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CLASSIC PERIOD .-

protection and dignity given to artists by King Pericles during the time of the lights resulted in Athens the existence of large sculpture workshops and producing magnificent works that embellished and magnified to the city, however most of these works are lost in time and are known only through historical accounts and Roman copies.
The classical period covers V and IV centuries BC in the first century we have the great sculptors Myron, Phidias, Policleto and other lesser known Alcamenes and Callimachus, the inventor of the Corinthian capital. During the fourth century mainly include Plaxíteles, Scopa and Lisipo.
The classical period is characterized by an idealized reality of the human body, by the proportion of actions and movement. Classical sculptors represented only young and perfectly fine, if at any time, for the representation of a mythological theme should carve an old man, so did not afeara reality, as these children were depicted as adults but in smaller scale.

Century V a. C.

MIRON .- Sculptor

V century classic, his favorite technique was the bronze, however it has come to us any original works, only Roman copies in marble .
His merit was like no other sculptor to capture movement. The figures of his athletes take on bold poses realistic, though the faces do not represent any sense.
There is a legend that people took it as a cow alive by Myron. Hence the historian Pliny were to say that the works of Miron proportions were more harmonious than those of Policleto and also take much care to the fine points. This sculptor
few works are known, the group formed by the goddess Athena and the satyr Marsyas, the famous discus thrower and a Minotaur who was among a group of Theseus, however, sufficient to place it in the list of the best Greek sculptors.

The Discus Thrower. Miron .- (455 BC) Roman copy in marble of the original cast in bronze. The best-known work is the Discus Thrower Myron, an athlete about to throw the disc. There is movement and tension of all muscles, while keeping the blankness in the face and archaic treatment of the hair. This book is a wonderful example of the representation of human movement in tension, where the action freezes at the climax, as if it were a photograph. The album's release was one of the oldest sports in the Olympics, which were held in Athens every four years. Competitors threw the disc and you could earn a greater distance. The size of disks varied depending on the category of athletes, being 6.6 kg and 33 cm in diameter the largest found. Some historians believe that the figure of an athlete representing Jacinto, a beautiful youth beloved by Apollo and by him who was killed unintentionally by throwing the disc, from the blood of the young born the flower of the same name. There are several Roman copies of discus thrower in museums across the world.

FIDIAS .-

great sculptor is the V century and the most representative of classism. Revered as a genius through the centuries, however, his two great works, for which his fame mainly disappeared over time. They were the statue Athena Parthenos, a gigantic wooden figure of 12 feet covered in gold, ivory and precious stones and the statue of Zeus chryselephantine, considered one of the seven wonders of the ancient world, the latter was destroyed in 393 when Emperor Theodosius the Great forbade the pagan cults, was 14 meters high and represented the way God Almighty and the marble torso.
Despite the destruction of these legendary works, the Parthenon reliefs show us without doubt that the genius of this great sculptor was not unfounded.
Phidias was the sculptor of Pericles and oversee the works of the Acropolis, an arduous task of rebuilding of the old city after the Persian invasions. A Phidias not only make the two statues corresponded chryselephantine already mentioned, but also decorated with reliefs of pediments, metopes and frieze of the Parthenon.
After the death of Pericles, Phidias was accused of blasphemy for having incorporated a portrait of his protective shield of Athena and embezzling the funds for the restoration of the Acropolis, died around the year 432 BC, probably in prison .

Phidias is known for his technique of "wet wipes" because the fabrics of clothing cling to their bodies, by transparently foot, giving the impression a damp cloth.

The two pediments of the Parthenon 30 x 3.50 meters were made up of more than 20 pictures each, some of which almost doubled the size. Despite being raised, the figures were carved with the technique of the round. The themes are two episodes from the mythology of Athena, goddess to whom the temple was dedicated. The East represents the birth of the goddess out of the head of Zeus. The most widespread myth is that Zeus swallowed Metis and her lover when pregnant and giving birth their heads completely emerged from the adult and their weapons of war. Appear in relief on his throne Zeus and Athena standing at his side, Hephaestus, the god responsible for opening the skull to stop the birth of Athena, also appear Hera, Dionysus and Aphrodite group, and corners were occupied by Helios (the sun) and Selene (the moon) mounted on their chariots drawn by horses.

