What is the difference between archaic and severe style

From the Temple of Zeus at Olympia. A slightly smaller-than-life statue known as the Kritios Boy was dedicated to Athena by an athlete and found in the Perserchutt of the Athenian Acropolis. Its title derives from a famous artist to whom the sculpture was once attributed. The marble statue is a prime example of the Early Classical sculptural style and demonstrates the shift away from the stiff style seen in Archaic kouroi. The torso depicts an understanding of the body and plasticity of the muscles and skin that allows the statue to come to life.

Part of this illusion is created by a stance known as contrapposto. This describes a person with his or her weight shifted onto one leg, which creates a shift in the hips, chest, and shoulders to create a stance that is more dramatic and naturalistic than a stiff, frontal pose.

This contrapposto position animates the figure through the relationship of tense and relaxed limbs. However, the face of the Kritios Boy is expressionless, which contradicts the naturalism seen in his body.

This is known as the Severe style. The blank expressions allow the sculpture to appear less naturalistic, which creates a screen between the art and the viewer. This differs from the use of the Archaic smile now gone , which was added to sculpture to increase their naturalism.

However, the now empty eye sockets once held inlaid stone to give the sculpture a lifelike appearance. Kritios Boy, marble, c. Polykleitos was a well-known Greek sculptor and art theorist during the early- to mid-fifth century BCE.

He is most renowned for his treatise on the male nude, known as the Canon, which describes the ideal, aesthetic body based on mathematical proportions and Classical conventions such as contrapposto.

His Doryphoros, or Spear Bearer, is believed to be his representation of the Canon in sculpted form. The statue depicts a young, well-built soldier holding a spear in his left hand with a shield attached to his left wrist. Both military implements are now lost. The figure has a Severe-style face and a contrapposto stance.

This is a Roman marble copy of a Greek bronze original, c. This sculpture demonstrates how the use of contrapposto creates an S-shaped composition. The juxtaposition of a tension leg and tense arm and relaxed leg and relaxed arm, both across the body from each other, creates an S through the body.

Surviving Greek bronze sculptures from the Early Classical period showcase the skill of Greek artists in representing the body and expressing motion. Bronze was a popular sculpting material for the Greeks.

Composed of a metal alloy of copper and tin, it provides a strong and lightweight material for use in the ancient world, especially in the creation of weapons and art.

The Greeks used bronze throughout their history. Because bronze is a valuable material, throughout history bronze sculptures were melted down to forge weapons and ammunition or to create new sculptures.

The Greek bronzes that we have today mainly survived because of shipwrecks, which kept the material from being reused, and the sculptures have since been recovered from the sea and restored.

The Greeks used bronze as a primary means of sculpting, but much of our knowledge of Greek sculpture comes from Roman copies. The Romans were very fond of Greek art, and collecting marble replicas of them was a sign of status, wealth, and intelligence in the Roman world. Roman copies worked in marble had a few differences from the original bronze. Struts , or supports, were added to help buttress the weight of the marble as well as the hanging limbs that did not need support when the statue was originally made in the lighter and hollow bronze.

The struts appeared either as rectangular blocks that connect an arm to the torso or as tree stumps against the leg, which supports the weight of the sculpture, as in this Roman copy of the Diadoumenos Atenas. Diadoumenos Atenas Roman copy : The extension connecting the tree trunk to the leg of the figure is an example of a strut used in marble Roman copies of original Greek bronzes.

The lost wax technique, which is also known by its French name, cire perdue, is the process that ancient Greeks used to create their bronze statues. The first step of the process involves creating a full-scale clay model of the intended work of art. This would be the core of the model.

Once completed, a mold is made of the clay core and an additional wax mold is also created. The wax mold is then be placed between the clay core and the clay mold, creating a pocket, and the wax is melted out of the mold, after which the gap is filled with bronze. Once cooled, the exterior clay mold and interior clay coreis are carefully removed and the bronze statue is finished. The multiple pieces are welded together, imperfections smoothed, and any additional elements, such as inlaid eyes and eyelashes, are then added.

Because the clay mold must be broken when removing the figure, the lost wax method can be used only for making one-of-a-kind sculptures. The Charioteer of Delphi is an Early Classical bronze sculpture of a life-sized chariot driver. An inscription at the base tells us that the statues were originally dedicated by a man, named Polyzalus of Gela, to Apollo at the Sanctuary of Apollo at Delphi. Polyzalus commissioned and dedicated the work in commemoration of his victorious chariot race during the Pythian Games.

This Classical statue has evolved into a more naturalistic pose, while retaining the idealized beauty of the Archaic sculptures. The face is more realistic and begins to show traces of emotion. This Hellenistic piece is much more detailed than the works prior.

Idealized beauty is still prominent, but it is displayed more dynamically through the "transparency" and "weight" of the marble. This Archaic head again shows the idealized form of a young man, but without any particular features of a specific person. The face is just distinguishable from the marble, but it still lacks realism. This Classical head is much more refined than the Archaic piece from before.

Pisano's work foreshadowed the blend of styles that would be present in much of Italian art, architecture and craft for several centuries to come. He used a less bold but extremely elegant style , which tended to become stiff and academic in the hands of less-talented imitators. Gothic Painting The transition from the Romanesque to the Gothic style of painting happened quite slowly in Italy, several decades after it had first taken hold in France.

The initial changes to the Byzantine-inspired Romanesque style were quite small, marked merely by an increase in Gothic ornamental detailing rather than a dramatic difference in the style of figures and compositions. Much like Cimabue, Duccio of Siena painted in the Byzantine style but made his own personal contributions in the Gothic style as manifested in the linearity, the rich but delicate detail, and the warm and refined colors of his work. While painting in the Gothic style , he is considered the herald of the Renaissance.

Temple Style of the South South India gave rise to the Dravida style of architecture, and is where most of the largest Hindu Temples can be found. However, some temples are dedicated to several deities, and others are dedicated to murtis in an iconic form. Other styles include the Pahari architectures of Kashmir, Himachal, Uttarakhand, and Nepal; the Kerala rainy style , the Goa European style , the Bali style , the Khmer style , and the modern very basic style of a hall with an altar.

Instead of all being standing straight up and looking sacred and peaceful, now statues began to do things: drive a chariot , carry something, throw a spear, or ride a horse. They have emotional expressions. The same thing happened a little earlier in vase-painting. Instead of all being young men and women, now sculptors carved older people and children too.

Also, the Zeus statue is in bronze , which is harder to work but much lighter and more flexible than stone. This site uses Akismet to reduce spam. Learn how your comment data is processed.