Outstanding sculptors of ancient Greece. docx - Course of lectures

Scopas can rightly be called one of the greatest sculptors of Ancient Greece. The direction he created in ancient plastic art outlived the artist for a long time and had a huge impact not only on his contemporaries, but also on the masters of subsequent generations.

It is known that Skopas was from the island of Paros in the Aegean Sea, an island famous for its wonderful marble, and worked between 370-330 BC. His father, Aristandros, was a sculptor, in whose workshop, apparently, the talent of Scopas was formed.

The artist performed orders from different cities. There were two works by Scopas in Attica. One, depicting the avenging goddess Erinyes, is in Athens, the other, Apollo-Phoebe, in the city of Ramnunte. Two works by Scopas adorned the city of Thebes in Boeotia.

One of the most emotionally rich works of Scopas is a group of three figures depicting Eros, Pothos and Himeros, that is, love, passion and desire. The group was in the temple of the goddess of love Aphrodite in Megaris, a state lying south of Boeotia.

The images of Eros, Himeros and Pothos, according to Pausanias, are as different from each other as the feelings they embody actually differ.

“The compositional construction of the statue of Potos is much more complicated than in the earlier works of Skopas,” writes A. G. Chubova. - The rhythm of a smooth soft movement passes through the arms outstretched to one side, the raised head, the strongly inclined body. To convey the emotion of passion, Scopas does not resort to strong facial expressions here. The face of Pothos is thoughtful and concentrated, a melancholy languid gaze is directed upwards. Everything around him does not seem to exist for the young man. Like all Greek sculpture, the statue of Pothos was painted, and color played an important role in the overall artistic design. The cloak hanging from the young man's left arm was bright blue or red, which well emphasized the whiteness of the naked body, left in the color of marble. Against the background of the cloak, a white bird with wings that were lightly tinted in gray stood out clearly. The hair, eyebrows, eyes, cheeks and lips of Pothos were also painted.

Probably, the statue of Pothos, like the statue of Himeros, stood on a low pedestal, and the statue of Eros on a higher one. This explains the turn of the figure of Pothos and the direction of his gaze. The task set by Scopas in this work was new and original for the plastic arts of that time. Having embodied in the statues of Eros, Pothos and Himeros the nuances of great human feelings, he revealed to plastic art the possibilities of transmitting various other emotions.

Working in the temple of the Peloponnesian city of Tegey, Skopas became famous not only as a sculptor, but also as an architect and builder.

The ancient temple in Tegea burned down in 395 BC. Pausanias says that “the current temple, in its majesty and beauty, surpasses all the temples, how many there are in the Peloponnese ... Its architect was the Parian Skopas, the one who built many statues in ancient Hellas, Ionia and Caria.”

On the eastern pediment of the temple of Athena Alea in Tegea, the master presented the hunt for the Calydonian boar.

“A scene from a myth was shown on the western pediment,” writes G. I. Sokolov, “also far from the participation of the supreme Olympic deities popular in the 5th century, but with a complex collision and dramatic denouement. The Greeks did not recognize the son of Hercules Telephus, who went to war with Troy, and a battle began, ending in the death of many of its participants. Tragic is not only the plots chosen for these pediments, but also the images themselves.

The master shows the head of one of the wounded slightly thrown back, as if in excruciating pain. The sharply curved lines of the eyebrows, mouth, nose convey excitement and tremendous tension of feelings. The inner corners of the eye sockets, deeply cut into the thickness of the marble, enhance the contrasts of chiaroscuro and create powerful dramatic effects. The relief of the face with swollen muscles of the superciliary arches, swollen corners of the mouth, is uneven, bumpy, distorted by hidden suffering.

The most significant of the creations of Scopas in round plastic can be considered the statue of the Bacchante (Maenad) with a kid.

Only an excellent copy of the statue, kept in the Dresden Museum, has survived. But the 4th-century writer Callistratus left a detailed description of the statue:

“Scopas created a statue of the Bacchante from Parian marble, it could seem alive ... You could see how this stone, hard by nature, imitating female tenderness, itself became as if light and gives us a female image ... Deprived by nature of the ability to move, it under the hands of the artist, he learned what it means to rush about in a Bacchic dance ... The insane ecstasy was so clearly expressed on the face of the Bacchante, although the manifestation of ecstasy is not characteristic of a stone; and everything that embraces the soul, wounded by the sting of madness, all these signs of severe mental suffering were clearly presented here by the creative gift of the artist in a mysterious combination. The hair, as it were, was given to the will of Zephyr, so that he would play with it, and the stone itself seemed to turn into the smallest strands of magnificent hair ...

The same material served the artist for depicting life and death; He presented the Bacchante before us alive, when she aspires to Kieferon, and this goat is already dead ...

Thus Scopas, in creating images of even these lifeless creatures, was an artist full of truthfulness; in the bodies he was able to express the miracle of spiritual feelings ... "

Many poets wrote poems about this work. Here is one of them:

Parian Bacchante Stone, But the sculptor gave the stone a soul. And, as if intoxicated, she jumped up and rushed into the dance. Having created this fiada in a frenzy with a dead goat Worshiping chisel, you did a miracle, Skopas.

