Myron- Greek sculptor of the middle of the 5th century. BC e. from Eleuthera, on the border of Attica and Boeotia. The ancients characterize him as the greatest realist and expert in anatomy, who, however, did not know how to give life and expression to faces. He portrayed gods, heroes and animals, and with special love he reproduced difficult, fleeting poses. His most famous work, "Discobolus", an athlete intending to start a disc, is a statue that has come down to our time in several copies, of which the best is made of marble and is located in the Massimi Palace in Rome.
Along with this statue, ancient writers mention with praise his statue of Marsyas, grouped with Athena. We also get a concept of this group from its several later repetitions. Of the images of animals performed by Miron, the Heifer was more famous than others, in whose praise dozens of epigrams were written. With the most minor exceptions, Myron's works were bronze.
A recently found Egyptian papyrus reports that Myron created the statues of the athlete Timant, the winner of the Olympiad in 456 BC. e., and Licinius, the winner in 448 and 444. BC e. This helped establish the lifetime of the sculptor. Myron was a contemporary of Phidias and Polykleitos, Agelad is considered his teacher.
It is known that Myron lived and worked in Athens and received the title of an Athenian citizen. Receiving orders from many cities and regions of Greece, Myron created a large number of statues of gods and heroes. Miron was also famous as a jeweler. Some ancient authors report silver vessels made by him.
Myron's works decorated the city of his teacher - Argos. For the island of Aegina, Myron made an image of the goddess Hecate, for the island of Samos - the colossal figures of Zeus, Athena and Hercules on one pedestal.
Pliny and Cicero report Myronian statues of Apollo in the city of Ephesus and in the sanctuary of the god of healing Asclepius in the Sicilian city of Akragante. For the Boeotian city of Orchomenus, Myron made a statue of the god Dionysus.
Myron also worked on the images of the famous mythological heroes Hercules and Perseus. The statue of the latter stood on the Athenian Acropolis. The sculptor also turned to the image of animals.
However, today we can speak with confidence only about two works of Myron, widely known in antiquity: the sculptural group "Athena and Marsyas" and the statue of a young man throwing a disc - "Discobolus".
Myron turned to the myth of how Athena invented and then cursed the flute, which distorted her face when played, which Marsyas then took. The essence of Miron's work is the superiority of the noble over the base. The images of Athena, personifying a reasonable, bright beginning, and Marsyas, unbalanced, wild, dark, are deliberately contrasted. Next to the stable figure of Athena, Marsyas seems to be falling backwards. The calm, majestic movements of the goddess are contrasted with the expressiveness of a reeling, frightened silenus. The harmonic light and shade solution in the statue of Athena is set off by the fragmentation of flashes of light and shadow on the muscles of Marsyas. Physical and spiritual clarity and beauty triumph over ugliness and disharmony.
About 470 Myron cast the most famous of all statues of athletes. "Discobolus" has survived to this day in several Roman copies of different quality. One of the well-preserved marble copies from the Palazzo Lancelotti is now in the Thermae Museum in Rome. There is also a beautiful torso of the "Discobolus", a cast from which served as the basis for a successful reconstruction of this famous work of antiquity.
The discus thrower is shown naked, as young men competed without clothes at the Olympic Games. This became the custom after a memorable occasion, when, according to legend, one runner, in order to get ahead of his rivals, threw off his clothes and won. The sculptor created "Discobolus" in bronze. Miron did not need to introduce props under the arms, at the feet and between the fingers, which destroy the impression of lightness and naturalness, which were usually used by sculptors of that time to give strength to marble copies. In addition to strength, bronze had another valuable quality. In the statues of athletes, she imparted to the monuments a vitality that delighted contemporaries: her dark golden color well conveyed bare tanned skin. Unfortunately, most of the Roman copies that have come down to us are marble, not bronze.
