Outstanding sculptors of Ancient Greece. Features of ancient Greek sculpture The main theme is the image of man, admiration for the beauty of humanity. Presentation on "sculpture of ancient Greece" Presentation on the topic of ancient Greek sculpture and painting

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Outstanding sculptors of Ancient Hellas
The presentation of the MHC lesson was prepared by teacher M.G. Petrova. MBOU "Gymnasium" Arzamas

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The purpose of the lesson
form an idea of ​​the development of sculpture in Ancient Greece by comparing masterpieces from different stages of its development; introduce students to the greatest sculptors of Ancient Greece; develop skills in analyzing works of sculpture, logical thinking based on a comparative analysis of works of art; to cultivate a culture of perception of works of art.

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Updating students' knowledge
-Name the main thesis of ancient Greek art? -What does the word “Acropolis” mean? -Where is the most famous Greek Acropolis? -In what century was it rebuilt? -Name the ruler of Athens at that time. -Who supervised the construction work? -List the names of the temples that are located on the Acropolis. -What is the name of the main entrance, who is its architect? -Which god is the Parthenon dedicated to? Name the architects. -Which famous portico with sculptures of women carrying the ceiling adorns the Erechtheion? -What statues that once adorned the Acropolis do you know?

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Ancient Greek sculpture
There are many glorious forces in nature, But there is nothing more glorious than man. Sophocles
Statement of a problematic question. - What was the fate of ancient Greek sculpture? - How were the problem of beauty and the problem of man solved in Greek sculpture? - From where and to what did the Greeks come?

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Design a table
Names of sculptors Names of monuments Features of creative style
Archaic (VII-VI centuries BC) Archaic (VII-VI centuries BC) Archaic (VII-VI centuries BC)
Kuros Kora
Classical period (V-IV centuries BC) Classical period (V-IV centuries BC) Classical period (V-IV centuries BC)
Miron
Polykleitos
Late Classic (400-323 BC - turn of the 4th century BC) Late Classic (400-323 BC - turn of the 4th century BC) Late Classic (400 -323 BC - turn of the 4th century BC)
Skopas
Praxiteles
Lysippos
Hellenism (III-I centuries BC) Hellenism (III-I centuries BC) Hellenism (III-I centuries BC)
Agesander

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Archaic
Kouros. 6th century BC
Bark. 6th century BC
Stiffness of poses, stiffness of movements, “archaic smile” on faces, connection with Egyptian sculpture.

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Classical period
Miron. Discus thrower. 5th century BC
Myron was an innovator in solving the problem of movement in sculpture. He did not depict the “Discus Thrower” movement itself, but a short break, an instant stop between two powerful movements: a backswing and a throw of the entire body and discus forward. The discus thrower's face is calm and static. There is no individualization of the image. The statue embodied the ideal image of a human citizen.

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Compare
Chiasmus is a sculptural technique of conveying hidden movement in a state of rest. Polycletus in the “Canon” determined the ideal proportions of a person: head – 17 height, face and hand – 110, foot – 16.
Miron. Discus thrower
Polykleitos. Doryphoros

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Late classic
Skopas. Maenad. 335 BC e. Roman copy.
Interest in the internal state of a person. Expression of strong, passionate feelings. Dramatic. Expression. Image of energetic movement.

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Praxiteles
statue of Aphrodite of Knidos. This was the first depiction of a female figure in Greek art.

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Lysippos developed a new plastic canon, in which individualization and psychologization of images appears.
Lysippos. Alexander the Great
Apoxyomenes

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Compare
“Apoxiomen” - dynamic pose, elongated proportions; new canon head=1/8 of total height
Polykleitos. Doryphoros
Lysippos. Apoxyomenes

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Plastic sketch

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How the problem of beauty and the problem of man were solved in Greek sculpture. From where and to what did the Greeks come?
Conclusion. Sculpture has gone from primitive forms to ideal proportions. From generalization to individualism. Man is the main creation of nature. Types of sculpture are varied: relief (flat sculpture); small plastic; round sculpture.

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Homework
1. Complete the table on the topic of the lesson. 2. Make up questions for the test. 3. Write an essay “What is the greatness of ancient sculpture?”

