Leohar
Leocháres, Greek late classical sculptor.
Diana of Versailles "The Abduction of Ganymede" Apollo Belvedere
Praxitel
Praxitel(other Greek Πραξιτέλης) - ancient Greek sculptor of the 4th century BC. e. The alleged author of the famous compositions "Hermes with the baby Dionysus" and "Apollo killing the lizard." Most of the works of Praxiteles are known from Roman copies or from descriptions of ancient authors. The sculptures of Praxiteles were painted by the Athenian artist Nikias. Praxiteles is the first sculptor who depicted a naked woman as realistically as possible: a sculpture of Aphrodite of Cnidus, where a naked goddess holds a fallen robe with her hand. Subsequently, many sculptors portrayed the goddess in a similar pose. Aphrodite Praxiteles became so popular that she gave rise to a special type in female sculpture: type of Aphrodite of Cnidus (to this type belongs, for example, Venus de Milo). A crater on Mercury is named after Praxiteles.
Aphrodite of Cnidus, Apollo killing the lizard "Hermes with the baby Ionis"
350-330 AD BC e. Marble. Louvre, Paris
Louvre, Paris
Scopas
Skopas (Greek Σκόπας, Skopas; c. 395 BC, Paros - 350 BC) - an ancient Greek sculptor and architect of the late classic era, a representative of the neo-Attic school. One of the first masters of the Greek classics, who preferred marble, practically abandoning the use of bronze, the favorite material of previous masters, in particular Miron and Policlet.
Collaborated with Praxiteles. Participated in the construction of the temple of Athena in Tegea (350-340 BC) and the mausoleum in Halicarnassus (mid-4th century BC), acting both as an architect and as a sculptor.
Among the works of Scopas that have come down to us, the most significant is considered frieze of the mausoleum at Halicarnassus depicting Amazonomachy(created jointly with Briaxis, Leochar and Timothy; fragments in the British Museum).
Many of Scopas' works are known from Roman copies ("Potos", "Young Hercules", "Meleagr", "Maenad"). Rejecting the traditional Greek classic style based on the idea of harmony and tranquility, Scopas introduced the theme of emotional experiences, the struggle of passions into the visual arts. To do this, he used dynamic composition and innovative expressive techniques for sculpting portraits (deep-set eyes, wrinkles, etc.).
The works of the chisel Scopas, the great sculptor who lived in the 4th century BC, are few, only ancient Roman copies remain, and even those have come down to us in fragments. But the wreckage says a lot. Scopas was the artist of the storm, passionate, fiery, and his Maenad is the storm of the Dionysian dance.
Scopas and his crazy "Maenad"
All Skopas sculptures are captured at the moment of movement, the movements of the figures are impetuous, they almost lose their balance. His Maenad strains his whole body, arches his torso convulsively, and throws his head back. One can not help thinking: the orgies of the Greeks must have been serious - not just entertainment, but really "crazy games". Apparently, the matter is not limited to energetic dance, the Alexandrian grammarian Callistratus describes this work of Skopas under the title "Maenad tearing a goat".
But why did this attract Scopas? The frantic dances of the maenads were a very ancient custom, but earlier the Dionysian element did not break through with such force in art - clarity and harmony won in art.
But Scopas rejected the harmonic calm, with which our ideas about antiquity are usually associated. And he preferred - passion: crazy eyes, open mouth, distorted facial features. This influenced the next generations of sculptors and art in general.
The statue of Maenad can be viewed from different sides - each point of view reveals something new: either the body is likened to a stretched bow with its arch, or it seems to be curved in a spiral, like a tongue of flame. And that was another step forward. Indeed, in the old days, sculpture was designed to be perceived from only one point of view.