Attempts to create statues of athletes throwing the discus can also be found among the predecessor sculptors, but the main feature of such statues was usually tension. It cost them a lot of work to achieve mobility and naturalness in them. Miron, who for the first time showed a discus thrower right at the competition - at the moment of the swing, left far behind not only archaic sculptors, but also surpassed his teachers - in a free, artistically light image of a tense figure.
Neither Miron nor his contemporaries set themselves the task of creating a sculptural portrait in such statues. They were rather monuments glorifying the hero and the city that sent him to the competition. It is in vain to look for individual portrait features in the face of "Discobolus". This ideally correct face combines "Olympic" calmness with the greatest exertion of forces.
Another miracle of the sculptor is a copper statue of a cow. According to the stories of the ancients, it looked so much like a living one that horseflies sat on it. Shepherds and bulls also took her for real:
Myron occupied a middle position between the Peloponnesian and Attic schools. He learned to combine Peloponnesian masculinity with Ionian grace. His work differed from other schools in that he brought movement to sculpture. Miron showed the athlete not before or after the competition, but in the moments of the struggle itself. At the same time, he carried out his idea in bronze so masterfully that no other sculptor in history could surpass him, depicting the male body in action.
Polykleitos the Elder- An ancient Greek sculptor and art theorist who worked in Argos in the 2nd half of the 5th century BC.
Poliklet loved to depict athletes at rest, he specialized in depicting athletes, Olympic winners.
According to Pliny, Poliklet was the first to think of giving the figures such a statement that they rested on the lower part of only one leg. Poliklet was able to show the human body in a state of balance - a human figure at rest or a slow step seems natural due to the fact that the horizontal axes are not parallel.
Canon of Polykleitos
The most famous work of Polikleitos is "Dorifor" (Spear-bearer) (450-440 BC). In ancient times, the statue of Doryphoros was often called the "canon of Polykleitos", especially since his lost treatise on aesthetics was called "Canon". Here, the rhythmic composition is based on the principle of asymmetry (the right side, that is, the supporting leg and the arm lowered along the body, are static and tense, the left, that is, the leg left behind and the arm with the spear, are relaxed, but in motion). The forms of this statue are repeated in most of the works of the sculptor and his school.
The distance from the chin to the top of the head in the statues of Poliklet is one seventh of the height of the body, the distance from the eyes to the chin is one sixteenth, and the height of the face is one tenth.
In his "Canon" Polikleitos paid great attention to the Pythagorean theory of the golden division. (the whole length is to the greater part, as the greater is to the lesser). At the same time, Policlet refused the golden division if it contradicted the natural parameters of the human body.
The treatise also embodies theoretical ideas about the crossed distribution of tension in the arms and legs. "Dorifor" is an early example of imaging in which the position of one part of the body is contrasted against the position of another part.
Polikleitos was born around 480 BC and worked, according to ancient authors, from 460 to 420 BC. He died at the end of the 5th century BC.
It is difficult to name the exact homeland of the master. Some call Sikyon, others - Argos, which were the major artistic centers of the Peloponnese of that time. Poliklet's teacher was the famous sculptor Agelad, from whose workshop Myron also came out. Polikleitos, unlike Myron, strives to create an ideal image, and the gravitation towards perfection, characteristic of the sublime art of high classics, is the leitmotif of his work. The heroes of Polykleitos are more restrained in their movements and calm than the mobile, active heroes of Myron.
In the early years of Polykleitos, images of athletes - winners in competitions - attracted. Cyniscus, a young man from Mantinea who won a victory in 464 or 460, one of the earliest statues of the sculptor, preserved in a Roman copy. From the writings of ancient authors, one can also learn that during these years Polikleitos worked on the statues of Hercules and Hermes.