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Bibliography.
1. Yu.E. Galushkina “World Art Culture”. – Volgograd: Teacher, 2007. 2. T.G. Grushevskaya “Dictionary of MHC” - Moscow: “Academy”, 2001. 3. Danilova G.I. World Art. From origins to the 17th century. Textbook 10th grade. – M.: Bustard, 2008 4. E.P. Lvova, N.N. Fomina “World artistic culture. From its origins to the 17th century” Essays on history. - M.: Peter, 2007. 5. L. Lyubimov “The Art of the Ancient World” - M.: Education, 1980. 6. World artistic culture in the modern school. Recommendations. Reflections. Observations. Scientific and methodological collection. – St. Petersburg: Nevsky Dialect, 2006. 7. A.I. Nemirovsky. “A book to read on the history of the Ancient World”

"Sculpture of Ancient Greece"– a presentation that will introduce you to the greatest monuments of ancient Greek art, to the creations of outstanding sculptors of antiquity, whose legacy has not lost its significance for world artistic culture and continues to delight art lovers and serve as a model for the creativity of painters and sculptors.

Ancient Greece sculpture

“Bow before Phidias and Michelangelo, admiring the divine clarity of the first and the stern anxiety of the second. Admiration is a noble wine for elevated minds. ... A powerful internal impulse is always discernible in a beautiful sculpture. This is the secret of ancient art.” Auguste Rodin

The presentation consists of 35 slides. It presents illustrations introducing the art of archaism, classics and Hellenism, with the most outstanding creations of the great sculptors: Myron, Polykleitos, Praxiteles, Phidias and others. Why is it so important to introduce students to ancient Greek sculpture?

The primary goal of lessons in world artistic culture, in my opinion, is not so much to acquaint children with the history of art, with outstanding monuments of world artistic culture, but rather to awaken in them a sense of beauty, which, in fact, distinguishes man from animals.

It is the art of Ancient Greece and, above all, sculpture that serves as an example of beauty for the European view. The great German educator of the 18th century, Gotthold Evraim Lessing, wrote that the Greek artist depicted nothing but beauty. The masterpieces of Greek art have always amazed the imagination and delighted us, in all eras, including our atomic age.

In my presentation, I tried to show how the idea of ​​beauty and human perfection of artists from the archaic to Hellenistic was embodied.

The following presentations will also introduce you to the art of Ancient Greece:

Stages of development of ancient Greek sculpture: archaic, classic, Hellenistic.

Archaic period – kouros and kora. Sculptural canons of Polykleitos and Myron. “Doriphoros”, “Discobolus” is a hymn to the greatness and spiritual power of Man. Sculptural creations

Scopas and Prixitele – “Maenad”, Aphrodite of Cnidus. Lysippos is a master of the late classics. Agesander - Laocoon, Venus de Milo.