In turn, the west pediment, is the competition between Poseidon, god of the sea and Athena, goddess of wisdom to be chosen as the patron deity of Athens. According to myth Poseidon with his trident brought forth a fountain of salt water and a horse with his spear Athena gave the olive tree to the people being declared winner of the tournament. The two gables are currently very impaired and rely for their description as told by Pausanias and drawings by Jacques Carrey in 1674.

Pediment of the Parthenon. Aphrodite Group. Phidias. Marble. British Museum .- Detail of west pediment of the Parthenon. The figures are cropped to fit the end of the triangular shape of the pediment. The goddess is shown lying peacefully Aphrodite, who may be looked in a mirror, she appears to rest on the lap of the goddess Artemis, Leto is probably the third or Hera. Significantly, the position of the goddesses Aphrodite and Artemis, of frank friendship and peace, when the myths were not usually very companions. Genius Phidias reconciles an allegory for peace beloved by the Athenians after medical wars. The goddesses are dressed in tunics that are perfectly suited to the bodies and transparent its ways, this is the technique called "Wet Wipes " created by Phidias, technical imitated by many but never surpassed.

The metopes are rectangular or square pieces with triglyphs form the frieze of the entablature of a Doric temple. Each metopa was adorned with sculptures and their function was primarily decorative. The reliefs were multicolored.
The 92 metopes of the Parthenon, made in the workshop of Phidias are devoted to four mythological wars, one for each façade of the temple. They are: Gigantomaquia (struggle of the Olympian gods and the giants Heracles), the Centauromachy (fight of the Lapita, a Greek people against the Centaurs, mythological creatures with a horse's body), the Amazonomachy (fight of the Greek heroes Theseus , Achilles and Heracles against the Amazons) and the Trojan War (the struggle of the Achaeans, led by King Agamemnon against the city of Troy, caused by the kidnapping of Princess Helena).
In the decoration of the metopes are seen different styles that suggest not only that were done by different hands but possibly involved two generations of sculptors.

Centauromachy .- (120 x 125 cms. Marble. This is one of the metopes that ordered the Earl of Elgin removed from the walls of the Parthenon and moved to London where he currently in the British Museum. The battle between centaurs and Lapita is shown in a credible manner, in which death affects both sides, this is a novelty because they are not used to represent the defeat and death of the warriors themselves. The Centauromachy is the fight between civilization and reason (the Lapita) and barbarism and brute force (the centaurs). At the wedding of Hippodamia Pirithous and centaurs were invited beings mythological half man half horse. Once these are drunk, tried to rape the bride and kidnap the women present. Theseus, Greek hero Pirithous friend responded to the attack and commanded the fight against the Centaurs, who were defeated and expelled from the region.

Friso of the Panathenaic Procession .-
The Parthenon, a Doric temple, housed inside a continuous frieze with figurative sculptures that meets the guidelines of the Ionic order and constitutes a master class display .
The reliefs of the cella of the Parthenon, which are kept about 128 meters, representing 94% of the work on the Panathenaic, a religious festival in honor of the goddess Athena took place every four years. The frieze was made by the workshop of Phidias circa 440 BC and its fragments are preserved in various museums around the world, especially in the British Museum, although Greece has demanded their return.
The frieze consisted of 378 human figures and 245 animals during the holidays Panathenaic procession up to the temple of Athena. Riders converge there, soldiers, musicians, priests, citizens and bearers of offerings. The frieze culminates a group of young girls who offer a garment fabric or peplum to the goddess Athena, who is surrounded by the Olympic gods. However, some historians consider that the frieze is about building the city of Athens.

The Panathenaic Frieze .- Phidias. South frieze detail. Marble. British Museum (block X Figure 26). The picture shows a group of riders that parade, note the different treatment given to the manes of the horses, which suggests they were carved by different hands in the workshop of Phidias. In this part of the frieze, as well as the riders go in procession cars, elderly figures, musicians, carrying pots and trays of offerings and other people who herd animals to sacrifice. In summary, bringing together all sectors of Athenian society to celebrate the holidays.