The famous creations of Scopas were also in Asia Minor, where he worked in the fifties of the 4th century BC, in particular, he decorated the temple of Artemis at Ephesus.

And most importantly, together with other sculptors, Skopas participated in the design of the Halicarnassus Mausoleum, completed in 352 and decorated with true oriental splendor. There were statues of the gods, Mausolus, his wife, ancestors, statues of horsemen, lions and three relief friezes. On one of the friezes, a chariot race was depicted, on the other - the struggle of the Greeks with centaurs (fantastic half-humans, half-horses), on the third - Amazonomachy, that is, the battle of the Greeks with the Amazons. From the first two reliefs, only small fragments have survived, from the third - seventeen slabs.

A frieze with amazonomachy, having a total height of 0.9 meters, with figures equal to about a third of human height, encircled the entire structure, and if we cannot say exactly in which part it was placed, then we can still determine its length, approximately equal to 150-160 meters. Probably more than 400 figures were placed on it.

The legend of the Amazons - a mythical tribe of female warriors - was one of the favorite themes of Greek art. According to legend, they lived in Asia Minor on the Fermodon River and, undertaking distant military campaigns, even reached Athens. They entered into battles with many Greek heroes and were distinguished by courage and dexterity. One of these battles is depicted on the Halicarnassian frieze. The battle is in full swing, and it is difficult to say who will be the winner. The action unfolds at a brisk pace. Amazons and Greeks on foot and on horseback attack fiercely and defend themselves bravely. The faces of the combatants are captured by the pathos of the battle.

A feature of the compositional construction of the frieze was the free placement of figures on a background that was once painted in bright blue. A comparison of the surviving slabs shows the general artistic conception, the general compositional structure of the frieze. It is very possible that the composition belongs to one artist, but it is unlikely that the author himself arranged all the individual figures and groups. He could outline the general arrangement of the figures, give their dimensions, conceive the general character of the action, and leave other craftsmen to finish the relief in detail.

On the slabs of this best-preserved frieze, the "handwriting" of the four masters is quite clearly distinguished. Three slabs with ten figures of Greeks and Amazons, found on the eastern side of the ruins, are distinguished by outstanding artistic merit; they are attributed to Scopas. On the slabs, which are considered the work of Leochar and Timothy, the swiftness of movement is emphasized not only by the postures of the fighters, but is also enhanced by fluttering cloaks and chitons. Scopas, on the contrary, depicts the Amazons only in short tight clothes, and the Greeks completely naked and achieves an expression of strength and speed of movement mainly by bold and complex turns of figures and expression of gestures.

One of the favorite compositional techniques of Scopas was the technique of collision of oppositely directed movements. So, a young warrior, falling on his knee, maintains balance, touching the ground with his right hand and evading the blow of the Amazon, defends himself by stretching forward his left hand with a shield. The Amazon, lunging away from the warrior, at the same time swung her ax at him. The Amazon's chiton tightly fits the body, well outlining the forms; fold lines emphasize the movement of the figure.

Even more difficult is the location of the Amazon figure on the next plate. The young warrior, retreating from the rapidly attacking bearded Greek, still manages to strike him with an energetic blow. The sculptor did a good job of conveying the dexterous movements of the Amazon, quickly evading an attack and immediately turning into an attack. The staging and proportions of the figure, the clothes that opened so that half of the body of the Amazon was exposed - everything closely resembles the famous statue of the Bacchante. Especially boldly, Scopas used the technique of opposing movements in the figure of an equestrian Amazon. The skillful rider launched the well-trained horse into a gallop, turned her back to his head and fired at the enemies with a bow. Her short chiton flung open, revealing strong musculature.

In the compositions of Scopas, the impression of the intensity of the struggle, the fast pace of the battle, the lightning speed of blows and attacks was achieved not only by the different rhythm of movement, the free placement of figures on the plane, but also by the plastic modeling and masterful execution of clothing. Each figure in the composition of Scopas is clearly "read". Despite the low relief, the depth of space is felt everywhere. Scopas probably also worked on the scene of the chariot race. A fragment of a frieze with a figure of a charioteer has been preserved. An expressive face, a smooth curve of the body, long clothes that fit tightly to the back and hips - everything resembles Skopas' Amazons. The interpretation of the eyes and lips is close to the Tegean heads.

The bright personality of Scopas, his innovative methods in revealing the inner world of a person, in conveying strong dramatic experiences could not but affect everyone who worked alongside him. Skopas had a particularly strong influence on young masters - Leohar and Briaxis. According to Pliny, it was the sculptors Skopas, Timothy, Briaxis and Leohar who made this building so remarkable with their works that it was included in the Seven Wonders of the World.