Polykleitos was the Pythagorean of sculpture, seeking the divine mathematics of proportion and form. He believed that the dimensions of each part of a perfect body should be related in a given proportion to the dimensions of any other part of it, say, the index finger. The Polykletian canon demanded a rounded head, broad shoulders, a stocky torso, strong hips and short legs, which, on the whole, left an imprint on the figure rather of strength than grace. The sculptor valued his canon so much that he wrote a treatise for its presentation, and for visual reinforcement he sculpted a statue. It was probably Doryphorus.
"Dorifor" - a statue of a young man who won in throwing a spear, was created by a sculptor between 450 and 440 BC. The image of a spearman has been seen before. But in contrast to the archaic, frozen figures with constrained movements, the statue of Polikleitos represents the perfect embodiment of natural movement.
The master strove to create a proportional figure, trying to show it not elongated and stocky. Poliklet adhered to the same principle when depicting every detail of the statue. Chiasmus (crossing of body parts) was not first introduced by Polykleitos. But the master especially distinctly and clearly expressed chiasmus in his statues and made it the norm in the depiction of the human figure. In the Doryphoros statue, not only the legs and shoulders, but also the arms and torso are involved in the movement. For harmony, the sculptor gave a slight bend to the body. This caused a change in the position of the shoulders and hips, gave vitality and persuasiveness to the figure of a spearman, naturally existing in space, organically connected with him. It is important to note that in the Greek originals, the processed surface of the bronze had glare, enlivening the impression and softening the massiveness that appeared in the late Roman marble copies from the bronze originals.
After the creation of Doryfor, Polikleitos moved to work from his native city to Athens, the center of the artistic life of Greece, which attracted many talented artists, sculptors and architects.
The "Wounded Amazon" belongs to this period of the artist's work. This work differs little in style from Doryphorus. "Amazon" seems to be the sister of the spearman: narrow hips, broad shoulders and muscular legs give her a masculine look.
New features of creativity are noticeable in the "Diadumen" - a statue of a young man, with a beautiful movement of his hands, tying his head with a ribbon of a winner. The beautiful face of Diadumen, whose image is no longer as multifaceted as the image of Doryphorus, who embodied the qualities of an athlete, warrior and citizen, is not so calm.
“Policletus became famous in Argos around the year 422 as the architect of the local temple of Hera and as the author of a statue of the goddess, which, in the opinion of the era, was second only to the colossi of Phidias,” writes Durant. - In Ephesus, he entered into a competition with Phidias, Cresilaus and Fradmon to create a statue of the Amazon for the temple of Artemis. The artists themselves were supposed to judge the work of the rivals. Tradition says that each named his own work the best, and the second place was given to the work of Polykleitos; thus the award was presented to him."
Polykleitos, who created his own school in Greek art, sought to imitate many sculptors in later centuries. Lysippus called Polykleitos his teacher.
Question 7. Creativity Phidias.
Phidias(Greek Φειδίας, c. 490 BC - c. 430 BC) - an ancient Greek sculptor and architect, one of the greatest artists of the high classic period.
It is not clear who was his teacher in the sculptural trade. The names of Hegia (Athens), Agelad (Argos) and Polygnotus are called.
Most of the works of Phidias have not survived; we can judge them only from the descriptions of ancient authors and copies. However, his fame was colossal.
The most famous works of Phidias - Zeus and Athena Parthenos were made in chrysoelephantine technique - gold and ivory.
Innovation
Phidias is one of the best representatives of the classical style, and of his significance, suffice it to say that he is considered the founder of European art.
Phidias and the Attic school of sculpture headed by him (2nd half of the 5th century BC) occupied a leading place in the art of the high classics. This direction most fully and consistently expressed the advanced artistic ideas of the era.
They note the great skill of Phidias in the interpretation of clothes, in which he surpasses both Myron and Polikleitos. The clothes of his statues do not hide the body: they are not slavishly subordinate to him and do not serve to expose him.