The Panathenaic Frieze .- Phidias. Eastern Marble frieze detail. Museum of Athens. (Block VI, figures 38, 39 and 40) In this part of the frieze displayed masters of ceremonies, girls with jars and jugs, and gods Athenian officials sitting in chairs waiting to begin the ceremony robe, embroidered tunic that is offered for Athena. The cult of the robe shows the change from girl to woman, in this sense they were taught to the daughters of marriageable age the art of weaving, work would be his major contribution to the domestic economy. Similarly, the cult is linked to the myth of Pedrosa and sisters who are credited with the first woven wool blanket. The myth tells that Athena gave the sisters a basket for safekeeping, with the caveat that not open. The girls opened the box and saw or Erichthonius Erechtheus, a being with a snake's body became frightened and fell away from the top of the Acropolis and died, with the exception of Pedrosa, the only one who obeyed the goddess. It is clearly an allegory of sexual awakening of young women. In the illustration shown the gods Poseidon, who tapped the shoulder of Apollo, who turns in response to the signal, is next to his sister Artemis.

Panathenaic Frieze. Phidias .- Detail of the frieze Northern Block (XLIII, figures 118, 119, 120, 121, 122, 123 and 124). On this side the figures follow a similar pattern to the south frieze, but in reverse. The procession a group of young herding cattle and sheep for the slaughter, still carrying offerings, musicians, seniors, chariots and horsemen. The illustration displayed riders mantle, robe and hat and other practically naked. On the left, the frieze as it is today, right an approximation of the colors should have the same.

Polykleitos .-

V century BC sculptor and contemporary of Phidias. His favorite subject was the beautiful naked bodies of young athletes and gods. He worked mainly in bronze, however his works were fused with the arrival of Christianity and his work is known only through Roman copies.
Policleto wrote a treatise on art in which he explains that the realization of a work could not be random, should be subject to rules that were called "Canon."
"... It is in Policleto more clearly where the mixture with the anatomical observation numerical ideal of harmony ... For him, beauty is a careful adjustment of the proportions of the whole body ... "(History of Art, edt. Lafer, Volume 1, pág.77).
In fact, the Greek ideal of beauty was closely related to the order, proportion and balance provided by the mathematical sciences. The "canon" will provide us with an ideal image of man based on numerical relationships. Hence, a perfect body are interrelated achieved all its parts, the height of a man should be equivalent to seven heads, toes should be measured and provided to the hand, hand, arm and so on until harmonious unity.
addition Policleto "... I was convinced that an artistic representation of man can also transmit moral values \u200b\u200b..." (Greek Art. Michael Siebler. Edt. Taschen page. 66). Thus, the representation of man should not only reflect the perfection of the body but there should also be the perfection of the spirit, thought and action, as reflected in the famous Latin phrase "mens sana in corpore sano" which was understood as the need for a balanced mind in a balanced and healthy body.
Policleto sculptural model was a statue standing, relaxed and balanced. The position of body breaks the law of the frontal and gives rise to so-called "contrapposto" or opposition harmonica different parts of the body which manages the sensation of movement. That is, one leg supports the weight of the work and the other is relaxed in the knee as if to take a step forward, leaving the heel suspended in the air, the arms do the same and the opposite hip to the fixed leg rises as the shoulder on the same side, and finally the head is tilted.

The Dorífero. copy of a work of Policleto .- (spear carrier). 2.12 mts. Archaeological Museum of Naples. It is one of the classics most copied, there are more than 70 reproductions of it. It is the most exquisite of the canon, was made of bronze between 450 and 445 BC and possibly in the case of the mythical hero Achilles. Notice the position of contrapposto, with which it achieves the balance and movement. The weight of the work is supported by the right leg reinforced by a structure, the left leg is free and slightly bent, the arm rests right turn over the body and the left is bent in an attitude of holding a spear carrying originally. The Dorífero was the inspiration for the portraits of Emperor Augustus and the realization of the famous David by Michelangelo. Other works

of this great sculptor are Discóforo athlete carrying the disc, the Diadumenos, athlete Sticking the tape of the victory to the head, which is also known through Roman copies. He also credited for having made a statue of Hera in gold and ivory, and a set of young people playing called the Astragalizontes, praised by the Emperor Titus and the Amazon injury, work by historians of the time would have won a contest which involved Phidias, yet the latter works were lost in time. Your school was survived by three generations.

The Diadumenos. Policleto. (Roman copy of bronze original) Archaeological Museum of Athens. Adhering of an athlete's head or tape victory in the head. The figure is in contrapposto, with the weight on his right leg which is reinforced by a tree. The statue illustrates the principles of the Canon: The overall height equivalent to seven times the height of the head, which is the length of the foot support. It also retained three other copies in the British Museum, the Prado and the Metropolitan New York.

