The statue is fashioned from marble and stands 3 and a half feet tall. The statue depicts a Gaul man who is laying on his shield as blood pours from the gash in his chest. Hellenistic art is realistic in that his skin appears hard and dry, the muscles appear heavy, his face expresses pain, anguish and despair, which is a common style of the Hellenistic period. They were also very interested and intrigued by pathos and death during this style period. The sculptor depicted this Gallic man with matted hair, a mustache, and a twisted collar which were characteristics of a barbarian, greatly feared and admired, and worthy battle opponents.…
The painting features two boxers competing in a boxing match at Tom Sharkey’s Athletic Club. The club was located across the street from Bellows’ Manhattan studio in New York City. This club was technically illegal at the time because public prize fighting was prohibited in New York. In order to keep the club secret from the authorities, it had the appearance of an ordinary tavern, but they kept a boxing ring in the back room. Only members of Sharkey’s were allowed in the club to watch the local semi-professional boxers compete in the ring.…
The Rhetorical Précis Eddie Hall, in the documentary Eddie Strongman, explains that although difficult, proper diet and training can lead you to being the strongest man in the world. You can have any body shape that you want, but much of your life needs to be devoted to whatever you desire. Hall supports his explanation by demonstrating his day to day life as well as his fellow competitors. We get an in depth look of how demanding it is to be a strongman such as Hall, as well as seeing their accomplishments from doing so. The author's purpose is to convince the audience that the body is their own personal sculpture in order for the audience to want to explore in the world of body sculpting.…
Depictions of man, gods, and heroes revolved around themes of daily life and emotional states. Despite the humble themes and lifelike portrayals of human beings, Hellenistic artworks were still able to display power and authority through the strong emotions they evoked. The bronze statue of the Seated Boxer and the Portrait Statue of Aule Meteli (Arringatore) both display a great sense of power by capturing a sense of realism and evoking emotions upon the viewer. The Seated Boxer and the Portrait Statue of Aule Meteli both made use of the medium of bronze, allowing way for realistic expressions of the human figure and engagement of the viewers’ attention and emotions.…
The author depicts the juggler in a vivid image, which portrays how attentive the author is to the juggler— this expresses that the author himself enjoys the performance because he takes note in what the juggler is doing, and what he is wearing. But doing so, the author reveals that paying attention to the performance and enjoying…
The sculpture Apoxyomenos is the first work of art that will be examined in this critical study. Apoxyomenos or The Scraper (fig 16-24) is a sculpture in-the-round carved from marble as a copy of a Greek sculpture originally cast in bronze. It is a three-dimensional depiction of an athlete taking off oil and dirt with a strigil, or scraper, while reliving the victory achieved. Also it is a graceful display of the human body and embodiment of the uplifted view of Greek and Roman athletes.…
In the Hellenistic Era of Greek Art, many sculptures featured dramatic, emotional, and theatrical sculptures. Specifically, the Winged Nike or The Nike Of Samothrace is a sculpture that represents victory and the deity Nike. The sculpture is presented on a base that is a prow of a ship with the goddess atop. The original placement was “…a hillside niche high above the theater in the Sanctuary of the Great Gods of Samothrace…” (Cothren, Stockstad).…
It shows two statuesque figures locked in combat, like gods from an ancient myth. But this stunning study in black and white depicts actual men. To fully appreciate Katchian’s photo and…
The statue, a hollow-cast bronze, is fully frontal with a ridged and stiff posture (Ridgway 1967: 46). The left foot is taking a step forward, but both feet are firmly planted on the ground. The chest is square and bulky, yet the features, such as the abdominal muscles and the pectoral muscles are barely defined because of a lack of modeling with the “omission of digitations or ribs” (Ridgway 1967: 50). The statue is in the nude, like archaic kouros are. The face is angular with high copper brows and copper lips that are demonstrating the prominent archaic smile.…
The artists’ ability to create real human emotions on the sculpture’s face makes the piece able to drag the audience into the moment in time when Hercules was battling the…
Maria Shaw’s argues in her article that the Priest-King depicted in the fresco described has just won a tournament and has been labeled as the “athlete of the year”. So goes on far enough to say that he could even have been the “missing Minoan ruler”, and finishes with the idea that these sports (such as bull-leaping, boxing, and acrobats) were the precursor to later Greek Olympic games. The three broad forms of evidence she references are the fragments and restorations, the architectural and archaeological contexts, and information on who the Priest-King was (or rather could be). When discussing the restorations she focuses on certain people as major influences on her take of the restoration, the baseline being Evans, as he was the first…
More realistic and lifelike sculptures were developed. The Kritios Boy and The Diskobolos are perfect examples of Humanism in Classical Greece. The Kritios Boy represented humanism with its natural position and form. The Diskobolos reflects humanism with is realist proportions and defined musculature. Their naturalistic features and idealistic human form perfectly represent humanism and the humanistic culture of the…
In the article “Anger And The Veil In Ancient Greek Culture” by D. L Cairns the author talks about the non-verbal expressions in ancient Greek culture with the reference of the use of veils and similar garments as the meaning of anger. The article explains the different use of gesture of veiling as a response to different things. The article discusses different scenes in ancient literature where characters showed anger or denial of visual communication. This relates to the idea that conflicts between characters in ancient literature with representation of emotion, which is known as rasa. This relates to the conflict between Rama and Sita.…
Art is an expression of the human condition since the time when men and women dwelled in caves. Creativity is not proprietary to what we consider modern times. This essay will look at two sculptures from the third millennium B.C. Each of these statues tells us something about the motivations of people of that particular era.…