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Shaikhieva Nadezhda Ivanovna, teacher of fine arts, MOBU Secondary School No. 3 named after Yu. Gagarinag. Taganrog, Rostov region
Stages of development of ancient Greek sculpture: Archaic Classics Hellenism
KORA (from the Greek kore - girl), 1) among the ancient Greeks the cult name of the goddess Persephone. 2) In ancient Greek art, a statue of an upright girl in long clothes. KUROS - in the art of ancient Greek archaism, a statue of a young athlete (usually naked).
Kouros sculptures
- The height of the statue is up to 3 meters; - They embodied the ideal of male beauty, strength and health; - The figure of an upright young man with his leg pointed forward, his hands clenched into fists and extended along the body. - The faces are devoid of individuality; - They were exhibited in public places, near churches;
Sculptures
-They embodied sophistication and sophistication; -Poses are monotonous and static; -Chitons and cloaks with beautiful patterns of parallel wavy lines and borders at the edges; -Hair is curled in curls and intercepted by tiaras. -There's a mysterious smile on your face
1. Hymn to the greatness and spiritual power of Man;2. A favorite image is a slender young man with an athletic build; 3. The spiritual and physical appearance are harmonious, there is nothing superfluous, “nothing in excess.”
Sculptor Polykleitos. Doryphoros (5th century BC)
CHIASM, in fine art, the image of a standing human figure leaning on one leg: in this case, if the right shoulder is raised, then the right thigh is lowered, and vice versa.
Ideal proportions of the human body:
The head makes up 1/7 of the total height; Face and hands 1/10 part; Foot – 1/6 part
Sculptor Miron. Disco thrower. (5th century BC)
The first attempt of Greek sculpture to break the captivity of immobility.
IV century BC1. Strived to convey energetic actions;2. They conveyed the feelings and experiences of a person: - passion - sadness - daydreaming - falling in love - fury - despair - suffering - grief
Maenad. 4th century BC.
Scopas (420-355 BC)
Head of a wounded warrior.
The battle of the Greeks with the Amazons. Detail of a relief from the Halicarnassus Mausoleum.
Praxiteles (390 -330 BC)
He entered the history of sculpture as an inspired singer of female beauty. According to legend, Praxiteles created two statues of Aphrodite, depicting the goddess dressed in one of them, and naked in the other. Aphrodite in clothes was purchased by the inhabitants of the island of Kos, and a naked one was installed on one of the main squares of the island of Knidos.
Lysippos. Head of Alexander the Great Around 330 BC.
Lysippos. Hercules fighting a lion. Around 330's BC..
Lysippos. "Resting Hermes" 2nd half of 4th century. BC e.
Leohar
Leohar. "Apollo Belvedere". Mid 4th century BC e.
In the sculpture: 1. Excitement and tension of faces; 2. A whirlwind of feelings and experiences in images; 3. Dreaminess of images; 4. Harmonic perfection and solemnity
Nike of Samothrace. Beginning of 2nd century BC. Louvre, Paris
At the hour of my night delirium You appear before my eyes - Samothrace Victory With arms stretched forward. Scaring away the silence of the night, Your winged, blind, Uncontrollable aspiration gives birth to dizziness. In your insanely bright gaze Something laughs, flaming, And our shadows rush behind, It’s impossible to keep up with them knowing how.
Agessandr. Venus (Aphrodite) de Milo. 120 BC Marble.
Agessandr. "The Death of Laocoon and His Sons." Marble. Around 50 BC e.
http://history.rin.ru/text/tree/128.html
http://about-artart.livejournal.com/543450.html
http://spbfoto.spb.ru/foto/details.php?image_id=623
http://historic.ru/lostcivil/greece/art/statue.shtml

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Sculptures of Ancient Greece

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Discus thrower. V century BC e. Marble. The figure of the “Discobolus” conveys enormous internal tension, which is restrained by the external forms of the sculpture, elastic closed lines outlining its silhouette. In the image of an athlete, Miron reveals a person’s ability to take active action.

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Poseidon, god of the sea (Statue 2nd century BC) The naked god of the sea with the body of a mighty athlete is represented at the moment when he throws his trident at the enemy. This is a wonderful example of high bronze art. In the 5th century BC. e. bronze became the favorite material of sculptors, since its hammered forms conveyed especially well the beauty and perfection of the proportions of the human body.

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Polykleitos

Spearman Polykleitos 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 - Doryphoros - is depicted in a vigorous and majestic pose. He holds a spear in his hand, which lies on his left shoulder, and the fledgling turns his head and looks into the distance. It seems that the young man just leaned forward and stopped.

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Apollo Belvedere (330-320 BC) The statue depicts Apollo, the ancient Greek god of the sun and light, as a handsome young man shooting an arrow.

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Diana of Versailles or Diana the Huntress (1st or 2nd century BC) Artemis is dressed in a Dorian chiton and himation. With her right hand she is preparing to draw an arrow from the quiver, her left hand rests on the head of the fawn accompanying her. The head is turned to the right, towards the likely prey. Now the sculpture is in the Louvre.

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Goddess Athena in 450-440. BC e. Cicero wrote about Phidias this way: “When he created Athena and Zeus, he had no earthly original in front of him that he could use. But in his soul lived that prototype of beauty, which he embodied in matter. It is not without reason that they say about Phidias that he worked in a fit of inspiration, which lifts the spirit above everything earthly, in which the divine spirit is directly visible - this heavenly guest, as Plato puts it.”