THE Riace Bronzes .-
These two famous bronze statues of unknown authorship were found in the sea of \u200b\u200bRiace in Calabria (Italy) in 1972. Bronzes are
Greek originals, which increases its value, since most of the Greek works known only through Roman copies made for the wealthy nobility of the empire.
The sculptures were discovered accidentally by an amateur diver, 300 meters from the beach and 10 meters deep. The athlete believed he was a corpse and gave part to the Italian authorities.
After five years of restoration were displayed first in Florence and then moved to the Museum of Magna Grecia in Calabria.
contrapposto The figures are in a position which became famous Policleto style. The balance of conflicting movements of the arms and legs does a representation natural human movement.

Riace Bronzes .- Anonymous (approx. 430 BC) 1.97 cm. National Museum of Magna Graecia (Italy). Greek original works cast in bronze with detail on other metals such as silver teeth and eyelashes, eye ivory and copper lips and nipples. Bronze A (the young) Bronze B (the old). Notable muscle elasticity. The arms are separate from the body and possibly carrying weapons and shields. Bronze B has a slightly smaller head, which suggests that wearing a helmet.

fourth century BC

Praxiteles .-

represents for Greek sculpture of the fourth century BC which symbolizes Phidias to the V century BC His work is full of sensuality mannerism precursor of the Hellenistic period. It was the first sculptor to make a life-size female nude. Creator of a very dramatic and elegant contrapposto called "curve praxitelian" which contradicts the law of the frontal, giving the figure the shape of an "S".
praxitelian curve exaggerates the figures contrapposto Policleto and flexible attitude initiated by it will reach a relaxed and sensual pose practically breaks the verticality of the figure. The knee bends more than in the Dorífero Polykleitos, the foot rests on the tip and the opposite hip protruding sharply, forcing the sculptor to balance the height with an object placed at the incoming side of the hip.
also owed the idealization of the Greek profile, the perfect proportions of the noses of her figures have become a model of beauty.
There are many Roman copies made in marble that let us know his work, there is also the statue of Hermes with Dionysos Child "found during excavations in the temple of Hera in 1877, which is considered by some as his own hand.

Hermes and Dionysus
child. Praxiteles .- Archaeological Museum of Olympia. Marble. (213 cm). According to the myth of Semele, a mortal lover of Zeus, he asked the grace to behold in all its splendor, to please the woman was killed by the fumes of divine power. Zeus then pulled the baby in the strange and cooked it a leg up to the time of his birth. The child was named Dionysus, god of wine future. As a baby is entrusted with the custody of the god Hermes, the messenger. It is noted in the body of Hermes praxitelian characteristic curve, if it became an imaginary line from top to bottom the body would see the shape of an "S". The fulcrum is the tree covered by a blanket, which is attached Hermes hip with a jumper. The perfectly polished face shows the famous Greek profile. The heads appear tilted to look at both figures together, an architectural resource that completes the narrative of history that is represented. The work was painted and are remnants of paintings on the hair and sandals. The missing arm holding a caduceus or possibly a cluster of grapes, Hermes and Dionysus symbols respectively.

Cnidea or the Venus Aphrodite of Knidos. Roman copy of a work of Praxiteles .- Marble. The statue represents the goddess of love in its conception erotic love casually out of the bath, in a pose or attitude has been called intimate refolding. She drops the robe limply on a jar of water, which serves as a support for the sculpture. It is the first life-size female nude which is knowledge. The work had initially been hired for the city of Coz, but was rejected by shameless and it was later acquired by the city of Knidos. The original work was destroyed in a fire in Constantinople, however many copies are preserved, because it was the most copied works of ancient Greek. Plaxiteles possibly portrayed his mistress Phryne as the goddess of love and beauty.

