6. New sculptural ideas New age of philosophy Ingenious plans to embody an idea or thought in a statue, prime example: Eirene and Ploutos, a relief or a painting. Peace believed to nurture wealth, if one is peaceful, wealth will naturally follow.
7. AO1 Details Intimate relationship between Eirene and Ploutos suggested by the way Ploutos leans eagerly towards Eirene and also by the smooth right tilt of Eirene’s head in the direction of the baby. Eirene: anatomy is highly naturalistic, weight leaning on right leg makes her look relaxed and at ease. Her left knee can be seen underneath the drapery which gives a strong sense of the body underneath. CONTRAST to hidden right leg which is covered by various vertical lines of drapery which reach the floor. Both feet can be seen peeping at the bottom of the drapery again showing the body underneath. Eirene wears a chiton which is highly sophisticatedly and hangs around the torso in thin catenaries. The ruffles beneath the waist give a sense of depth to the drapery, showing it has different layers and thicknesses again adding to its naturalism. Her hair falls in tight curls around her shoulders and waves around her forehead and smooth waves on the top of her head. Ploutos: body twisted around in a very naturalistic manner showing the eagerness of youth . Contrast in both statues of drapery to smoothness of sculpted marble bodies – especially with Ploutos. Hair is a little like Eirene’s – tight curls and low relief waves on top of head.
8. AO2 Details I think drapery adds interest to the shape of the body and overall effect of the statues as there are many contrasting vertical and horizontal lines which cling to the body achieving the wet look. I find Eirene’s hair aesthetically pleasing due to the way it falls so evenly in ringlets. The way it rests on her shoulders contrasts very effectively with her silken looking neck. I like the fact both statues show an idea that has been conveyed in human form –a gentle tenderness is shown in the way the two statues interact, their eyes meeting in an intrigued gaze which fits well with the idea that peace and wealth flourish together. I see the facial expression of Eirene as serene and tender which I think adds beauty to her overall domineer. In contrast Ploutos has an intrigued expression on his face adding naturalism and life to his body.
13. AO1 Details Great anatomical accuracy and movement of Hermes – his weight is shifted onto his right leg and his body swerves in an ‘S’ shape adding complexity to his otherwise static position. COMPARE to Riace Bronze, Spear Bearer and Diadoumenos. BUT right hip is too emphasised. Huge contrast between great expanse of smooth curved marble bodies and drapery falling in huge ruffles at a parallel. Unlike Spear Bearer (Doryphorus) and (Diadoumenos) who were sculpted using canon laws by Polykleitos and were well built and masculine, Hermes has been sculpted to new dimensions: he is tall with an elegant build. His head is small and triangular UNLIKE square heads of Skopas’ sculptures. Dionysus: very out of proportion – should be much larger. Head and body seem strangely small and look at complete odds with Hermes size. The Gods face each other like Eirene and Ploutos and seem to have a close bond by the fact Hermes tilts his head, like Eirene towards the baby who is interacting with him, lifting his hand upwards towards Hermes face and presumably the grapes. To support the weight and height of Hermes, he rests his left thigh on a tree trunk which is then discretely hidden behind the drapery.
14. AO2 Details I like the figure proportions for Hermes, although Polykleitos has created effective masculine bodies, Praxiteles’ sculpture is more beautiful as it shows a masculine figure but with delicate features. The ‘S’ movement through the body is very naturalistic, I think more so than the Riace bronze as it is more subtle and natural looking. I think the small proportions of the baby is disappointing as it make the sculpture as a whole less sophisticated and impressive. I find the drapery extremely beautiful in the way it falls the whole height of Hermes’ body – each fold being different in the way it falls and folds adds a new dimension to the otherwise smooth sculpture. The mottled effect of the hair is another contrast to the slender body and adds variety to Hermes’ body.
15.