“Fluent in various sculpture techniques, Skopas worked both in marble and bronze,” writes A. G. Chubova. - His knowledge of plastic anatomy was perfect. The image of the most complex positions of the human figure was not difficult for him. Scopas' fantasy was extremely rich, he created a whole gallery of vividly characterized images.

His realistic works are imbued with high humanism. Capturing various aspects of deep experiences, depicting sadness, suffering, passion, Bacchic ecstasy, martial ardor, Scopas never interpreted these feelings in a naturalistic way. He poeticized them, forcing the viewer to admire the spiritual beauty and strength of his heroes.

Skopas is a famous ancient Greek sculptor of the late classical period.
He was born on the island of Paros and created his works in different regions of Greece: Boeotia, Attica, Asia Minor, Arcadia between 370 and 330.
His monuments are characterized by pathos and agitation of feelings.
Ancient authors mention more than twenty works of Scopas, although much fewer of them have come down to our time.
Scopas, among other masters, decorated the relief friezes of the Halicarnassus mausoleum. The change of feelings, expressed in the Maenad by the plasticity of a round sculpture, which was felt when walking around the sculpture, unfolds here on a flat frieze ribbon.
The variety of angles in the reliefs is complemented by a masterful juxtaposition of light girlish bodies and heavy male bodies, which are depicted in a merciless and cruel struggle.
Scopas plays combinations of two or three figures, showing them from different sides and at different moments of movement. The power of emotional intensity is here incommensurably greater than in the works of the fifth century BC.
The beauty of the new world shown by Scopas in art lies in the development of drama, in flashes of human passions, in the interweaving of complex feelings. And at the same time, the loss of monumental clarity of high classics is noticeable. After all, it was in the works of this period that the human mind won, as the highest principle, in a collision with the rampant elements.
The reliefs of the late classic period are dominated not by harmonious and holistic, as in the Zophora of the Parthenon, but by an agitated and sharp worldview, because they were created during the period of destruction of the ideas familiar to the time of classicism. According to these ideas, a person is called for reasonable domination in the world around him. So even on the example of one monument, we can see the weakness and strength of the possibilities inherent in late classical art.
This art discovered a lot of new things in the nature of human feelings and emotions, but this achievement was achieved at the expense of the loss of peace and harmony of the high classics.
Praxiteles is a famous ancient Greek sculptor, a younger contemporary of Scopas. Born around 390 B.C. He expressed in his works completely different moods than Scopas.
Praxitel came from a family of sculptors. His grandfather, Praxiteles the Elder, was a sculptor. Father - Kefisodot the Elder - was a famous master in Greece, the author of the statue of Eirene with Plutos.

Ticket 19.

1. The art of Byzantium of the 6th century (the era of Justinian)

The deeply peculiar culture of Byzantium began its journey, as it were, immediately from the culminating point: its first flowering falls on the 6th century, the "era of Justinian" (527-565). At this time, the Byzantine Empire reached its ultimate power, comparable to the greatness of Imperial Rome. It occupied a vast territory, had enormous international prestige. Foreigners were struck by the impressive appearance of the Byzantine capital, Constantinople, the splendor and luxury of the imperial court, the solemnity of church services.

The main forces on which Emperor Justinian relied were the army and the church, which found in him a zealous patron. Under Justinian, a union of spiritual and secular power, specific to Byzantium, was formed, based on the primacy of the basileus - emperors,

In the era of Justinian, Byzantine architecture reached its highest rise. Numerous fortifications are erected on the borders of the country, temples and palaces are built in cities, marked by the grandeur of scale and imperial splendor. At this time, two main shrines of Constantinople were founded - the Patriarchal Cathedral of St. Sofia and the Church of St. Apostles.

Hagia Sophia was the highest achievement of Byzantine architecture: for all subsequent centuries of the history of Byzantium, no temple was created equal to this. The gigantic building, the creation of the Asia Minor architects Anfimy from Thrall and Isidore from Miletus, became the embodiment of the power of the Byzantine state and the triumph of the Christian religion.

According to its plan, the church of St. Sophia is a three-nave basilica, that is, a rectangular building, but the rectangular space here is crowned by a huge round dome (the so-called domed basilica). This dome is supported on two sides by two lower semi-domes, each of which, in turn, is adjacent to three smaller semi-domes. Thus, the entire elongated space of the central nave forms a system of semi-domes growing upward, towards the center.

The four massive supporting pillars that carry the main dome camouflage themselves from the viewer, while the forty windows surrounding its base in an almost continuous luminous wreath create a stunning effect. It seems that the huge bowl of the dome is floating in the air like a luminiferous crown. It is not surprising that the church of St. Sophia seemed created "not by human power, but by God's permission."