Praxiteles was an unsurpassed master in conveying the grace of the body and the subtle harmony of the spirit. The best idea of the style of Praxiteles is given by the statue of Hermes with the infant Dionysus (Museum at Olympia), which was found during excavations in the temple of Hera at Olympia. Despite some doubts, this is almost certainly an original, made around 340 BC. The flexible figure of Hermes gracefully leaned on a tree trunk. The master managed to improve the interpretation of the motif of a man with a child in his arms: the movements of both hands of Hermes are compositionally connected with the baby. Probably, in his right, not preserved hand, there was a bunch of grapes, with which he teased Dionysus, which is why the baby was reaching for it. The poses of the heroes have moved further away from the stiff straightness seen in the earlier masters. The figure of Hermes is proportionately built and perfectly worked out, the smiling face is full of liveliness, the profile is graceful, and the smooth surface of the skin contrasts sharply with the schematically outlined hair and the woolly surface of the cloak thrown over the trunk. Hair, drapery, eyes and lips, and sandal straps were painted. The coloring of the statues at Praxiteles pursued not only a decorative effect: he considered it an extremely important matter and entrusted well-known artists, such as Nikia from Athens and others. The masterful and innovative execution of Hermes made him the most famous work of Praxiteles in our time; however, in ancient times, the statues of Aphrodite, Eros and satyrs that did not reach us were considered his masterpieces. Judging by the surviving copies, they existed in several versions.
The statue of Aphrodite of Cnidus was considered in antiquity not only the best creation of Praxiteles, but in general the best statue of all time. As Pliny the Elder writes, many came to Knidos just to see her. It was the first monumental depiction of a completely naked female figure in Greek art, and therefore it was rejected by the inhabitants of Kos, for whom it was intended, after which it was bought by the townspeople of neighboring Cnidus. In Roman times, the image of this statue of Aphrodite was minted on Knidos coins, numerous copies were made from it (the best of them is now in the Vatican, and the best copy of the head of Aphrodite is in the Kaufmann collection in Berlin). In ancient times, it was claimed that the model of Praxiteles was his beloved, hetaera Phryne.
Worse are other statues of Aphrodite attributed to Praxiteles. A copy of the statue chosen by the inhabitants of Kos has not been preserved. Aphrodite from Arles, named after the place of discovery and kept in the Louvre, may not depict Aphrodite, but Phryne. The legs of the statue are hidden by drapery, and the torso is completely exposed; judging by her posture, she held a mirror in her left hand. A few fine statuettes of a woman putting on a necklace have also survived, but again one can see both Aphrodite and a mortal woman in them.
Statues of Eros by Praxiteles were at Thespiae in Boeotia and at Paria in Troas. An idea of them can be given by the graceful and elegant figures of Eros on coins, medallions and gems, where he is represented leaning on a column and supporting his head with his hand, or next to a herm, as on coins from Pariah. The torsos of similar statues have been preserved from Bai (kept in Naples and the Metropolitan Museum in New York) and from the Palatine Hill (in the Louvre and in the museum in Parma).
According to copies, two versions of the statue of a young satyr are known, one of which, perhaps, belongs to the early period of Praxiteles' work, and the other to the mature one. The statues of the first type depict a satyr who pours wine from a high-lifted jug with his right hand into a bowl in his other hand; on his head he has a bandage and a wreath of ivy, his features are noble, his profile is thin. The best copies of this type are found in Castel Gandolfo, in Anzio and in Torre del Greco. In the second version (it was copied more often, the best statues are in the Torlonia Museum and in the Capitoline Museum in Rome; to these should be added the torso from the Palatine Hill, stored in the Louvre), a satyr was depicted leaning on a tree trunk, holding a flute in his right hand, and with the left, throwing back the skin of a panther thrown over his shoulder.
The motif of a figure leaning on a support is also used in the statue of Dionysus, the best copy of which is in Madrid. Dionysus relies on a herm reminiscent of the herm of the sculptor Alkamen, the same as in Hermes by Kefisodot. The statue of Apollo of Lyceum, so called because it was located in the Athenian Lyceum gymnasium, is reproduced on Attic coins. Apollo here leans on a column and supports his head with his right hand, in his left hand is a bow. Quite a few copies of this statue have survived, the best of which are in the Louvre and in the Capitoline Museum in Rome. There are also copies of the statue of the young Apollo Savrokton (Apollo killing the lizard) - in the Louvre, in the Vatican, at the Villa Albani in Rome, etc.
In two versions of the statue of Artemis created by Praxiteles, we see examples of solving the motif of a draped human figure. One of them depicts a young hunter dressed in a simple peplos, who takes an arrow from a quiver behind her back. The best copy of this type is the Artemis kept in Dresden. The second option is the so-called. Artemis Brauronia from the Athenian Acropolis, dating back to 345 BC, belongs to the late period of the master's work. It is believed that a copy of it is a statue found in the Gabia and kept in the Louvre. Artemis is depicted here as the patroness of women: she throws a veil over her right shoulder, brought by a woman as a gift for a successful release from a burden.