Optics
Phidias possessed knowledge of the achievements of optics. A story has been preserved about his rivalry with Alkamen: both were ordered statues of Athena, which were supposed to be erected on high columns. Phidias made his statue in accordance with the height of the column - on the ground it seemed ugly and disproportionate. The people almost stoned him. When both statues were erected on high pedestals, the correctness of Phidias became obvious, and Alkamen was ridiculed.
Interesting Facts
· The golden section was designated in algebra by the Greek letter φ in honor of Phidias, the master who embodied it in his works.
Biographical information about Phidias is relatively scarce. Son of Charmides. Probably the place of birth is Athens, the time of birth is shortly after the Battle of Marathon.
As Plutarch writes in his "Life of Pericles", Phidias was the main adviser and assistant to Pericles in the implementation of a large-scale reconstruction of the Acropolis in Athens and giving it its current appearance in the high classic style. Despite this, troubles pursued Phidias in his relations with his fellow citizens. He was accused of hiding the gold from which the cloak of Athena Parthenos was made. But the artist justified himself very simply: the gold was removed from the base and weighed, no shortage was found. The next accusation caused much more problems. He was accused of insulting the deity: on the shield of Athena, among other statues, Phidias placed his own and Pericles profile. The sculptor was thrown into prison, where he died, either from poison or from deprivation and grief.
Phidias worked in various places in Greece, but most of his creative biography is connected with Athens. Phidias' childhood and youth passed during the years of the Greco-Persian war. He devoted almost all his creative activity to the creation of monuments glorifying the motherland and its heroes.
The early (470s BC) works of the master are known only from references in ancient literary sources: this is a statue of the goddess Athena in a temple in Plataea and a sculptural group in Delphi. One of the first monuments (about 460 BC) erected on the Acropolis was a bronze statue of the god apollo the work of Phidias. The sculptor, perfectly mastering the plastic anatomy, managed to masterfully convey the hidden vital energy in a calm, as if still standing figure. A somewhat melancholic tilt of the head gives the young god a concentrated look.
The statue of Apollo and the monuments at Plataea and Delphi created Phidias' reputation as a first-class craftsman, and Pericles, whose close friend and colleague the artist later became, entrusted him with a large state order - to sculpt a colossal statue for the Acropolis. a statue of the goddess Athena - the patroness of the city (Athena Promachos). On the Acropolis Square, not far from the entrance, a majestic bronze sculpture 9 meters high was installed in 450 BC.
Soon another statue by Phidias appeared on the Acropolis. This was the order of the Athenians who lived far from their homeland (the so-called cleruchs). Having settled on the island of Lemnos, they wished to put on the Acropolis a statue of Athena, who later received the nickname "Lemnia". This time, Phidias depicted a "peaceful" Athena holding her helmet in her hand. Athena Promachos and Athena Lemnia approved throughout Greece the glory of Phidias. He is involved in two of the most ambitious works of that time: the creation of a colossal statue of the god Zeus in Olympia and the leadership of the reconstruction of the entire ensemble of the Athenian Acropolis.
On the Acropolis, which is a high rock in the center of the city with a length of 240 meters, it was planned, according to Pericles, to build several buildings planned from the life of Phidias and Pericles, two of them were built: the main entrance to the square, the Propylaea, and the large Parthenon temple.
Parthenon dedicated to Athena Parthenos, i.e. Virgin, built in 447-432 BC by the architects Iktin and Kallikrat on the highest part of the Acropolis. Until 438, Phidias and his assistants were absorbed in the creation of statues and reliefs of the Parthenon. Athena Parthenos, the virgin goddess of wisdom and chastity, towering eleven and a half meters inside the Parthenon, became the most famous of Athens, created by the master.
The artist used ivory to depict the visible part of the body; forty-four talents (1155 kilograms) of gold went to clothes, in addition, he decorated Athena with precious metals and complex reliefs on a helmet, sandals and a shield. It was placed in such a way that on the day of the feast of Athena, through the large doors of the temple, the sun shone directly on the dazzling dress and pale face of the virgin.
