are merely passing by, it looks like a dying piece of land that has been forgotten. What they dont know is the†¦show more content†¦These are not just two red posts, these are posts that represent hard work and intensity. Also, they remind the team that we have no friends on this menacing field, only opponents and teammates. The odor that accompanies the red post is that of rank water that has been cultiva ting insects for days. In the midst of the dreadful water and the symbolic posts are the mystic mountains that are the backdrop of the field. They stand tall over the pitch and gaze down on the athletes that prepare for battle every day. The sight of the mountains and the surrounding desert are a sight worth seeing, these are not the fields greatest attractions. The first thing that is notice when walking past the red posts is the fields worsening conditions: the worn down patches of grass that have seen more action than the rest, the prairie-dog holes that are a threat to every players mobility, and the bumps and holes in the field that misconstrue its seemingly flat surface. Despite all distinct markings that set this field apart from any other practice fields, there is a sense of pride that the players hold towards the field. This comes from the lessons of life that are taught there. 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Different Ways of Persuading Free Essays

A few years back, I had a very close friend who never believes that she has the ability to keep up with life. She reiterates that she is ugly and that nobody is going to like her forever. In addition to that, she insists that she is not at all intelligent. We will write a custom essay sample on Different Ways of Persuading or any similar topic only for you Order Now She states that she is useless almost every waking moment of her life. What I did was to show her that I extremely like her; see, according to the â€Å"law of liking†, individuals tend to be fond of someone showing fondness to them as well (Rinke, 2006, n. p. ). My persuasive manner of delivery actually changed her belief that nobody is going to like her (Rinke, 2006, n. p. ). When this same close friend of mine got sick of endometriosis, she did not believe that surgery can help her (Kotelnikov, 2008, n. p. ). What I did was to combine â€Å"trust, logic, and emotions† to convince her to undergo surgery for her sake (Kotelnikov, 2008, n. p. ). I had to tell her that she should trust me and I did that by explaining carefully the procedure of the operation, as well as, the advantages that it will bring her after (Kotelnikov, 2008, n. p. . The tone of my voice, as well as, my body language surely touched her as well since I was able to convince her eventually (Kotelnikov, 2008, n. p. ). There was also a time when she had a terrible family problem (Hogan, 1996, p. 95 – 114). I did not say much, simply because it is enough that I was there to listen and to show her that I care; through the non-verbal communication I carried out, I was able to convince her that her situation is not that bad after all (Hogan, 1996, p. 95 – 114). The gestures, as well as, the eye contacts were convincing enough (Syque, 2007, n. . ). On a final note, in almost all the situations that I have been there with her, I utilized â€Å"reason† to convince her (Hubpages Inc. , 2007, n. p. ). When she told me that she believes all men are bad, I immediately provided her with objective reasons why she should not continue to believe so (Hubpages Inc. , 2007, n. p. ). She was able to draw a commonsensical conclusion eventually after I presented explanations as to why she should not generalize her emotions/perceptions toward men (Hubpages Inc. , 2007, n. p. ). How to cite Different Ways of Persuading, Papers