ESCOP .-

(380 to 350 BC) Near Lisipo Praxiteles and a trio of the great sculptors of the fourth century BC is the creator
Scopus style "Pathetic" (Pathos = feeling) that is characterized by giving the figures a dramatic expression. The tragedy, anguish, pain and passion are reflected in the twist of bodies and faces marked by sunken eyes and mouth ajar.
"... It was probably the first sculptor of the human mind, almost a sculptor and psychologist, an artist capable of stealing the feelings, the anguish, the expression of its subjects to to infuse into the marble. He was not content with representing the outside of the subject but I wanted at all costs into the folds of the soul and discover the hidden secrets: the grief, sadness, disappointment ... "(Wikipedia)
Another feature of Scopus was not to buff their images, many of which were with a rustic finish, a feature that inspired several centuries after Michelangelo in the number of slaves.
was also an architect and worked in the construction of the Mausoleum of Halicarnassus and the construction of the temples of Athena Alea at Tegea and of Artemis at Ephesus, in charge of the reliefs with mythological themes.
"... Scopus is to our modern eyes, the nearest of the Greek sculptors, both for the boldness with their efforts culminating in which the non-polished-full of his works is more than just a lifestyle brand, and by the sophisticated use of chiaroscuro, the search for a static strange dynamic. A sculpture, in short, almost gifted his own life, and whose features exaggerated pathos, impassive to the passage of time make the greatest sculptor Escopas with Michelangelo, who has managed to move the marble afflicting the unfathomable mysteries and disrupt the human soul .... " © José Antonio Bielsa

Meleager and the boar of Calydon. Scopus .- (340 BC) Roman copy of the original. Marble. Eneo, King of Calydon forgot to make offerings to the goddess Artemis, who in punishment command a wild boar to ravage the region. In the hunt organized to kill the pig there were several heroes were prominent Meleager, son of the king and the Amazon Atalanta. She was the first to wound the animal, which eventually was caught by Meleager. According to the myth Meleager fell in love with the Amazon and handed the trophy to the skin of the beast, a fact which angered the other hunters, so Meleager killed. After that the hero died of a prophecy, which stated that if a coal consumed his life is extinguished, so that his own mother, who held the coal fire put him in revenge for the death of their relatives who Atalanta had objected to stay with the award. This was the real punishment for the king Eneo.

.- Scopus Pothos. (Marble) Louvre Museum. (Roman copy of original) God of longing, desire and longing. Note the lack of refinement in the finished work. The movement is not marked, but the play of light gives the feeling of dynamism. The buff does not the work was a feature inspired by Michelangelo in the making of the series of slaves.

Maenad .- Scopus . The figure is tragic and poignant at the same time, the expressiveness of the face of women is a clear example of the "pathos" or feeling. Again the work is not polished, emphasizing its drama. The Bacchae are Maenads or related deities Dionysus, the god of wine who inspired them crazy mystique. They are usually represented in a state of ecstasy, dancing wildly and intoxicated by wine. Eurípedes poet in his book "The Bacchae" states that the Maenads dismembered their victims during the frenzy of the dance.

Lysippus

.- (370 to 318 BC) sculptor, founder of the school of Sicyon and Argon, very neat worker, though his work has only reached us through Roman copies. Lisipo
style is characterized by naturalism and the arrangement of figures in space, forcing the viewer to view them from different points of view, represent a true master in all aspects of the work so that it can be seen by all sides.
"... The genius of Lisipo him to break new ground in the sculpture of the time. It was the first to intuit the possibility of modeling the statue, according to a circular view of 360 degrees, and not from the perspective of a single fixed viewpoint, as it had worked until then what, in terms of staging, lulled to the figure, making it lose strength, expression and vitality. His intuition was imposed as the most complete and modern sculptor of his time, and can control how his work in every possible perspective and viewing angle ...! (Wikipedia).
One of the main contributions of the sculpture was Lisipo have changed the canon established by Polykleitos to the human figure, 1 X 7-1 x 7 ½ heads, ie body height was proportional to 7 and a half heads, so their figures are more slender and elegant.
was the favorite artist of Alexander the Great, whom he portrayed several times, with unkempt hair and parted lips. His figures were not only realistic reproduction of the model, but transmitting psychological implications. From there you can say we Lisipo is a mix of charm and pathos of Praxiteles Scopus. Beauty and grace with feeling, why cannot contribution to the Hellenistic period.
was master of Apelles Cares Lindo (sculptor of the Colossus of Rhodes, one of the Seven Wonders of the Ancient World) Eutíquides of Sicyon and three children.

Apoxyomenos. Lisipo. (Roman copy of bronze original) Marble. 2.05 mts. Vatican Museum. Depicts a young athlete in addition to removing the sand, sweat and skin oil with a metal instrument. The work achieves greater spatial depth, thanks to the projection of the arms forward, this position requires the viewer to observe the work of the late side to fully appreciate. His face is expressive, there is a wrinkle on his forehead and his eyes are sad, pathos or influence Scopus pathos. The beauty and grace of the figure recalls Praxiteles.