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Seated Zeus. In 435 BC. e. The grand opening of the statue took place. The Thunderer's eyes sparkled brightly. It seemed as if lightning was being born in them. The whole head and shoulders of the god sparkled with divine light. In order for the head and shoulders of the Thunderer to sparkle, he ordered a rectangular pool to be cut down at the foot of the statue. Olive oil was poured on top of the water in it: a stream of light from the doors falls onto the dark oily surface, and the reflected rays rush upward, illuminating the shoulders and head of Zeus. There was a complete illusion that this light was pouring from God to people. They said that the Thunderer himself descended from heaven in order to pose for Phidias.

GREEK CLASSICAL SCULPTURE Late 7th century. BC e. the period of the turbulent spiritual life of Greece, the formation of the idealistic ideas of Socrates and Plato in philosophy, which developed in the fight against the materialistic philosophy of the Democrat, the time of the formation of new forms of Greek fine art. In sculpture, the masculinity and severity of the images of strict classics is replaced by an interest in the spiritual world of man, and a more complex and less straightforward characteristic of it is reflected in plastic.

Polykleitos Polykleitos. Doryphoros (spearman) BC Roman copy. National Museum. Naples The works of Polykleitos became a real hymn to the greatness and spiritual power of Man. The favorite image is a slender young man with an athletic build. There is nothing superfluous in him, “nothing in excess”; his spiritual and physical appearance are harmonious.

Doryphoros has a complex pose, different from the static pose of the ancient kouroi. Polycletus was the first to think of posing the figures in such a way that they rested on the lower part of only one leg. In addition, the figure seems mobile and animated, due to the fact that the horizontal axes are not parallel (the so-called chiasmus). The chiasmus “Doriphoros” (Greek δορυφόρος “Spear-bearer”), one of the most famous statues of antiquity, embodies the so-called. Canon of Polykleitos.Greek.

The canon of Polykleitos Doryphoros is not an image of a specific winning athlete, but an illustration of the canons of the male figure. Polykleitos set out to accurately determine the proportions of the human figure, according to his ideas about ideal beauty. These proportions are in numerical relation to each other. “They even assured that Polykleitos performed it on purpose, so that other artists would use it as a model,” wrote a contemporary. The work “The Canon” itself had a great influence on European culture, despite the fact that only two fragments of the theoretical work have survived. The Canon

Canon of Polykleitos If we recalculate the proportions of this Ideal Man for a height of 178 cm, the parameters of the statue will be as follows: 1. neck volume - 44 cm, 2. chest - 119, 3. biceps - 38, 4. waist - 93, 5. forearms - 33 , 6. wrists - 19, 7. buttocks - 108, 8. hips - 60, 9. knees - 40, 10. shins - 42, 11. ankles - 25, 12. feet - 30 cm.

Myron Myron, Greek sculptor of the mid-5th century. BC e. The sculptor of the era that immediately preceded the highest flowering of Greek art (from the 6th to the beginning of the 5th century) embodied the ideals of the strength and beauty of Man. He was the first master of complex bronze castings. Miron. Discus thrower.450 BC. Roman copy. National Museum, Rome

Miron. “Disco thrower” The ancients characterize Myron as the greatest realist and expert in anatomy, who, however, did not know how to give life and expression to faces. He depicted gods, heroes and animals, and with special love he reproduced difficult, fleeting poses. His most famous work is “The Discus Thrower,” an athlete intending to throw a discus, a statue that has survived to this day in several copies, of which the best is made of marble and is located in the Palace of Massami in Rome.

Sculptural creations of Skopas Skopas (420 - c. 355 BC), a native of the island of Paros, rich in marble. Unlike Praxiteles, Skopas continued the traditions of high classics, creating monumental heroic images. But from the images of the 5th century. they are distinguished by the dramatic tension of all spiritual forces. Passion, pathos, strong movement are the main features of Skopas’ art. Also known as an architect, he participated in the creation of a relief frieze for the Halicarnassus mausoleum.