External view of the Church of St. Sofia, with its smooth walls, is characterized by severe simplicity. But inside the room, the impression changes dramatically. Justinian planned to build a building not only the largest, but also the richest in interior decoration. The church is decorated with more than a hundred malachite and porphyry columns, specially brought from various ancient temples, slabs of multi-colored marble of the most valuable breeds, wonderful mosaics, with their glitter of a golden background and splendor of colors, thousands of massive silver candelabra. Above the pulpit - the platform on which the sermon is delivered - there was a canopy of precious metals topped with a golden cross. From gold there were bowls, vessels, bindings of sacred books. The unprecedented luxury of this cathedral so amazed the ambassadors of Prince Vladimir of Kiev, who visited Constantinople in the 10th century (as the main city of Byzantium in Russia was called), that they, as the chronicle tells, could not understand whether they were on earth or in heaven.

St. Sophia did not become a model for the subsequent development of Byzantine architecture, but gave it a powerful impetus: for many centuries the type of a domed church was established here.

In most Byzantine churches, a dome, symbolizing the vault of heaven, rises in the center of the building. Whatever the layout - round, square, multifaceted - all such buildings are called centric. The most common among them since the 7th century are the cross-domed churches, in their plan resembling an equal-ended (Greek) cross inscribed in a square?

The centric composition attracted Byzantine architects with balance and a sense of peace, and the layout (cross) most of all met the requirements of Christian symbolism.

If the expressiveness of the ancient temple consisted mainly in its external appearance (since all rituals and festivities took place outside, on the square), then the main content and beauty of the Christian church is concentrated in the interior, because the Christian temple is a place where believers gather to participate in the sacrament. The desire to create a special environment inside the church, as if separated from the outside world, caused special attention to the interior decoration associated with the needs of Christian worship.

The richness of interior decoration was created, first of all, by mosaics that adorned the vaults and the upper part of the walls. Mosaic is one of the main types of monumental art, which is an image or pattern of separate, very tightly fitting multi-colored pieces of glass, colored stones, metals, enamel, etc.

In Byzantium, mosaics were valued for their preciousness, for the ability to achieve unexpected optical effects. Small cubes of mosaic masonry, laid at slight angles to each other, reflect light in cross beams, which creates an iridescent magical shimmer. Larger smalt cubes, placed in even rows, on the contrary, create a “mirror” surface and the mosaic acquires the effect of a strong glow.

Churches and mausoleums of Ravenna, a city in northern Italy, near the Adriatic Sea, keep unique examples of Byzantine mosaics. The earliest among them is the decor of the mausoleum of the Byzantine queen Galla Placidia (mid-5th century). Inside the mausoleum, above the entrance, there is a wonderful composition representing Christ, the good shepherd in a hilly landscape. He is young and beardless: this is how Christ was depicted in the first centuries of Christianity, when ancient ideas about eternal youth as an attribute of a deity were still alive. With a solemn gesture, Jesus erects a cross, the main symbol of Christianity.

A later cycle of mosaics is found in the chancel of the Church of San Vitale (Saint Vitali) in Ravenna (6th century). Along with biblical scenes, two "historical" scenes are presented here, the ceremonial exit of Emperor Justinian and his wife Empress Theodora with their retinues to the temple. They captured the wealth and luxury of the Byzantine court, the superearthly grandeur of the monarch. The frontal frozen figures are arranged in a solid row on a golden background. Strict solemnity reigns, in all faces similar to each other, severe detachment and fortitude are read.

Among the most remarkable works of Byzantine monumental painting were the now lost mosaics of the Church of the Assumption in Nicaea (VII century) depicting "angels of heavenly powers." The faces of these angels are amazing, with their distinct sensual appeal. But this sensuality is incorporeal, it is associated with ecstatic inner inspiration. The desire to convey a huge spiritual concentration, to the ultimate spiritualization of the art form remained the ideal for Byzantine art for centuries.

A special place in the ensemble of the Christian church belongs to the icon. The early Christians called any image of a saint that way, contrasting it with an "idol", a pagan image. Later, the word "icon" began to be called only easel works, trying to distinguish them from works of monumental art (mosaics, frescoes).

Unlike an ordinary easel painting, an icon is an object of prayer. She is considered by the church as a special symbol, mysteriously associated with the "divine", supersensible world. Contemplating the icon image, a person can spiritually join this world.

The origin of icons is usually associated with the ancient Egyptian mortuary pictorial portraits, intended for the "transition" of a person to the other world. According to the place of the first large discovery of these monuments in the Faiyum oasis (1887), they were called Faiyum (Fayum) portraits. The images, executed on wooden boards with wax paints during the life of the customer, after his death served as a funeral mask.

The oldest surviving icons, close to the Faiyum portraits, date back to the 6th century. They usually depict one saint, most often to the waist or bust, strictly in front or three-quarter turn. The look of the saint, full of spiritual depth, is directed directly at the viewer, because some kind of mystical connection should arise between him and the prayer.

Three icons from the monastery of St. Catherine at Sinai: "Christ", "Apostle Peter" and "Our Lady between St. Fedor and St. George".

The period of brilliant prosperity (VI-VII centuries) was replaced by a tragic time for Byzantine art. In the VIII - IX centuries, the iconoclastic movement raged in the country, associated with the ban on images on Christian themes. The iconoclasts, on whose side the emperor and his court, the patriarch and the highest circle of the clergy stood, rebelled against depicting God and the saints in human form, based on theological arguments about the impossibility of reproducing the divine essence of Christ in material form.