Work on the statue of Zeus turned out to be very difficult, since the temple was already completed. (Temple of Olympian Zeus in Olympia)
Lucian relates the story of how Phidias worked on his most famous work. Having finished his Zeus for the Eleans, he stood outside the door when he showed his work to the audience for the first time, and listened to the words of those who condemned and praised him. Then, when the audience had dispersed, Phidias, shutting himself up again, corrected and put in order the statue in accordance with the opinion of the majority. The statue occupied a significant place in the inner space of the temple and therefore could seem somewhat cumbersome in relation to the interior, as it reached the ceiling of the building, but it gave the impression of the extraordinary majesty and power of the deity. Phidias especially succeeded in the facial expression of Zeus - royally calm and at the same time gracious, benevolent and affectionate. All ancient writers emphasized the power of the impression made by Zeus.
It was a colossus fourteen meters high, made of wood and precious materials - gold and ivory.
Pausanias described the statue as follows: “God sits on a throne, his figure is made of gold and ivory, on his head he has a wreath, as it were, from olive branches, on his right hand he holds the goddess of victory, also made of ivory and gold. She has a bandage and a wreath on her head.
In the left hand of the god is a scepter adorned with all kinds of metals. The bird sitting on the scepter is an eagle. God's shoes and outerwear are also made of gold, and on the clothes there are images of various animals and field lilies.
The throne was made of cedar wood, the inlays were made of gold, precious stones, ebony and ivory, the round sculpture was made of gold. In this work, Phidias showed himself not only as a master of monumental sculpture, but also a jeweler of the finest works.
The face of Zeus, according to the description of eyewitnesses, was animated by such bright clarity and meekness that it calmed the most acute suffering. Cicero reports the abstract nature of this ideal image, which is not taken from nature and is an expression of the idea of a deity as the highest beauty. Obviously, the harmony of forms had a calming, pacifying effect on the viewer.
This creation of Phidias is rightly ranked among the Seven Wonders of the World. Unfortunately, the grandiose monument suffered the same tragic fate as Athena Parthenos. Transported in the 4th century AD to Constantinople, he died there from a fire.
In addition to the world-famous statues of Athena on the Acropolis and Zeus in Olympia, Phidias created a number of other works. So, he took part in the competition for the statue of the Amazon for the temple of Artemis in Ephesus. Several different versions of the Amazon statues in Roman marble copies have survived. In one of them Amazon- a tall, slender warrior girl, in a short chiton - stands with her head bowed. The soft folds of the tunic, the flexibility of the figure, the smoothness of movement make us recall the figures of the Parthenon frieze.
Another of the famous works of Phidias - the statue of Aphrodite Urania (heavenly) - also has its counterpart on the eastern pediment of the Parthenon. A strong, young, full of grace female figure is distinguished by its proportions, plasticity, picturesque play of clothing folds.
If Myron was fascinated by the problem of a truthful and convincing depiction of movement, then the sculptor Poliklet set other goals in his work. Creating statues of calmly standing athletes, the sculptor sought to find the ideal proportions on the basis of which the human body in sculpture could be built. In his search, Poliklet proceeded from a careful study of life. Contemplating the figures of naked athletes, the sculptor summarized his impressions and ultimately created an artistic image that became a kind of norm and an example to follow in the eyes of the citizens of the city-state.
The sculptor Polykleitos mathematically accurately calculated the dimensions of all parts of the body and their relationship to each other. He took the height of a person as a unit of measurement. In relation to height, the head was one seventh, the face and hand one tenth, the foot one sixth. The sculptor wrote a theoretical treatise called "Canon" (which means "rule"), where he outlined his thoughts on the most harmonious proportions of the human figure, as if established for it by nature itself. “The success of a work of art,” Poliklet said, “is obtained from many numerical relationships, and any little thing can break it.” Polikleitos embodied his ideal of an athlete-citizen in a bronze sculpture of a young man with a spear, cast around 450-440 BC. e. The mighty naked athlete - Doryphorus ("Spearman") - is depicted in a full and majestic pose. He holds a spear in his hand, which lies on his left shoulder, and the fledgling, turning its head, looks into the distance. It seems that the young man just bent forward and stopped. The beauty of a person becomes for her a measure of the value of a rationally arranged world.
