Greek Sculpture underwent significant evolution and transformation over the course of almost nine centuries and three major historical eras. Throughout their prosperous years, Greek artists and sculptors dedicated themselves to perfecting their craft. The artistic development began at the very foundation and gradually progressed upwards, culminating in the refinement of the sculpture’s head. Despite unique characteristics in each period, such as Geometric and Hellenistic, similarities exist that allow them to be categorized together.
The Geometric, Orientalizing, and Archaic periods share many similarities in terms of their primitive nature. The Early, High, and Late Classical sculptures are primarily influenced by Polykleitos’ Canon. Moving forward, the Hellenistic period stands out due to the intricate level of detail embedded in the sculptures. Spanning from 900 to 480 B.C.E., Greek civilization produced sculpture that gradually evolved. It all began with the Geometric period featuring the Hero and the Centaur.
Created later in the Geometric period, the Hero and the Centaur represent the basic form of Greek art. Their heads are triangular and their bodies, arms, and legs are disproportionate, indicating room for improvement. An example of this is seen in the connection between the horse portion and the human portion of the centaur. The Greeks of that time did not possess a complete understanding of how to flawlessly merge the two bodies. This can be further illustrated by examining the next two pieces, Mantiklos Apollo and the Woman of Auxerre.
During the Orientalizing period, there were advancements in artworks, although triangular shapes and symmetrical patterns remained prevalent. The figures now had a more human appearance with proper anatomy, but certain incorrect features like elongated necks, short arms, and wide hips persisted.
In the Archaic Period from 600 to 480 B.C.E., sculptors focused on creating sculptures such as Kouros, Kore, and Dying Warrior. While correct forms of feet, legs, and hips started to appear, most sculptures still had discrepancies in proportions and facial characteristics. In reality, individuals do not stand perfectly upright; males typically stand with one leg forward while females stand with both legs side by side. However, most people slouch with a bulging hip and lean to one side.
Facial features during this period included misaligned eyes that protruded unnaturally and seemed misplaced. Other inaccuracies included high-set ears and artificial-looking smiles. Despite these imperfections, significant progress has been made since the era of short Geometric figurative sculptures; however, there is still much room for improvement.
The Classical period, which lasted from 480 B.C.E. to 320 B.C.E., saw significant advancements leading up to the Hellenistic era. The progress achieved in a relatively short time is truly impressive. In the Early Classical period, artists focused on refining the human form and striving for proportionate perfection. They conducted experiments with sculptures such as the Kritios Boy, the Warrior, the Charioteer, and Zeus. However, it took them over three decades to establish the Canon during the High Classical Period. One renowned sculpture from this period is Polykleitos of Argos’ Spear Bearer.
Polykleitos’s Canon, a mathematical formula for achieving perfection, guided his development of the Canon, which emphasized balance and proportion. This standard of perfection was so well executed that the statue appears as if it could come to life and walk away. The Canon has continued to be influential and is still taught today. Additionally, during this period, sculptures also began to challenge conventional depictions of women by experimenting with drapery that clings to the body in the wind or when wet.
This is exemplified in various sculptures, such as the Three Goddesses and the Caryatids on the South porch of Erechtheion, as well as Nike adjusting her Sandal. These female sculptures challenge the limits of minimal clothing. Praxiteles, however, surpasses these boundaries with his creation of Aphrodite of Knidos. Previously, female nudity was only portrayed in certain situations, such as a goddess flying or standing up, where the clothing might reveal a breast. Praxiteles argued that his depiction of Aphrodite bathing should also be accepted.
During the trial regarding the sculpture, the judge expressed disapproval. Nonetheless, there were rumors suggesting that the model for the sculpture was the most stunning woman in Greece, and there might have been a secret affair involved. Eventually, the sculpture was allowed, leading to an increase in the depiction of female nudity in art. Notably, other sculptures from that era had historical significance, such as one portraying an Olympic athlete and another depicting the head of Alexander the Great. As the classical period draws to a close, the statues are also starting to exhibit more emotional expression.
Lysippos’s Weary Herakles sculpture exemplifies the prevailing emotion of its time. This larger-than-life piece portrays a forlorn, fatigued, and despondent figure on the verge of collapse, saved only by the presence of his club for support. The overwhelming emotion conveyed by this artwork paved the way for the emergence of the final phase in Greek art history. The Hellenistic period, spanning from 320 B. C. E. to 30 B. C. E., is widely regarded as one of the most impressive epochs in art. In contrast to preceding periods, this era embraced a greater emphasis on realism, brutality, and sorrow.
In the Classical age of Greek art, the portrayal of happiness is not the same as before, possibly because of the death of Alexander the Great. Greece mourned the loss of its beloved leader. An illustration of this kind of art is the Battle of the Gods and the Giants in 175 B. C. E. Despite being damaged, one can still observe the fierceness and destruction depicted by the sculptor. The dying Gaulic warrior, the Old Boxer, and Lacoon and Sons serve as ideal representations of how sadness is reflected in art.
In my perspective, this era can be likened to the gloomy atmosphere of the romantic literary period. The somberness found in Edgar Allan Poe’s works would have flawlessly integrated with the Hellenistic artists. The narratives of The Raven and The Minister’s Black Veil similarly manifest the melancholic tone that Hellenistic artists triumphantly portrayed. The sculptures originating from the Hellenistic period possessed immense value, generating exquisite artworks. Greek art underwent a transformation over time, captivating the world and becoming a legendary presence.
Contemporary artists highly value the art created by the Greeks during their prosperous period. Greek artwork, from the simplicity of the Geometric style with its basic shapes and faces, to the flawless beauty of the Classical era, and the deep emotion depicted in Hellenistic art, offers valuable insights into Greek history, religion, and influence on that sophisticated era’s world. Greek artistic mastery influenced not only Romans but also later civilizations until it ultimately impacted the entire world, from the Geometric period to the end of the Hellenistic period.