During the period of iconoclasm, icons were officially banned, and many of them were destroyed. Churches were decorated mainly with images of Christian symbols and ornamental paintings. Secular art was cultivated: picturesque landscapes, images of animals and birds, plots of ancient myths, and even competitions at the hippodrome. These murals were almost completely destroyed by the supporters of icon veneration (mainly broad sections of the common people, the lower clergy, accustomed to worshiping icons) after it was restored.

After the victory over iconoclasm, branded as a heresy in 843, the most important phenomena for its further development took place in Byzantine art. They are associated with the beginning of the formation of the iconographic canon - constant iconographic schemes, from which it was not supposed to deviate when depicting sacred subjects. The murals of the temples are brought into a coherent system, each composition acquires a strictly defined place.

Christ Pantokrator (Almighty) was depicted in the dome of the temple, surrounded by angels. Between the windows in the drum - the upper part of the building that serves as the base of the dome - were placed prophets or apostles. On the sails, at the top of the pillars supporting the dome, the evangelists, the four "pillars" of the gospel doctrine, were placed. In the apse, the altar ledge, there is an image of the Mother of God, most often in the type of Oranta, that is, praying with raised hands. Archangels Michael and Gabriel hover around it. In the upper part of the walls of the temple, episodes from the life of Christ are presented, which necessarily included images of 12 holidays (Annunciation, Christmas, Candlemas, Epiphany, and so on). In the lower part of the temple there are figures of the church fathers, high priests, holy martyrs. Once found, this painting system in its main features remained unchanged for many centuries in all countries of the Orthodox world.

In the post-iconoclastic period, especially in the 11th-12th centuries, Byzantine art finds its most perfect types and most ideal forms both in mosaics and in icons and book miniatures. Deep spirituality of faces, light “floating” figures, smooth fluidity of lines, rounded contours, the brilliance of gold, saturating the image with unearthly light, the absence of any tension - all this creates a very special figurative world full of sublime peace, harmony and divine inspiration.

XIII and XIV centuries - the era of late Byzantine culture. Despite the strongest economic and political weakening of Byzantium, which lost most of its territories, the art of this time was marked by the highest achievements, primarily in painting. Remarkable monuments of the beginning of the XIV century, when art was drawn to greater expression and freedom, to the transmission of movement, are the icon of the "12 Apostles", the mosaics of the Kahriy Dzhami church in Constantinople, representing the life of Christ and the Mother of God.

However, the new artistic ideals were not destined to truly grow stronger on the soil of the fading Byzantium. Apparently, it was not by chance that the most talented Constantinople master of the second half of the 14th century, Theophanes the Greek, left the empire, preferring Russia to it.

In 1453, Byzantium, conquered by the Turks, ceased to exist, but its culture left a deep mark on the history of mankind. Having preserved the ancient tradition alive, the Byzantines were the first in the medieval world to develop an artistic system that corresponded to new spiritual and social ideals, and acted as a kind of teachers and mentors in relation to other peoples of medieval Europe.

Sculpture of Leohara

Leohar - an ancient Greek sculptor of the middle of the 4th century BC. e. Representative of the academic trend in the art of the late classics. Being an Athenian, he worked not only in Athens, but also in Olympia, Delphi, Halicarnassus (together with Skopas). He carved from gold and ivory several portrait statues of family members of the Macedonian king Philip (using the technique of chrysoelephantine sculpture), was, like Lysippus, the court master of his son Alexander of Macedon ("Alexander on the lion hunt", bronze). He created images of the gods ("Artemis of Versailles", a Roman marble copy, the Louvre) and mythological scenes.

The heyday of the art of Leohara dates back to 350-320 BC. e. At this time, he cast a group very popular in antiquity, depicting the beautiful young man Ganymede, who is carried to Olympus by an eagle sent by Zeus, as well as a statue of Apollo, which became world famous by the name of "Apollo Belvedere" (name from the Belvedere Vatican Palace, where the statue is exhibited) - both works are preserved in Roman marble
copies (Pio-Clementino Museum, Vatican). In the statue of Apollo Belvedere, the best work of Leochar, which has come down to us in a Roman copy, captivates not only the perfection of the image, but also the mastery of the technique. The statue, discovered in the Renaissance, was for a long time considered the best work of antiquity and was sung in numerous poems and descriptions. The works of Leohar are made with extraordinary technical skill, his work was highly appreciated by Plato.
"Diana the Huntress" or "Diana of Versailles", a sculpture made by Leochar around 340 BC. Not preserved. Sculptures of this type are known to archaeologists from excavations in Leptis Magna and Antalya. One of the copies is in the Louvre.
Artemis is dressed in a Dorian chiton and himation. With her right hand, she is preparing to extract an arrow from her quiver, while her left hand is resting on the head of the deer accompanying her. The head is turned to the right, towards the likely prey.
"Apollo Belvedere", a bronze statue executed by Leochar around 330 BC. n. e. The statue has not survived, but has been preserved in Roman marble copies. One of the marble statues is in the Belvedere, one of the buildings of the Vatican Museum. It was found in the ruins of Nero's villa in Antia sometime in the early 16th century.
The statue depicts Apollo, the ancient Greek god of the sun and light, in the form of a beautiful young man shooting from a bow. Bronze statue of Leochar, executed c. ., at the time of the late classics, was not preserved.
Montorsoli, a student of Michelangelo, restored the hands, but he did it wrong: in his right hand, Apollo was supposed to hold a laurel wreath, in his left hand there was a bow, as indicated by the quiver behind Apollo's back. These attributes in the hands of a deity meant that Apollo punishes sinners and purifies the penitent.

