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155:, whose contrapposto, or ponderation, is more emphasised than the "subtle equilibrium of outline and axis which is to be the basis of classical art" exhibited by the Kritios Boy's "delicate balance of movement" It is possible that earlier bronze statues had used contraposty, but have not survived. Susan Woodford has speculated that the statue is a copy of a bronze original.
106:, Athens, near the site where it was excavated. The torso was found in 1865 while excavating the foundation of the old museum at the Athenian Acropolis. The head of this statue was found twenty-three years later between the museum and the Acropolis south wall, in the latest stage of the rubble of destruction undergone in the
173:
are depicted with unforced lifelike accuracy of flesh and bone, with the rib cage naturally expanded as if in the act of breathing, with a relaxed attitude and hips which are distinctly narrower. Sculptors had begun to break away from the rules of the
Archaic style and follow representation that was
22:
136:. This stance forces a chain of anatomical events: as the pelvis is pushed diagonally upwards on the left side, the right buttock relaxes, the spine acquires an "S" curve, and the shoulder line dips on the left to counteract the action of the pelvis.
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82:) or their school, from around 480 BC. As currently mounted, the statue is considerably smaller than life-size at 117 cm (3 ft 10 ins), including the supports that replace the missing feet.
169:
from the seventh and sixth century BC that paved its way. The
Archaic style relied more on geometrical shapes to define the contours of the human body. The muscular and skeletal structure of
128:) the Greek artist has mastered a complete understanding of how the different parts of the body act as a system. The statue moves away from the rigid and stiff pose of the Archaic style.
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317:(1989), pp. 41-80. For the destruction of the Athenian Acropolis generally: Martin Steskal, "Der Zerstörungsbefund 480/79 der Athener Akropolis"
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has been completely replaced by the accurate rendering of the lips and the austere expression that characterized the transitional
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as the sculptor who "first gave rhythm and proportion to his statues," as
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Among classic Greek sculptures, the
Kritios Boy expresses a set of proportions known as the "
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Jeffrey M. Hurwitt, "The
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exhibits a number of other critical innovations that distinguish it from the
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closer to nature. As a final forebear of the classical period, the
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is thus named because it is attributed, on slender evidence, to
21:
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229:. 5th edn. Revised and expanded by Anthony F. Janson. London:
196:. A good example for comparison is the marble statue of an
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Browser based, interactive low-res 3D scan of upper torso
351:(4th ed.). New York: McGraw-Hill. pp. 144–145.
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presents a more relaxed and naturalistic pose known as
285:.7th edn. London: Laurence King Publishing, p. 122.
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Ancient Greek sculpture from the
Acropolis of Athens
118:Whether or not Kritios was the innovator, with the
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319:Eine Fallstudie zum etablierten ChronologygerĂĽst
64:called it "the first beautiful nude in art" The
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182:. It was created in same era as the
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840:Louis-François-Sébastien Fauvel
620:Choragic Monument of Thrasyllos
610:Theatre of Dionysus Eleuthereus
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52:. It is the first statue from
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72:, who worked together with
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935:Pediments of the Parthenon
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100:marauding Persian army
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332:Pythagoras of Rhegium
28:. Marble, c. 480 BC.
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39:Kritios Boy
36:The marble
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615:Aglaureion
429:0521298733
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279:Honour, H.
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149:Praxiteles
145:Polyclitus
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810:Mardonius
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580:Propylaia
570:Parthenon
495:Side view
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