Policlet affirms the idea of that every man must cultivate himself in order to serve his people. The civic pathos of Polpklet resonates with the characterization of the ideality of a citizen, which we find in the Greek writer Lucian: “Most of all, we try to make citizens beautiful in soul and strong in body: for it is precisely such people who live well together in peacetime and in time of war save the state and protect his freedom and happiness. Leading Greek thinkers of the 5th century BC. e. such people were called "beautiful and valiant."
The impeccable perfection of the Doryphoros made it, in the eyes of the Greeks, an unsurpassed example of human beauty. Reproductions of this sculpture stood in many cities of Ancient Hellas, in those places where young men were engaged in gymnastic exercises. To this day, "Doriphorus", the greatest work of the sculptor Polykleitos, remains one of the most beautiful images of a person in world art.
From-no-sit ras-color of the creation of Polykleitos to the 90th Olympia-de (420-417 BC). A student of Age-la-da, Policlet worked mainly in bronze. The most-bo-lea-earlier-ra-bo-that of Polykleitos is considered to be p-pi-sy-vae-may to him Pav-sa-ni-em statue of a mal-chi-ka-bok-sho -ra Ki-ni-ska from Man-ti-nei, in-be-di-te-la in the Olympic Games in 464 or 460 BC. Possibly, to-pi-it of this statue is yav-la-et-sya “At-let West-ma-kot-ta” (marble, I century AD, British mu Zey, Londondon). Genuine glory to Policlet in antiquity was brought by the statue “Do-ri-for” (literally “spear-e-no-sets”), usually yes-ti- Rue-May 450-440 BC. So, according to Tsi-tse-ro-na, Li-sipp ut-ver-waited that his teacher was "Do-ri-for" Policlet over 50 copies of this statue: the most complete maritime copy from Pom Pei (National Archaeological Logic Museum, Naples); two tor-sa from the State Museums of Ber-li-na and ha-le-rei Uf-fi-qi in Floren-tion (the last from the black-no-go basal-ta ) ho-ro-sho pe-re-da-yut ar-hi-tek-to-ni-ku te-la, then like bronze-zo-vaya germ-ma of the 1st century BC (National ar-heo -logical museum, Ne-apolis) with a sign-on-tu-roy ko-pii-sta (Apol-lo-niya from Athens) - the structure of the head-lo-you, the devil of the face and trak-tov-ku in-los. In 1921-1922, the German sculptor G. Rö-mer used these pa-myat-ni-ki to create re-con-st-hand-tion “Do-ri-fo -ra "(bron-zi-ro-van gypsum, Glip-to-te-ka, Mun-khen). The ancient authors pro-voz-gla-sha-li “Do-ri-for-ra” in-flat-sche-ni-mea-ry (το μετρον) and “se-re- di-ny" (το μεσον); Pli-nii Senior wrote that this statue of hu-doge-ni-ki is called “ka-no-nom” and they are lu-cha-yut from it, word-but from ka-ko -go-no-be for-to-on, os-no-va-nia for your art. This statue-exemplary co-from-vet-st-in-shaft is the literary treatise of Poliklet, also called “Ka-no-nom”. The most accurate information about this track-ta-te pe-re-da-et Galen (“About me-ni-yah Hip-po-kra-ta and Pla-to- on"): in-vi-di-mo-mu, the main thing here would be-lo us-ta-nov-le-nie-no-go-mo-du-la che-lo-ve-che-sky fi -gu-ry. According to Pli-niu the Elder-she-mu, Polykleitos won four sculptors-to-ditch in con-course for the best statue of "Ama-zon-ki" for Ar-te-mi-sio-na