One of the last works of Praxiteles is the Leto group with Apollo and Artemis, fragments of which were found in Mantinea. On the pedestal, the sculptor carved a relief depicting the competition of Apollo and Marsyas in the presence of nine muses, the relief (in its entirety, except for the figures of the three muses) was found and is now in Athens. The folds of the draperies reveal a wealth of elegant plastic motifs.
Most often he portrayed the gods, and even the satyrs, as young; in his work to replace the majesty and sublimity of the images of the 5th century BC. grace and dreamy tenderness come. The art of Praxiteles found its continuation in the works of his sons and students, Kefisodot the Younger and Timarchus, who worked on the orders of the Ptolemies on the island of Kos and transferred the style of the sculptor to the East. In Alexandrian imitations of Praxiteles, his inherent tenderness turns into weakness and languid lifelessness.
Praxiteles Praxiteles
(Praxiteles) (about 390 BC - about 330 BC), ancient Greek sculptor. Representative of the late classics. Son and disciple of Kephisodot. He worked mainly in Athens. The works of Praxiteles, made mainly in marble, are known from antique copies and the testimonies of ancient authors (the original is, perhaps, the group "Hermes with the baby Dionysus", about 340 BC, Museum, Olympia). In the early works, Praxiteles follows in the main the traditions of Polykleitos. Subsequently, he develops a new, more refined ideal of beauty that meets the artistic trends of the era. The images of the gods created by Praxiteles, slender and harmonious in proportions, are full of dreamy thoughtfulness and contemplation. With the help of virtuoso processing of marble, the sculptor achieves tangible sensuality and flexible plasticity of images, the finest chiaroscuro play (the soft flow of the sculptural surface creates, for example, the effect of a "wet look" in his statues). Praxiteles' innovations include the use of genre elements, as well as the use of external fulcrum, allowing to give postures greater grace and ease ("Apollo Saurokton", or "Apollo killing a lizard", about 370 BC, Vatican Museum; "Aphrodite" for the island of Kos, or "Aphrodite from Arles", about 360-350 BC, Louvre). Among the most famous sculptures of Praxiteles in antiquity, repeatedly reproduced in copies, is Aphrodite of Cnidus (about 350 BC, Pio-Clementino Museum, Vatican, and Glyptothek, Munich).
"Aphrodite of Cnidus". Marble. Around 350 BC Roman copy. Pio Clementino Museum. Vatican.
Literature: I. B. Zeest, Praxitele, M., 1941; G. D. Belov, Praxitele, L., 1973; Rizzo, G. E., Prassitele, Mil.-Roma, 1932.
(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)
Praxitel(praxité les) (c. 390 BC, Athens - c. 330 BC, ibid.), Ancient Greek sculptor, representative of the late classics. He worked mainly in Athens. Praxiteles' favorite material was marble. Almost no statues of him have survived and are known from Roman copies. The only one of all the works of the sculptor that has come down to us in the original is “Hermes with the baby Dionysus” (c. 340 BC), which was found during excavations in the Greek city of Olympia. It is distinguished by contemplation, sensuality, idyllic mood, virtuoso processing of marble. The sculptor uses the finest relief transitions, careful polishing of the surface to create the effect of a delicate, sparkling naked body with ideal beauty. In the transfer of the movement of the figures, Praxiteles used all the best achievements of Greek plastic arts, especially the legacy Polykleitos, however, the figures of Praxiteles seem lighter and more graceful. According to legend, Praxiteles sculpted the first nude female figure in the history of Greek art - a statue of the goddess Aphrodite - inspired by the beauty of his beloved Phryne ("Aphrodite of Cnidus", c. 350 BC). Among other famous works of Praxiteles are “Apollo Saurokton” (“Apollo killing a lizard”, c. 370 BC) and a statue of a young Satyr (late 4th century BC). It is known that the sculptures of Praxiteles were painted by the artist Nicias from Athens. In the work of Praxiteles, the majesty and sublimity of the images of the 5th c. BC e. grace and dreamy tenderness come. Praxiteles was an unsurpassed master in conveying the grace of the body and the serenity of the spirit. The art of Praxiteles was continued in the works of his sons, as well as the students of the sculptor Kefisodot the Younger and Timarchus.
