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The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. Modern scholarship identifies three major stages in monumental sculpture in bronze and stone: the Archaic (from about 650 to 480 BC), Classical (480–323 BC ...
Hermes Criophorus (Ancient Greek: Ἑρμῆς Κριοφόρος, romanized: Hermês Kriophóros, lit. 'Hermes bearing a ram') is a marble sculpture of the second century AD depicting the Greek god Hermes, as god of pasture and shepherds, carrying away a young ram. The sculpture is a Roman copy of a Greek original of the fifth century BC.
The Doryphoros (Greek Δορυφόρος Classical Greek Greek pronunciation: [dorypʰóros], "Spear-Bearer"; Latinised as Doryphorus) of Polykleitos is one of the best known Greek sculptures of Classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder
The sculpture depicts one of the dancing muses, who was a daughter of Zeus and Mnemosyne, the Greek goddess of memory. Experts could only find copies of this famous 2,175-year-old sculpture ...
Roman bronze reproduction of Myron's Discobolus, 2nd century AD (Glyptothek, Munich) 3D model of a replica at National Gallery of Denmark, Denmark.. The Discobolus by Myron ("discus thrower", Greek: Δισκοβόλος, Diskobólos) is an ancient Greek sculpture completed at the start of the Classical period in around 460–450 BC that depicts an ancient Greek athlete throwing a discus.
Copy in the National Archaeological Museum of Naples. Classical Greek sculpture has long been regarded as the highest point in the development of Ancient Greek sculpture. Classical Greece covers only a short period in the history of Ancient Greece, but one of remarkable achievement in several fields
The art movement it copies is the Archaic Greek art, which one can tell from Apollo's haircut, his stiff pose, the wide shoulders, the smaller head, and his face's rather vacant expression; nevertheless the body's composition shows the great knowledge and perception of nature of its artist. [2]
It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised ...
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