16. c. 375-350 BC originally sculpted by Praxiteles.A different copy
17. New Developments Another example of an immortal sculpted in human form. Seems to be simply about to take a bath however symbolic of Aphrodite’s ritual bathing. Not devalued but mixed in more with humanity. First female nude statue. Other statues made of Aphrodite existed but had always been clothed. Originally intended to be an athletic male - adapted to show a female that could be appreciated for her beautiful nude form. Admired by numerous people including poets. One poet said: ‘Who gave a soul to marble?...’ Some believed it to be the exact likeness of Aphrodite. Only copies exist today, all differing slightly, hard to therefore appreciate how beautiful she actually was.
18. Details AO1 Aphrodite is shown in a tranquil environment however she is momentarily taken aback by someone startling her behind her left shoulder. There is a slightly less emphasised ‘S’ shape running through her body than Hermes and her weight is on her right leg. The curve and raise of her right hip directly contrasts with her lowered right shoulder creating a smooth arch. There is a sense of symmetry also by the way her right arm bends outwards and her hip bends inwards. Her face is quite sharply turned to the left and she looks momentarily unsettledgiving a aspect of life to the stillness of the statue. Her clothing is held in her left hand and falls in deeply sculpted folds down to her knee and then onto a hydria filled with water which she will later use for washing. The drapery which runs vertically down to Aphrodite’s knee is disrupted by the hydria and moves over its body creating variety and naturalism. The hydrias body is decorated with a motif which breaks up the solid expanse of marble. The drapery and pot as well as the body of Aphrodite all contrast with one another, creating a variety of textures, patterns and shapes. Aphrodite’s body is not curvaceous or particularly feminine due to the lack of difference between waist and hips and small breasts however the way she stands gives away her gender. She delicately holds her drapery with two fingers of her left hand curled around it and her thumb, forefinger and little finger resting gently on it. Her right hand has her fingers spread out and are covering her genitals modestly. The way her left leg overlaps her right also shows her feminine modesty and is a sophisticatedly sculpted.
19. AO2 Details I very much like the subtle look of the statue – Aphrodite is not posing in an extravagant manner but rather a sophisticatedly modest one. There is complexity however to her position but this is subtly noticed e.g. The contrast of curves shown on her right shoulder and her right hip. I like this because there is no clear symmetry in her body which is very naturalistic. I don not think the tightly sculpted drapery works well with the overall look, I think the eye is drawn too much to this aspect of the sculpture due to the shadows and different textures created by the drapery. I think the position of Aphrodite is very beautiful as it is feminine and elegant yet also naturalistic. I think more of an emphasis should have been made on the nude female form as Aphrodite’s body is quite masculine due to its lack of bust and curves. Her face is generically beautiful however not very feminine which undermines the objective of showing off nude female forms for the first time.
20. The Raging Maenad Reconstruction of what it may have looked like Roman statuette Copy What it may have looked like originally Roman statuette copy
24. AO1 Details The maenad is cleverly shown in a wild frenzy, disturbed and irrational. Some say she held a dead beast in her hands, a victim of her rage. Her head is square shaped and flung back dramatically. A clear arch runs from her head through her torso and down her left leg. This is paralleled by the arch running down her back and again left leg. The wide spread of the legs shows the maenad in full movement and her drapery clings to her legs and torso and billows in the wind showing the speed at which she moves and rages. Her facial expression (from what remains on the Roman copy) is manic – wild eyed and parted mouth., typical of Skopas’ design. The chiton is tied in a neat bow around the maenad’s waist which contrasts with her mood which is violent and disorderly. The bow although still done up is not preventing the chiton from revealing the left side of her naked body. Her hair runs in wild waves down the maenad’s back and a few rest on her shoulder adding naturalism through variety of positioning.
25. AO2 Details I like the great arch created by the body’s positioning as it makes the sculpture into a piece of art. I think the billowing drapery around the left side of the body is highly effective in showing the mad rage of the maenad and brings to life the solid marble. I think the head is too shaped, it lacks a smooth finish as it is too squared off. I think there is too much contrast between the clinging drapery and bare flesh, it seems strange that the chiton would cover so little flesh. I like the wavy hair as it adds more character to the maenad making her seem beautiful yet terrifyingly untamed.
![Eirene and Ploutos – the background ,[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)