Greek sculpture in the context of "Parthenon Frieze"

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⭐ Core Definition: Greek sculpture

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: Archaic Greek sculpture (from about 650 to 480 BC), Classical (480–323 BC) and Hellenistic thereafter. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.

The Greeks decided very early on that the human form was the most important subject for artistic endeavour. Since they pictured their gods as having human form, there was little distinction between the sacred and the secular in art—the human body was both secular and sacred. A male nude of Apollo or Heracles shows only slight differences in treatment from a sculpture of that year's Olympic boxing champion. The statue (originally single, but by the Hellenistic period often in groups) was the dominant form, although reliefs, often so "high" that they were almost free-standing, were also important.

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Greek sculpture in the context of Hellenistic art

Hellenistic art is the art of the Hellenistic period generally taken to begin with the death of Alexander the Great in 323 BC and end with the conquest of the Greek world by the Romans, a process well underway by 146 BC, when the Greek mainland was taken, and essentially ending in 30 BC with the conquest of Ptolemaic Egypt following the Battle of Actium. A number of the best-known works of Greek sculpture belong to this period, including Laocoön and His Sons, Dying Gaul, Venus de Milo, and the Winged Victory of Samothrace. It follows the period of Classical Greek art, while the succeeding Greco-Roman art was very largely a continuation of Hellenistic trends.

The term Hellenistic refers to the expansion of Greek influence and dissemination of its ideas following the death of Alexander – the "Hellenizing" of the world, with Koine Greek as a common language. The term is a modern invention; the Hellenistic World not only included a huge area covering the whole of the Aegean Sea, rather than the Classical Greece focused on the Poleis of Athens and Sparta, but also a huge time range. In artistic terms this means that there is huge variety which is often put under the heading of "Hellenistic Art" for convenience.

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Greek sculpture in the context of Winged Victory of Samothrace

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace in the northeastern Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC). It is composed of a statue representing the goddess Nike (Victory), whose head and arms are missing, and a base in the shape of a ship's bow.

The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.

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Greek sculpture in the context of Villa of the Papyri

The Villa of the Papyri (Italian: Villa dei Papiri, also known as Villa dei Pisoni and in early excavation records as the Villa Suburbana) was an ancient Roman villa in Herculaneum, in what is now Ercolano, southern Italy. It is named after its unique library of papyri scrolls, discovered in 1750. The Villa was considered to be one of the most luxurious houses in all of Herculaneum and in the Roman world. Its luxury is shown by its exquisite architecture and by the large number of outstanding works of art discovered, including frescoes, bronzes and marble sculpture which constitute the largest collection of Greek and Roman sculptures ever discovered in a single context.

It was situated on the ancient coastline below the volcano Vesuvius with nothing to obstruct the view of the sea. It was perhaps owned by Julius Caesar's father-in-law, Lucius Calpurnius Piso Caesoninus. In 1908, Barker suggested that Philodemus may have been the owner.

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