(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)
See what "Praxitel" is in other dictionaries:
Praxiteles- Praxiteles. Aphrodite of Knidos. Marble. OK. 350 BC Roman copy. Praxiteles (c. 390 c. 330 BC), ancient Greek sculptor. Representative of the late classics. Marble statues of Praxiteles are distinguished by sensual beauty, ... ... Illustrated Encyclopedic Dictionary
- (about 390 about 330 BC), ancient Greek sculptor. Representative of the late classics. Marble statues of Praxiteles are distinguished by sensual beauty, spirituality (Aphrodite of Knidos, Resting Satyr). Known for copies... Modern Encyclopedia
- (c. 390 c. 330 BC) ancient Greek sculptor. Representative of the late classics. He worked mainly in Athens. Marble statues of Praxiteles are distinguished by sensual beauty, spirituality (Aphrodite of Cnidus, the Resting Satyr are known by ... ... Big Encyclopedic Dictionary
- (Praxiteles, Πραξιτέλης). One of the most remarkable Greek sculptors, who lived about 350 BC. He achieved particular perfection in depicting the female body, and the statue of Venus of Cnidus is considered his best work. (Source: Brief... Encyclopedia of mythology
- (Praxiteles) an ancient Greek sculptor, the main representative of the Neo-Attic school of plastics, in all likelihood the son of the sculptor Kefisodot, born. in Athens at the beginning of the 4th century. to R. Chr. His works, in contrast to the works of Athenian sculptors ... ... Encyclopedia of Brockhaus and Efron
- (Praxitéles) (about 390 BC, Athens, about 330 BC), ancient Greek sculptor, representative of the late classics. Son and student of the sculptor Kefisodot. He worked mainly in Athens. P.'s works (performed mainly in ... ... Great Soviet Encyclopedia
- (4th century BC), ancient Greek sculptor, born in Athens c. 390 BC Perhaps Praxiteles is the son and student of Kefisodot the Elder. Praxiteles worked in his native city in 370-330 BC, and in 350-330 BC. sculpted also in Mantinea and in Asia Minor. His … Collier Encyclopedia
Aphrodite of Knidos ... Wikipedia
Praxiteles- (Greek Praxiteles) (c. 390 c. 330 BC) Greek sculptor, son of the Athenian sculptor Kephisodot. Of the 10 works attributed to him, only the group “Hermes with the baby Dionysus” and a number of Roman copies of the statue of Aphrodite of Cnidus have survived, ... ... Antique world. Dictionary reference.
PRAXITELS- Athenian sculptor, who lived in the middle of the 4th century. BC which was admired and often imitated in antiquity. Many works of Praxiteles are known from marble copies, for example, his Aphrodite of Cnidus, described by Lucian and Pliny the Elder, his ... ... Dictionary-reference book on Ancient Greece and Rome, on mythology
Books
- Attic sculpture of the 7th - 5th century BC, M. M. Kobylina, Edition released in 1953 by the Moscow University Press. Numerous photo illustrations in the text and separate pasted illustrations. Publisher's cover. Preservation of the rarity is good.… Category: Sculpture Publisher:
OK. 390 BC - OK. 330 BC
Hermes with baby Dionysus
4th century BC e. Marble. Museum in Olympia, Greece.Praxiteles is an ancient Greek sculptor who worked in the late classical era. This was the period of the formation of the ideas of Socrates and Plato in philosophy, the time of the formation of new forms and the new language of Greek fine art. In sculpture, the masculinity and severity of images of strict classics are replaced by an interest in the spiritual world of a person, and his more complex and less straightforward characterization is reflected in plastic art. So, in the only marble statue of Praxiteles that has come down to us in the original, the beautiful young man Hermes is depicted in a state of peace and serenity. Thoughtfully and tenderly he looks at the infant Dionysus. To replace the masculine beauty of an athlete in the 5th century. BC. beauty comes more graceful, refined and more spiritual. On the statue of Hermes, traces of ancient coloring have been preserved: red-brown hair, a silver-colored bandage. Another work of Praxiteles, the statue of Aphrodite of Cnidus, enjoyed special fame (the original has not been preserved). It was the first depiction of a female figure in Greek art. The statue stood on the coast of the Knidos peninsula, and contemporaries wrote about real pilgrimages to this place of those who wanted to see it. The heroes of Praxiteles are not alien to the lyrical feeling, clearly expressed, for example, in the Resting Satire. In the images of the late classics, this lyrical beginning is adjacent to the features of emotional excitement, sadness, thoughtfulness and contemplation.