In a state of ecstasy, in a violent outburst of passion, the Maenad is depicted by Scopas. The companion of the god Dionysus is shown in a rapid dance, her head is thrown back, her hair has fallen to her shoulders, her body is curved, presented in a complex angle, the folds of her short chiton emphasize the violent movement. Unlike the sculpture of the 5th century. The Skopas maenad is designed to be viewed from all sides. Skopas. Maenad Sculptural creations of Skopas

The statue of Aphrodite of Knidos is the first depiction of a nude female figure in Greek art. The statue stood on the shore of the Knidos peninsula, and contemporaries wrote about real pilgrimages here to admire the beauty of the goddess preparing to enter the water and throwing off her clothes on a nearby vase. The original statue has not survived. Sculptural creations of Praxiteles Praxiteles. Aphrodite of Knidos

Sculptural creations of Praxiteles In the only marble statue of Hermes (the patron of trade and travelers, as well as the messenger, “courier” of the gods) that has come down to us in the original of the sculptor Praxiteles, the master depicted a beautiful young man in a state of peace and serenity. He looks thoughtfully at the baby Dionysus, whom he holds in his arms. The masculine beauty of an athlete is replaced by a beauty that is somewhat feminine, graceful, but also more spiritual. The statue of Hermes retains traces of ancient coloring: red-brown hair, a silver bandage. Praxiteles. Hermes. Around 330 BC e.

Lysippos the Great sculptor of the 4th century. BC. (BC) He worked in bronze, because sought to capture images in a fleeting rush. He left behind 1,500 bronze statues, including colossal figures of gods, heroes, and athletes. They are characterized by pathos, inspiration, emotionality. The original has not reached us. Court sculptor of A. Macedonian Marble copy of the head of A. Macedonian

Lysippos strove to bring his images as close as possible to reality. Thus, he showed athletes not at the moment of the highest tension of strength, but, as a rule, at the moment of their decline, after the competition. This is exactly how his Apoxyomenos is represented, cleaning off the sand from himself after a sports fight. He has a tired face and his hair is matted with sweat. Lysippos. Apoxyomenos. Roman copy, 330 BC

The captivating Hermes, always fast and lively, is also represented by Lysippos as if in a state of extreme fatigue, briefly sitting on a stone and ready to run further in the next second in his winged sandals. Sculptural creations of Lysippos Lysippos. "Resting Hermes"

Leohar Leohar. Apollo Belvedere. 4th century BC Roman copy. Vatican Museums His work is an excellent attempt to capture the classical ideal of human beauty. His works contain not only the perfection of images, but also the skill and technique of execution. Apollo is considered one of the best works of Antiquity.

Greek sculpture So, in Greek sculpture, the expressiveness of the image was in the entire human body, his movements, and not just in the face. Despite the fact that many Greek statues did not preserve their upper part (for example, “Nike of Samothrace” or “Nike Untying Sandals” came to us without a head, we forget about this when looking at the holistic plastic solution of the image. Because the soul and the body was thought of by the Greeks as an indivisible unity, then the bodies of Greek statues are unusually spiritualized.

Nike of Samothrace 2nd century BC Louvre, Paris Marble The statue was erected on the occasion of the victory of the Macedonian fleet over the Egyptian in 306 BC. e. The goddess was depicted as if on the bow of a ship, announcing victory with the sound of a trumpet. The pathos of victory is expressed in the swift movement of the goddess, in the wide flap of her wings.

Venus de Milo On April 8, 1820, a Greek peasant from the island of Melos named Iorgos, while digging the ground, felt that his shovel, clinking dully, came across something solid. Iorgos dug next to the same result. He took a step back, but even here the spade did not want to enter the ground. First Iorgos saw a stone niche. It was about four to five meters wide. In the stone crypt, to his surprise, he found a marble statue. This was Venus. Agesander. Venus de Milo. Louvre. 120 BC Laocoon and his sons Laocoon, you have not saved anyone! He is not a savior for either the city or the world. The mind is powerless. Proud Three's mouth is destined; the circle of fatal events closed in a suffocating crown of snake coils. Horror on your child’s face, pleas and groans; another son was silenced by poison. Your fainting. Your wheezing: “Let me be...” (...Like the bleating of sacrificial lambs Through the darkness, both piercing and subtle!..) And again - reality. And poison. They are stronger! In the snake's mouth, anger blazes powerfully... Laocoon, and who heard you?! Here are your boys... They... are not breathing. But every Troy has its own horses.