Scopas

SKOPAS (heyday 375-335 BC), Greek sculptor and architect, born on the island of Paros c. 420 BC, possibly son and student of Aristander. The first work of Scopas known to us is the temple of Athena Alea in Tegea, in the Peloponnese, which had to be rebuilt, since the former burned down in 395 BC. The project has an interesting solution: unusually slender Doric columns around the perimeter and Corinthian semi-columns inside the cella. On the eastern pediment was depicted the hunt for the Calydonian boar, on the western - the duel of the local hero Telef with Achilles; scenes from the myth of Telephos were reproduced on the metopes. The heads of Hercules, warriors, hunters and a boar, as well as fragments of male statues and a female torso, probably Atalanta, have been preserved.

Scopas was part of a group of four sculptors (and may have been the eldest among them) who were commissioned by the widow of Mausolus Artemisia to create the sculptural part of the Mausoleum (one of the seven wonders of the world) in Halicarnassus, the tomb of her husband. It was completed ca. 351 BC Skopas owns the sculptures of the east side, the slabs of the east frieze are characterized by the same style as the statues from Tegea. The passion inherent in the works of Scopas is achieved primarily with the help of a new interpretation of the eyes: they are deeply planted and surrounded by heavy folds of the eyelids. Liveliness of movements and bold body positions express intense energy and demonstrate the ingenuity of the master.

The most famous work of Scopas was a group of sea deities in the sanctuary of Neptune in Rome, who, perhaps, accompanied Achilles on his way to the Isles of the Blessed. Possibly the frieze with Poseidon, Amphitrite, Tritons and Nereids riding on sea monsters (now in Munich) and the sacrificial scene (now in the Louvre) were the base on which this group was located in Rome in the 1st century BC. AD A statue of Apollo with a cithara by Scopas stood in a temple on the Roman Palatine between Artemis by Timothy and Leto the younger Cephisodotus. All three are copied on a pedestal from Sorrento, and Apollo is also copied in a statue (in Munich) and in a torso (in the Palazzo Corsini in Rome). Other works attributed to Skopas are Aphrodite Pandemos riding a goat (in Elis, there are images on coins), Aphrodite and Pothos (from the island of Samothrace), Pothos with Eros and Himera (from Megara), as well as three statues in Rome - a colossal seated the figure of Ares, the seated Hestia and the naked Aphrodite, which some connoisseurs put above the famous Aphrodite of Cnidus, owned by Praxiteles.

Lysippus

LYSIPP (c. 390 - c. 300 BC), ancient Greek sculptor, was born in Sikyon (Peloponnese). In antiquity, it was claimed (Pliny the Elder) that Lysippus created 1500 statues. Even if this is an exaggeration, it is clear that Lysippus was an extremely prolific and versatile artist. The bulk of his works were predominantly bronze statues depicting gods, Hercules, athletes and other contemporaries, as well as horses and dogs. Lysippus was the court sculptor of Alexander the Great. A colossal statue of Zeus by Lysippus stood in the agora of Tarentum. According to the same Pliny, its height was 40 cubits, i.e. 17.6 m. Other statues of Zeus were erected by Lysippus in the agora of Sicyon, in the temple in Argos and in the temple of Megara, the latter work representing Zeus, accompanied by the Muses. The image of a bronze statue of Poseidon standing in Sicyon with one foot on a dais is on the surviving coins; a copy from it is a statue resembling an image on coins in the Lateran Museum (Vatican). The figure of the sun god Helios, created by Lysippos on Rhodes, depicted the god on a four-drawn chariot, this motif was used by the sculptor in other compositions. Copies in the Louvre, the Capitoline Museums, and the British Museum showing Eros loosening his bow string may be traced back to the Eros by Lysippus at Thespiae. Also in Sicyon, a statue depicted Kairos (the god of fortune): the god in winged sandals sat on a wheel, his hair hung forward, but the back of his head was bald; copies of the statue have been preserved on small reliefs and cameos.