at Ephesus (about 440 BC); its usually iden-ti-fi-ci-ru-yut with the marble “Ama-zon-coy So-sik-la” (Ka-pi-to-li-sky museums, Rome), named so after the name of a copy of a hundred and first century AD, whose sign-on-tu-ra is on the statue. Iden-ti-fi-ka-tion “Dia-du-me-na” (literally “at-let, tying-ty-ing-y-ing your head-lo-woo in vyaz-koy in-be-di -te-la "; 430-420 BC) as the work of Poliklet among the Roman mar-marine copies became possible thanks to him -non-niyu with “Do-ri-for-rum”, ho-cha “Dia-du-men” as more later pro-from-ve-de-nie mas-te-ra thinner, graceful-her, ode-shev-lyon-her. The best re-p-li-ka would-la nay-de-na on the island of De los (marble, National Archaeological Museum, Athens). The only-st-ven-naya hri-so-ele-fan-tin-naya sculpture-tu-ra of Polykleitos - a late statue of He-ra for the temple of He-ra in Ar-go-se (from- West-on according to the de-tal-no-mu description of Pav-sa-niya and iso-bra-same-ni-pits on ar-gos mo-not-tah). According to Fu-ki-di-da, the old temple of He-ra in Ar-go-se burned down in 423 BC; the new one was from-build-en by the year 400, which means-la-et to-free-but-precise-but yes-ti-ro-vat is about-from-ve-de-nie. Master of harmonic com-po-zi-tion and subtle de-del-ki, Policlet was a sculptor-rum at-le-tov, and we know from the texts of Pavs - name-on-olym-pi-sky in-be-di-te-lei in box-se or wrestling-be, statues of someone he is from-va-yal: Ari-sti-on from Epi -dav-ra, Fer-si-loh from Ker-ki-ra, An-ti-patr from Mi-le-ta, Pi-fokl from Eli-da, Xenokl from Me-na-liya.
The significance of the creative activity of Polikleitos in many ways op-re-de-la-et-sya his co-post-tav-le-ni-em with the older co-time -no-one - Phi-di-eat. If he brought to completion the idealistic te-che-tion in ancient Greek art and became its main ex-ra-zi-te-lem, then Polikletus vers-shen-st-in-shaft con-ception of fi-gu-ry at-le-ta: according to Quin-ti-lia-na, “he did che-lo-ve-che- the body is more beautiful than it is, but it failed to re-give great gods. Tra-di-tion of Polykleitos for a long time so-sche-st-vo-va-la in ancient Greek art; he was the os-no-va-te-lem of a large sculpt-tour master.
Municipal budgetary institution of additional education
"DSHI Pochinkovsky district"
Lecture course.
History of sculpture.
Polykleitos.
History of fine arts.
DKhSh.
Developer: teacher of the art department
MBU DO "DSHI Pochinkovsky district"
Kazakova Inna Viktorovna
2018
Policlet the Elder - ancient Greek sculptor and art theorist, worked in
Argos in the 5th century BC.
His most famous work is Doryphorus (spearman), sometimes called
"the canon of Polykleitos", by analogy with his written treatise, which she essentially and
embodies. Rhythmic composition is based on the principle of cross
uneven movement of the body, the so-called chiasm or otherwise called
contrapost. Chiasmus in sculpture is a posture in which, for example, when transferring
the weight of the body on the right leg to the right raised thigh corresponds to the left raised
shoulder, and the left lowered hip - the right lowered shoulder. Arises
cross symmetry: stress is concentrated on the bottom right and top left,
peace is the opposite.
