Ancient Grecian and Roman Sculpture - AP Art History

The piece Nike Adjusting Her Sandal is Classical Greek, as it comes from the temple of Athena Nike on the Athenian Acropolis, built in the fourth century. You can see the proportions of the figure clearly, as well, which is a hallmark of the period.

In comparison to earlier examples of kouroi and korai, the Anavysos kouros and the "Peplos" kore (both made c. 530 BCE) are much more naturalistic in their depictions of the human body, especially evident in the softer facial features and the more fleshy musculature.

The Geometric and Protogeometric were periods of Ancient Greek pottery. Sculpture in Ancient Greece consisted of three periods: the Archaic, the Classical and the Hellenistic periods. The first period of Ancient Greek sculpture, the Archaic period, is known as the period in which the Ancient Greek first began to sculpt and carve in stone.

The Dying Gaul is a statue most likely originally cast around 200 BCE by a Greek king to commemorate his victory over the Galatians, a Celtic tribe living in modern day Turkey. The sculpture is remarkable for showing the bravery and humanity of the subject, who is marked as Galatian thanks to his haircut and necklace. The Dying Gaul that has survived is a Roman copy of the Greek original that is currently held in the Capitoline Museums in Rome.

The Siren Vase is a type of vessel known as stamnos and is decorated with red and black images. One of the most famous examples of ancient Greek pottery, the Siren Vase (c. 475 BCE) depicts the hero Odysseus battling sirens, enchanting female creatures who lured sailors to their deaths with hypnotic songs. This hero appears in the Homeric epics The Odyssey and The Iliad; none of the other authors were ancient Greek writers.

One of the most famous examples of ancient Greek pottery, the Siren Vase (c. 475 BCE) is a major example of Attic red-figure pottery. This type of work became common in the mid-500s BCE and is characterized by red figures on a black background (as opposed to black-figure pottery, which depicts black figures on a red or yellow background). Terracotta pottery is similarly red-colored but typically unpainted.

The statue's name is Winged Victory or Nike. In comparison to other statues at this time, this statue is significant due to the fact that the figure is in action or mid movement. The sense of motion and the swift movement of the figure are distinctive to this statue as well as the idea of the Nike brand.

The Etruscans preferred terra cotta over other forms because of the importance to tombs and funeral markers which were made from terra cotta (baked clay). This art form emphasized ornament and display, which was important in their culture along with signifying the importance of the dead.

Ancient Greek and Roman statuary was largely based on three concepts: Greco-Roman mythology, statues of political leaders, and exercises on the ideal form. In Greek mythology, Hercules, the half-man, half-god hero, was tasked with various chores to allow him to enter the realm of the gods. One of the most famous ones was that Hercules had to defeat the multiheaded serpent known as the Hydra.

Roman sculpture was originally derived from Greek sculpture, which was highly refined and desired a pleasing aesthetic of minute detail. Roman sculptors took this to another level, by focusing on an extreme realism, which showed every imperfection in their subjects. Romans believed a person sitting for a sculpture portrait wished an honest portrayal that could show their full virility and nobility.

The ancient Greeks saw the male nude form as the ultimate perfection in aesthetics, making it one of the most common subjects of Greek art. One of the key examples of this thought process is "The Dying Gaul," which portrays a dying Gaul, a man who was not Greek, laid out in perfect tension to show his body. This affection for the male nude was picked up by Renaissance and neoclassical artists, as demonstrated by works like Michelangelo's "David."

The key feature of ancient Greek sculpture was the monumental size of most of their pieces, as well as the dramatic depiction of heroes and gods. The statues therefore needed to be made of an extremely sturdy and dependable material. Marble proved the most durable and popular material among ancient Greek sculptors not just for the mentioned reasons, but because of its abundance in Greek lands.

Ancient Greek and Roman statues and architecture were, in their original form, painted in vivid polychrome colors. These bright colors, which decorated every aspect of 3D art in antiquity, largely faded by the time of a renewal in interest in classical art, during the eighteenth century. As such, many enlightenment-era figures wished to preserve the "pristine," but inauthentic, look of unpainted marble.

Based on the figural representation, this sculpture is likely a Greek creation from either the high Classical or Hellenistic period. Take careful note of the nudity, the musculature and the expression on his face, all pointing to Greek dramatic sculpture. That, coupled with the green tinge, suggests the sculpture must be bronze, as that was the material of choice for Greek sculptors.

The piece is Hellenistic, for a number of reasons. First note the hyper-realism of the figure's proportions and body. He is figurally representative of a real man, something the Greeks took pride in. Note also the drama in his face, the anguish of his form. This too would have been connotative of the Hellenistic background of the piece, given the strong desire to depict emotional states in that period. The closest answer, therefore, is the fourth century in Greece.

First take note of the form and composition of the piece. The boxer has correct proportions- he is idealized and athletic. All of the answers allude to this. Take special note, though, of his emotional appearance. He is not stoic, and certainly not sultry. And since the use of bronze is not novel for Hellenistic Greece, the answer must be that he is in anguish, though perfectly moulded.

The piece is most definitely Greek in origin, given its bronze make and athletic depiction of man. The man is idealized and muscular, beautiful after the Hellenistic fashion. Like many of the Greek piece of the time, he is an athlete, meant to demonstrate the power of the human form at its finest. He is not, though, the Discobolus, Greek for discus- thrower.

The Greeks have always been fascinated with the human form, but it isn't until the High Classical period that one begins to see true idealism. There is a fascination with the musculature of man and how he looks in motion. There is a particular interest also in the male form depicted at his most beautiful. In fact, the musculature of the Boxer is impossible; he is flexing opposing muscles while at rest, something a human can't do but sculptors took liberty with in order to demonstrate the idealism in the power of the form.

The work depicts not a god but a man, and therefore would not have been in a temple. His form is athletic and he is nude, as male athletes would likely have been, but would not have been appropriate for an open public space. He's made of bronze and therefore likely too expensive for any patron other than the state. This leaves the gymnasium as a likely home, especially given it was a place of learning and fitness where only men could go.

The Greeks, especially Athenian Greeks, were accepting of practicing male homosexuals as it was often seen as a venture of the stronger sexes with no interference from the women. Athletics especially were a medium of this expression. This translates into Greek art wherein male athletes depict the same homoerotic undertones that would have colored the actual event in much the same way.