Praxiteles of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attica sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue. While no indubitably attributable sculpture by Praxiteles is extant, numerous copies of his works have survived; several authors, including Pliny the Elder, wrote of his works; and coins engraved with silhouettes of his various famous statuary types from the period still exist.
Andrea Mantegna was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini.
A caryatid is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town on the Peloponnese. Karyai had a temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants".
Kouros is the modern term given to free-standing Ancient Greek sculptures that depict nude male youths. They first appear in the Archaic period in Greece and are prominent in Attica and Boeotia, with a less frequent presence in many other Ancient Greek territories such as Sicily. Such statues are found across the Greek-speaking world; the preponderance of these were found in sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoion, Boeotia, alone. These free-standing sculptures were typically marble, but the form is also rendered in limestone, wood, bronze, ivory and terracotta. They are typically life-sized, though early colossal examples are up to 3 meters tall.
Lysippos was a Greek sculptor of the 4th century BC. Together with Scopas and Praxiteles, he is considered one of the three greatest sculptors of the Classical Greek era, bringing transition into the Hellenistic period. Problems confront the study of Lysippos because of the difficulty in identifying his style in the copies which survive. Not only did he have a large workshop and many disciples in his immediate circle, but there is understood to have been a market for replicas of his work, supplied from outside his circle, both in his lifetime and later in the Hellenistic and Roman periods. The Victorious Youth or Getty bronze, which resurfaced around 1972, has been associated with him.
Pisanello, born Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time, who compared him to such illustrious names as Cimabue, Phidias and Praxiteles.
The Doryphoros 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. Rendered somewhat above life-size, the lost bronze original of the work would have been cast circa 440 BC, but it is today known only from later marble copies. The work nonetheless forms an important early example of both Classical Greek contrapposto and classical realism; as such, the iconic Doryphoros proved highly influential elsewhere in ancient art.
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, Classical (480–323) and Hellenistic. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
Classical sculpture refers generally to sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence, from about 500 BC to around 200 AD. It may also refer more precisely a period within Ancient Greek sculpture from around 500 BC to the onset of the Hellenistic style around 323 BC, in this case usually given a capital "C". The term "classical" is also widely used for a stylistic tendency in later sculpture, not restricted to works in a Neoclassical or classical style.
The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere and Barberini Faun, are known only from Roman Imperial or Hellenistic "copies". At one time, this imitation was taken by art historians as indicating a narrowness of the Roman artistic imagination, but, in the late 20th century, Roman art began to be reevaluated on its own terms: some impressions of the nature of Greek sculpture may in fact be based on Roman artistry.
Pier Jacopo Alari Bonacolsi, called L'Antico by his contemporaries, and often Antico in English, the nickname given for the refined interpretation of the Antique they recognized in his work, was a 15th- and 16th-century Italian Renaissance sculptor, known for his finely detailed small bronzes all'Antica—coolly classicizing, often with gilded details, and silver-inlaid eyes, a refinement that is found in some classical and Hellenistic Greek bronzes.
The Antinous Mondragone is a 0.95-metre high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.
The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE. Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. Cycladic art therefore comprises one of the three main branches of Aegean art.
An Apollo Citharoedus, or Apollo Citharede, is a statue or other image of Apollo with a cithara (lyre).
The Crouching Venus is a Hellenistic model of Venus surprised at her bath. Venus crouches with her right knee close to the ground, turns her head to the right and, in most versions, reaches her right arm over to her left shoulder to cover her breasts. To judge by the number of copies that have been excavated on Roman sites in Italy and France, this variant on Venus seems to have been popular.
Apollo Sauroktonos is the title of several 1st – 2nd century AD Roman marble copies of an original by the ancient Greek sculptor Praxiteles. The statues depict a nude adolescent Apollo about to catch a lizard climbing up a tree. Copies are included in the collections of the Louvre Museum, the Vatican Museums, and the National Museums Liverpool.
The Apollo of Piombino or the Piombino Boy is a famous Greek bronze statuette in late Archaic style that depicts the god as a kouros or youth, or it may be a worshipper bringing an offering. The bronze is inlaid with copper for the boy's lips, eyebrows, and nipples. The eyes, which are missing, were of another material, perhaps bone or ivory.
Etruscan art was produced by the Etruscan civilization in central Italy between the 10th and 1st centuries BC. From around 750 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta, wall-painting and metalworking especially in bronze. Jewellery and engraved gems of high quality were produced.
The Furietti Centaurs are a pair of Hellenistic or Roman statues in grey-black marble from Laconia (Greece) sculptures of centaurs based on Hellenistic models. One is a mature, bearded centaur, with a pained expression, and the other is a young smiling centaur with his arm raised. The amorini are missing that once rode the backs of these centaurs, which are the outstanding examples of a group of sculptures varying the motif.
The Cleveland Apollo is a 4th-century BCE life-size bronze Ancient Greek statue, now in the Cleveland Museum of Art. It acquired it in 2004 using the Severance and Greta Millikin Purchase Fund. The Museum attributed the piece to Praxiteles. Technical features of the Cleveland Apollo are consistent with the Late Classical Period, during Praxiteles's lifetime. Scientific investigation of the sculpture and the separated parts shows that they are from the same casting. The age of the casting is still under review as of 2017. Scholarly investigation has raised several questions about it being a Praxiteles original.