According to legend, the statue was made in honor of the winner at the Olympiad. At that time it was
the rule according to which the honor of presenting a statue to the winner was played out between
several sculptors. By a certain point, the sculptors were sculpting the statue, and
then the winner was chosen from among themselves by voting. As a rule, yourself
wrote the first place, those who like it besides themselves - the second, the winner is
in this way they chose from the one who received the most second places. Losers must
had their statue smashed to smithereens. So Polyclete with his Doryphorus each
awarded first place. The original was made in bronze. Sculpture indeed
delightful, unfortunately lost in the original, multiple copies preserved
varying degrees of antiquity.
Another famous sculpture of Polykleitos was the "Wounded Amazon", which won the first
a place in the competition for the temple of Artemis of Ephesus, has not survived to this day either.
In general, all sculptures have survived to this day only in copies or descriptions, as well as
written treatise "Canon", which has been preserved in two fragments and fragmentary
information of contemporaries.
Creation
Poliklet loved to depict athletes at rest, he specialized in depicting athletes, Olympic winners.
Canon of Polykleitos
The most famous work of Polikleitos - created c. 450–440 BC Dorifor (Spear-bearer). It is in this work that Poliklet's ideas about the ideal proportions of the human body, which are numerically related to each other, are embodied. It was believed that the figure was created on the basis of the provisions of Pythagoreanism, therefore, in ancient times, the statue of Doryphoros was often called the "canon of Poliklet", especially since his unsurviving treatise on aesthetics was called the Canon. Here, the rhythmic composition is based on the principle of asymmetry (the right side, i.e. the supporting leg and the arm hanging along the body, are static, but charged with strength, the left, i.e. the leg left behind and the arm with a spear, disturb the peace, but are somewhat relaxed ), which animates it and makes it mobile. The forms of this statue are extremely clear, they are repeated in most of the works of the sculptor and his school. The distance from the chin to the top of the head in the statues of Polikleitos is one seventh, while the distance from the eyes to the chin is one sixteenth, and the height of the face is one tenth of the whole figure. Polikleitos is firmly associated with the Pythagorean tradition. From the Pythagoreans, however, comes the theory of the so-called golden division (the entire length is related to the larger part as much as the larger to the smaller). If we consider Polikletov Doryphoros as the spokesman of his canon, then it is established that his entire height refers to the distance from the floor to the navel, just as this last distance refers to the distance from the navel to the crown. It has been established that if we take the distance from the navel to the top of the head, then it relates to the distance from the navel to the neck as much as this last one to the distance from the neck to the crown, and if we take the distance from the navel to the heels, then the golden division will fall here on the knees. The texts cited above according to Policlet testify that proportions are not thought of mechanically, but organically: they proceed from the natural symmetry of the living human body and fix in it what is most normal. In addition, the treatise embodies theoretical ideas about crossed distribution tension in arms and legs. Dorifor is an early example of classical contrapposto (Contrapposto - (from Italian contrapposto - opposite) in the visual arts, an image technique in which the position of one part of the body is contrasted with the position of the other part (for example, the upper part of the body is shown in a turn, the lower one is frontally). Dynamizes the rhythm figure, allows you to convey its movement or tension without violating the general balance of forms, enhances the three-dimensionality of the image). Sometimes this statue was called just that - "The Canon of Polikleitos", after the theoretical treatise of its creator. "They even assured that Poliklet performed it on purpose, so that other artists would use it as a model." Indeed, the Canon of Polykleitos had a great influence on European culture, despite the fact that only two fragments of the theoretical work have survived, information about it is fragmentary, and the mathematical basis has not yet been finally deduced.
Artworks
- "Diadumen" ("Young man tying a bandage"). Around 420-410 BC. e.
- "Dorifor" ("Spear-bearer").
- "Wounded Amazon", 440-430 BC. e.
- Colossal statue of Hera in Argos. It was made in the chrysoelephantine technique and was perceived as a pandan to Zeus Olympus Phidias.
- "Diskofor" ("Young man holding a disc"). Not to be confused with Miron's "Disco Thrower".
The sculptures have been lost and are known from surviving ancient Roman copies.
