Independence, as advocated by Lysippos, encouraged every artist to plough his own furrow, to change canons and conventions and to establish a new, relative truth. The real creativity of Hellenistic art lies in representing the world according to the transient effect of the particular moment. Awareness of the distance and difference from the classical period ushered in a time of radical artistic experimentation that ended with the Battle of Pydna ( 300-168bc). In some senses, the Hellenistic "Baroque" era is similar to that of late 20th-centuiy Western societies; both saw a transition from totality to plurality, from coherence to variety. In the late 20th century, sovereign states existed. but shared a style of civilization, just as the inhabitants of the Hellenistic kingdoms followed the collective Greek culture. Aristotle sensed that realism and possibility, the authentic and the fictitious, could ail exist simultaneously. In both Greek and modem cultures, art responded to a vast and sophisticated public, and had to address a variety of events and ideas that went beyond the realms of traditional style. Painting no longer entailed "applying the appropriate colour to each part", as Plato had stated. Shape now emerged from the outlines created by a juxtaposition of minute brushstrokes of different, unmixed colours. Svnthesis occurred in the eye of the beholder - later mirrored in the divisionist technique practised by 20th-century Neo-Impressionists. The most striking features of the Silenos painted on a tomb from Potidae in Macedonia (c.300bc) are the dishevelled beard that frames the subtly malicious expression of the man's face and the red leather boots. The lines have a thin, sketchy quality, while the shadow in the pink cloth around his hips is created by means of thicker brushstrokes in the same colour. |
Tomb of Lison and Kallikles, lunette painted with weapons, Lefkadia, Greece |
Epigonos, Ludovisi Gaul, Roman copy. Capitoline Museum, Rome
| Similar to this was Euboulides' ecstatic figure of the Mulier Admirans. Euboulides' signature is scratched on the base of a beaker discovered in the founding pits at the foot of the Acropolis at Rhodes. These pits, with thin brick cladding and efficient drainage channels for the wax, were used to create works up to three metres (nine feet) tall. The statue of Tyche, Good Fortune, by Lysippos" son Eutychides (c.300bc). was commissioned by Seleucus I to symbolize Antioch and was even more complicated than the Meditating Herakles, another colossus from Tarentum. | ||||
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The sculptors Phyromachos, Niceratos, and Xenocrates were responsible for the rapid maturity of Pergamene sculpture and for creating the "Baroque" style destined to achieve universal and lasting success. Advances in knowledge of anatomy were demonstrated in the powerful modelling of musculature and bones, exemplified by the Artemision Horse, the Artetnision Jockey, and the Fighting Man of Delos. The sculptor Epigonos gave new prominence to the peripheral in his series of statues known as the Dying Gauls (c.235bc), whose figures seem to challenge the boundary between art and life by invading the space occupied by the onlooker. Signatures found on the base of statues in Rhodes distinguish the designers of the base from the modellers, revealing a specialization which encouraged mass production. Barter was replaced by credit and a banking System, which increased the flow of goods, now represented by numerical amounts that everyone understood. Cities were now being planned on a grand scale, and sculptors favoured a style in which figures were set against a deep background, with perspective used to portray distant objects. For the artists of Rhodes, space was inseparable from distance. The background was no longer the city, such as Pergamum, with its porticoed squares, but rocks, caves, water, greenery, and sky. In the Stoic philosophy, morality was the "fruit of a garden" and nymphaeums (grottos, temples, or sanctuaries) became filled with images conducive to meditation, involving punishments meted out by the gods to re-establish the divine equilibrium and symbolic representations of human courage. In Epigonos' disturbingly powerful Torment of Dirce, the subject lies with her head turned away, gazing into the terrifying eye of the bull rearing over her. Sculptural groups became increasingly complicated and less and less linked to everyday life, almost as though they were governed by the most primitive laws of mankind. To understand them, the viewer must recapture the primeval fascination that the artist drew on in order to endow each of his creations with their own strength and impact. The dense fog that Menander tried to pierce with his gaze, the darkness that concealed the flight of Ulysses and Diomedes, the spring welling up at the feet of Dirce, and the ancestral cavern of the Cyclops ail create different excitements and fears in the viewer as he or she contemplates the work. Similarly, the Palladium torn from its shrine, the thyrsus (staff) of Dirce, the hapless bacchant abandoned on the rock; the banquet cup bloodied by the Cyclops and thrown on the ground - each image evokes previously buried emotions and sensations. The marble statue of the Victory in Samothrace and the Altar of Zeus (189-182bc) erected in Pergamum commemorate the victories at Rhodes, Pergamum, and of their Roman allies over Antiochus III of Syria. The giants writhe alongside the steps of the altar in a magnificent frieze depicting a battle between gods and giants. | |||||
Epygonos, Dying Gaul, Roman copy. Capitoline Museum, Rome | |||||
The Victtory of Samothrace. Musee du Louvre, Paris | Drunkenness of Polyphemus, fragmentary Roman sculptors Agesander, Athenodoros, and Polidoro from the Grotto of Tiberius at Sperlonga, first century bc. National Archaeological Museum, Sperlonga, Italy | ||||
Torment of Dirce, fragmentary Roman copy of Rhodian original, from the Baths of Caracalla, Rome. National Archaeological Museum, Naples | |||||
Barberini Faun, Roman copy of an original from Pergamum, Castel Sant'Angelo, Rome. Glyptothek, Munich | BAROQUE ANCIENT AND MODERN Although this marble statue was once attributed to Myron, by Pliny, it has since become clear that this attribution arose from a confusion over the name of the subject, Maronis. The original definition was: "Maronis, an old Jewish woman, at Smyrna. one of the most famous works". It was made famous in about 250bc by Leonidas of Tarentum, the first man to write of this indulgent personification of an old woman's drunkenness: ''the lover of wine. the wringer of jars, lies here, an old woman. An Attic cup rests on her tomb. | ||||
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Old Fisherman, Roman copy of an Alexandrian original, the Esquiline, Rome. Palazzo dei Conservatori, Rome | THE FARNESE TAZZA | ||||
Allegory of Egypt, base of the sardonyx cup known as the Farnese Tazza. National Archaeological Museum, Naples |
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