Scopas Scopas

(Skupas), an ancient Greek sculptor and architect of the 4th century. BC e. Representative of the late classics. Born on the island of Paros, he worked in Tegea (now Piali, Greece), Halicarnassus (now Bodrum, Turkey) and other cities of Greece and Asia Minor. He took part in the construction of the temple of Athena Alei in Tegea (350-340 BC) and the mausoleum in Halicarnassus (mid-4th century BC). Among the original sculptural works of Scopas that have come down to us, the most important is the frieze of the mausoleum in Halicarnassus depicting Amazonomachy, that is, the battle of the Amazons (mid-4th century BC; together with Briaxis, Leochar and Timothy; fragments - in the British Museum). Numerous works by Scopas are known from Roman copies - the statues Pothos (Usrfitsi), Young Hercules (formerly in the Lansdowne collection, London), Meleager (Vatican Museums; Medici Villa, Rome), Maenad (Sculpture Collection, Dresden ). Rejecting the characteristic of ancient Greek art of the 5th century. BC e. harmonious calmness of images, Scopas turned to the transfer of strong emotional experiences, the dramatic struggle of passions. To implement them, Scopas used the dynamism of the composition and new methods of interpreting details: deep-set eyes, wrinkles on the forehead, a parted mouth, as well as the intense rhythm of the folds of clothes. The work of Skopas, saturated with tragic pathos, had a great influence on the sculptors of the Hellenistic era ( cm. Hellenistic art), in particular on the masters who worked in the III-II centuries. BC e. in the city of Pergamon.

"Amazonomachy". Fragment of the frieze of the Mausoleum of Halicarnassus. Marble. Around 350 BC British museum. London.
Literature: A. P. Chubova, Skopas, L.-M., 1959; Arias P. E., Skopas, Roma, 1952.

(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)

(Skópas), Greek sculptor and architect of the 4th c. BC e. Possibly the son and pupil of Aristander. He worked in Tegea (now Piali), Halicarnassus (now Bodrum) and other cities of Greece and Asia Minor. He supervised the construction of the temple of Athena in Tegea (Peloponnese), which has survived only in ruins. On the east pediment the temple depicted the mythical hunt for the Calydonian boar, on the western - the duel of the hero Teleph with Achilles. The head of Hercules, warriors, hunters and a boar, as well as fragments of male statues and a female torso, probably part of the Atalanta hunt, have been preserved. In one of the fragments - the head of a wounded warrior - for the first time in Greek sculpture, pain and suffering, confusion of feelings were embodied.

Skopas, together with other outstanding sculptors of his time (Leochar, Briaxis, Timothy), worked on the decoration of the famous Mausoleum of Halicarnassus (completed c. 351 BC), which was considered one of seven wonders of the world. Plates with reliefs girded the building with a continuous ribbon frieze. Perhaps Scopas was the author of the best surviving fragments, which depict the battle of the Greeks with the Amazons. The scenes of the battle are permeated with the fury of the fight, with violent movement; they seem to hear the sound of swords, the whistle of arrows, warlike cries. Dr. the works of Scopas are known only from Roman copies ("Young Hercules", "Meleagr"). The most famous among the missing sculptures of Skopas was the "Maenad" - a figurine of a girl, a companion of the god Dionysus, rushing in a frantic dance. The body of the dancer is as if twisted into a spiral, her head is thrown back, her clothes flutter, revealing a beautiful body. In the art of Scopas, for the first time, emotion, dramatic pathos, violent movement found expression - all that Greek sculpture had not known before. The works of Scopas had a significant impact on the sculptors of the era Hellenism.

(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)

See what "Scopas" is in other dictionaries:

Scopas- Scopas. Maenad. Marble. Roman copy. sculpture collection. Dresden. SCOPAS, ancient Greek sculptor and architect (4th century BC). The art of Scopas is distinguished by the dramatic pathos of struggle, passion, expressiveness of postures and gestures. ... ... Illustrated Encyclopedic Dictionary

Thessalian Thessalian Scopas, when asked for some superfluous and useless thing from his home decoration, answered: “But it is this superfluous that makes us happy, and not what everyone needs.” (Source: "Aphorisms. Golden Fund ... ... Consolidated encyclopedia of aphorisms

SCOPAS, ancient Greek sculptor and architect (4th century BC). The art of Scopas is distinguished by the dramatic pathos of struggle, passion, expressiveness of postures and gestures. The frieze of the mausoleum in Halicarnassus depicting the battle of the Greeks with the Amazons has been preserved ... ... Modern Encyclopedia

Ancient Greek sculptor and architect of the 4th c. BC e. The frieze of the mausoleum in Halicarnassus (now Bodrum in Turkey) has been preserved depicting the battle of the Greeks with the Amazons (marble, c. 350 BC, together with Briaxis, Leochar and Timothy). The Art of Scopas... Big Encyclopedic Dictionary

- (Scopas, Σχόπας). Greek sculptor from Fr. Paros, who lived about 380 BC. He made several bas-reliefs on the Halicarnassus mausoleum. His most famous work is a group depicting the offering to Achilles of a weapon forged by Hephaestus. Encyclopedia of mythology

