Sculpture in Ancient Greece

Just as the figures in vase paintings evolved from stylized geometric forms, so too sculptured figures became increasingly more representational. Once Greek artists began to observe nature carefully, they could depict the human body in motion. Until the Hellenistic period, however, artists depicted the ideal human body. Most of the surviving sculpture is marble since bronze works were melted down for other uses (often military!). And many Greek sculptures we know only through Roman copies.

	During the Geometric period, small bronze statuettes of human figure and sometimes animals were created. These are stylized forms like those on geometric vases.
	During the Archaic period, Greek sculptors emulated the stance of Egyptian figural sculpture. Figures are rigidly frontal with one foot forward and arms usually held next to the body. But unlike Egyptian sculpture, Greek statues of this period are free from the block and Greek male figures are nude. (Clicking will also let you compare Greek and Egyptian sculpture.)
	Classical period
	Kritios Boy about 480 BCE marble, 34" high
	A landmark work in the history of surviving Greek sculpture, the Kritios Boy indicates not only the artist's interest in representing bodily parts accurately but a concern with how a real person actually stands. He is not stiff-legged, as in the preceding examples where the weight was distributed equally on each leg. Note how both the shoulders and hips are uneven and how the right leg is bent at ease. This remarkable discovery is called "weight-shift" or contrapposto (counterbalance).
	Riace Warrior about 460-450 BCE bronze, approximately 6'6" high
	The warrior is one of two over life-size bronze sculptures found in this century in the sea off the coast of southern Italy. These statues formed part of the cargo of a ship that was probably on its way to Rome where Greek sculpture was much admired. The advance in the sense of movement and natural weight distribution is even more obvious than in the Kritios Boy. The arms are freed from the body and the head turns dramatically. It is made in the lost-wax process (that is, it is not solid bronze, which cuts down on the cost and weight). The eyes are inlaid and silver is used for the teeth.
	The Charioteer about 470 BCE bronze, approximately 5' 11" high
	This statue is the only remaining work of a group composed of the charioteer, his chariot, horses, and groom. It was designed to commemorate the victor in a chariot race in athletic games. Although the work is not as active as the warrior above, still his feet are turned in an opposite direction from his head, and he no longer has the Archaic smile. Works of this type are categorized as the "severe" style, to suggest the moral ideals of dignity and self-control. No emotions are obvious here, for these would be irrational reactions. Holding the reins suggests control and dominance over both the horses and the animal impulses within himself. Plato used the metaphor of the charioteer to symbolize control over the contrary forces in one's nature.
	Zeus or Poseidon about 460-450 BCE approximately 6'10" high Myron The Discus-Thrower Roman marble copy after a bronze original of about 450 BCE, 5'1" high Once Greek artists discovered the principle of weight-shift, they began to depict figures in a variety of active poses. Zeus/Poseidon is in the process of hurling a weapon (if Zeus, it would have been his famous thunderbolt) while the discus-thrower's body is tense, frozen in stop action at the moment before the powerful arm releases the discus.