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Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world. The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus. Made of Parian marble, the statue is larger than life size, standing over 2 metres (6 ft 7 in) high. The statue is ...
Phidias or Pheidias (/ ˈ f ɪ d i ə s /; Ancient Greek: Φειδίας, Pheidias; c. 480 – c. 430 BC) was an Ancient Greek sculptor, painter, and architect, active in the 5th century BC. His Statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World.
Myron of Eleutherae (480–440 BC) (Ancient Greek: Μύρων, Myrōn) was an Athenian sculptor from the mid-5th century BC. [1] Alongside three other Greek sculptors, Polykleitos Pheidias, and Praxiteles, Myron is considered as one of the most important sculptors of classical antiquity. [2]
The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. [3] The figures in the statue are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height.
Bust of Artemis, with the typical classical figure of idealized features and impassive expression.Roman copy, National Archaeological Museum of Naples Since the Severe period, the effort of artists was directed towards obtaining an increasing verisimilitude of sculptural forms concerning the living model but also seeking to transcend mere likeness to express their inner virtues.
Polykleitos: The Doryphoros, the summary of the aesthetic idealism of Classicism. The sculpture of Classicism, the period immediately preceding the Hellenistic period, was built on a powerful ethical framework that had its bases in the archaic tradition of Greek society, where the ruling aristocracy had formulated for itself the ideal of arete, a set of virtues that should be cultivated for ...
This monument was for a Greek family from Histria, Greek colony in modern Romania, who became prominent in Athens in the 300s. The grave monument had a podium, pedestal, a frieze, and a naiskos with statues of two family members and a slave inside. These grave monument largely disappeared in Attica after an austerity law that banned them.
The legend is mentioned in Karel van Mander's Schilder-boeck (1604) [19] and is known by later artists who alluded to the story in their self portraits, such as Rembrandt's Self-Portrait as Zeuxis Laughing (c. 1662), Aert de Gelder's Self-Portrait as Zeuxis (1685), [20] and possibly Jean-Étienne Liotard's Self-Portrait Laughing (c. 1770).