The ancient Greek sculptor of the so-called neo-Attic school, originally from Paros, worked in the first half of the 4th century. to R. Chr. One of his first, in terms of time, work was the renewal of the destroyed in 395. the fire of the Tegean temple of Athena Alea, for ... ... Encyclopedia of Brockhaus and Efron

This term has other meanings, see Skopas (meanings). Ares Ludovisi ... Wikipedia

- (Skopas) ancient Greek sculptor and architect of the 4th century. BC e., representative of the late classics. Born on the island of Paros, he worked in Teges (now Piali), Halicarnassus (now Bodrum) and other cities of Greece and Asia Minor. How does an architect take... Great Soviet Encyclopedia

Scopas- (Greek Skopas) (IV century BC) Greek sculptor and architect from the island of Paros. He took part in the construction of the temple of Athena in Tegea (Peloponnese) and the mausoleum in Halicarnassus; the author of a number of sculptural images, for example, Meleager, the young Hercules ... Antique world. Dictionary reference.

SCOPAS- (4th century BC) Greek architect and sculptor from the island of Paros. He supervised the construction of the temple of Athena in Tegea (Peloponnese), worked on the frieze of the mausoleum in Halicarnassus. Among the works that are attributed to him is a statuette of a dancing Bacchante, reduced ... Dictionary-reference book on Ancient Greece and Rome, on mythology

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Leohar

Leocháres, Greek late classical sculptor.

Diana of Versailles "The Abduction of Ganymede" Apollo Belvedere

Praxitel

Praxitel(other Greek Πραξιτέλης) - ancient Greek sculptor of the 4th century BC. e. The alleged author of the famous compositions "Hermes with the baby Dionysus" and "Apollo killing the lizard." Most of the works of Praxiteles are known from Roman copies or from descriptions of ancient authors. The sculptures of Praxiteles were painted by the Athenian artist Nikias. Praxiteles is the first sculptor who depicted a naked woman as realistically as possible: a sculpture of Aphrodite of Cnidus, where a naked goddess holds a fallen robe with her hand. Subsequently, many sculptors portrayed the goddess in a similar pose. Aphrodite Praxiteles became so popular that she gave rise to a special type in female sculpture: type of Aphrodite of Cnidus (to this type belongs, for example, Venus de Milo). A crater on Mercury is named after Praxiteles.

Aphrodite of Cnidus, Apollo killing the lizard "Hermes with the baby Ionis"

350-330 AD BC e. Marble. Louvre, Paris

Louvre, Paris

Scopas

Skopas (Greek Σκόπας, Skopas; c. 395 BC, Paros - 350 BC) - an ancient Greek sculptor and architect of the late classic era, a representative of the neo-Attic school. One of the first masters of the Greek classics, who preferred marble, practically abandoning the use of bronze, a favorite material of previous masters, in particular Miron and Policlet.

Collaborated with Praxiteles. Participated in the construction of the temple of Athena in Tegea (350-340 BC) and the mausoleum in Halicarnassus (mid-4th century BC), acting both as an architect and as a sculptor.

Among the works of Scopas that have come down to us, the most significant is considered frieze of the mausoleum at Halicarnassus depicting Amazonomachy(created jointly with Briaxis, Leochar and Timothy; fragments in the British Museum).

Many of Scopas' works are known from Roman copies ("Potos", "Young Hercules", "Meleagr", "Maenad"). Rejecting the traditional Greek classic style based on the idea of ​​harmony and tranquility, Scopas introduced the theme of emotional experiences, the struggle of passions into the visual arts. To do this, he used dynamic composition and innovative expressive techniques for sculpting portraits (deep-set eyes, wrinkles, etc.).

The works of the chisel Scopas, the great sculptor who lived in the 4th century BC, are few, only ancient Roman copies remain, and even those have come down to us in fragments. But the wreckage says a lot. Skopas was the artist of the storm, passionate, fiery, and his Maenad is the storm of the Dionysian dance.

Scopas and his crazy "Maenad"

All Skopas sculptures are captured at the moment of movement, the movements of the figures are impetuous, they almost lose their balance. His Maenad strains his whole body, arches his torso convulsively, and throws his head back. One can not help thinking: the orgies of the Greeks must have been serious - not just entertainment, but really "crazy games". Apparently, the matter is not limited to energetic dance, the Alexandrian grammarian Callistratus describes this work of Skopas under the title "Maenad tearing a goat".

But why did this attract Scopas? The frantic dances of the maenads were a very ancient custom, but earlier the Dionysian element did not break through with such force in art - clarity and harmony won in art.

But Skopas rejected the harmonic calm, with which our ideas about antiquity are usually associated. And he preferred - passion: crazy eyes, open mouth, distorted facial features. This influenced the next generations of sculptors and art in general.

The statue of Maenad can be viewed from different sides - each point of view reveals something new: either the body is likened to a stretched bow with its arch, or it seems to be curved in a spiral, like a tongue of flame. And that was another step forward. Indeed, in the old days, sculpture was designed to be perceived from only one point of view.