Headway to Naturalism When we hear the word evolution, the first thing that comes to mind is the abstract theory introduced by Charles Darwin, alike his theory the human form interpreted in art began as an abstract representation, however Greek sculpture embraced a naturalistic human form through the evolution of its art. Greek sculpture evolved through seven different artistic periods: Geometric, Orientalizing, Archaic, Early Classical, High Classical, Late Classical, and Hellenistic periods. Detailed progress is demonstrated in New York Kouros ca. 600- 590 BCE during the Archaic Period, Kritios Boy ca. 480 BCE from the Early Classical Period, and Apoxyomenos (Scraper) ca. 330 BCE from the Late Classical Period. The Archaic Period extends
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Just before Greece reached the classical age they fought two battles against the Persians. In the Battle of Salamis ca. 480 BCE, the Persians burned down sculptures and temples in Athens. The Acropolis was especially left in ruins since it was the heart of Athens nonetheless; Kritios Boy dated before the attack in ca. 480 BCE, a sculpture once dedicated in the Acropolis was discovered enacted. The sculpture was a dedication to one of the temples symbolizing religious context. The name given is associated to its sculptor Kritios. Kritios Boy distinctly sets the transition between the archaic period and early classical period since it the first sculpture that introduces contrapposto, the fluid body and a relaxed stance. The use contrapposto allowed the sculptor to shift the weight in which the “torso leans to the side and the left leg carries the weight being the engaged leg while the right leg bents the knee that helps balance the body” (book). Since the knee is bent it “compensates curvature of the spine, and an adjusting tilt to the shoulders”(book) Also, the head abandons the frontal position it is now slighted turned to the right. The musculature of the abdominal is as well treated subtly allowing to make movements since the Kritios Boy is at rest his stance and muscles indicate he is in motion. Besides, the body changing the face has changed as well the eyes aren’t large and idealized, but “softer fleshiness is added”(book). Kritios Boy is also shown in the nude, young, and medium utilized is
Just before Greece reached the classical age they fought two battles against the Persians. In the Battle of Salamis ca. 480 BCE, the Persians burned down sculptures and temples in Athens. The Acropolis was especially left in ruins since it was the heart of Athens nonetheless; Kritios Boy dated before the attack in ca. 480 BCE, a sculpture once dedicated in the Acropolis was discovered enacted. The sculpture was a dedication to one of the temples symbolizing religious context. The name given is associated to its sculptor Kritios. Kritios Boy distinctly sets the transition between the archaic period and early classical period since it the first sculpture that introduces contrapposto, the fluid body and a relaxed stance. The use contrapposto allowed the sculptor to shift the weight in which the “torso leans to the side and the left leg carries the weight being the engaged leg while the right leg bents the knee that helps balance the body” (book). Since the knee is bent it “compensates curvature of the spine, and an adjusting tilt to the shoulders”(book) Also, the head abandons the frontal position it is now slighted turned to the right. The musculature of the abdominal is as well treated subtly allowing to make movements since the Kritios Boy is at rest his stance and muscles indicate he is in motion. Besides, the body changing the face has changed as well the eyes aren’t large and idealized, but “softer fleshiness is added”(book). Kritios Boy is also shown in the nude, young, and medium utilized is