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The first distinctive style of ancient Greek sculpture developed in the Early Bronze Age Cycladic period (3rd millennium BCE), where marble figures, usually female and small, are represented in an elegantly simplified geometrical style. Most typical is a standing pose with arms crossed in front, but other figures are shown in different poses, including a complicated figure of a harpist seated on a chair.[43] The subsequent Minoan and Mycenaean cultures developed sculpture further, under influence from Syria and elsewhere, but it is in the later Archaic period from around 650 BCE that the kouros developed. These are large standing statues of naked youths, found in temples and tombs, with the kore as the clothed female equivalent, with elaborately dressed hair; both have the "archaic smile". They seem to have served a number of functions, perhaps sometimes representing deities and sometimes the person buried in a grave, as with the Kroisos Kouros. They are clearly influenced by Egyptian and Syrian styles, but the Greek artists were much more ready to experiment within the style. During the 6th century Greek sculpture developed rapidly, becoming more naturalistic, and with much more active and varied figure poses in narrative scenes, though still within idealized conventions. Sculptured pediments were added to temples, including the Parthenon in Athens, where
remains of the pediment of around 520 using figures in the round were fortunately used as infill for new buildings after the Persian sack in 480 BCE, and recovered from the 1880s on in fresh unweathered condition. Other significant remains of architectural sculpture come from Paestum in Italy, Corfu, Delphi and the Temple of Aphaea in Aegina (much now in Munich).[44] Most Greek sculpture originally included at least some colour; the Ny Carlsberg Glyptotek Museum in Copenhagen, Denmark, has done extensive research and recreation of the original colours.[45][46] Cycladic statue 2700–2300 BCE. Head from the figure of a woman, H. 27 centimetres (11 in) Cycladic Female Figurine, c. 2500–2400 BCE, 41.5 cm (16.3 in) high Mycenae, 1600-1500 BCE. Silver rhyton with gold horns and rosette on the forehead Lifesize New York Kouros, c. 590–580 BCE, Metropolitan Museum of Art The "Naxian Sphinx" from Delphi, 570–560 BCE, the figure 222 cm (87 in) high Peplos Kore, c. 530 BCE, Athens, Acropolis Museum

known from many representations. He is also credited as the creator of some life-size bronze statues known only from later copies whose identification is controversial, including the Ludovisi Hermes.[48] The High Classical style continued to develop realism and sophistication in the human figure, and improved the depiction of drapery (clothes), using it to add to the impact of active poses. Facial expressions were usually very restrained, even in combat scenes. The composition of groups of figures in reliefs and on pediments combined complexity and harmony in a way that had a permanent influence on Western art. Relief could be very high indeed, as in the Parthenon illustration below, where most of the leg of the warrior is completely detached from the background, as were the missing parts; relief this high made sculptures more subject to damage.[49] The Late Classical style developed the free-standing female nude statue, supposedly an innovation of Praxiteles, and developed increasingly complex and subtle poses that were interesting when viewed from a number of angles, as well as more expressive faces; both trends were to be taken much further in the Hellenistic period.[50] Hellenistic The Pergamene style of the Hellenistic period, from the Pergamon Altar, early 2nd century The Hellenistic period is conventionally dated from the death of Alexander the Great in 323 BCE, and ending either with the final conquest of the Greek heartlands by Rome in 146 BCE or with the final defeat of the last remaining successor-state to Alexander's empire after the Battle of Actium in 31 BCE, which also marks the end of Republican Rome.[51] It is thus much longer than the previous periods, and includes at least two major phases: a "Pergamene" style of experimentation, exuberance and some sentimentality and vulgarity, and in the 2nd century BCE a classicising return to a more austere simplicity and elegance; beyond such generalizations dating is typically very uncertain, especially when only later copies are known, as is usually the case. The initial Pergamene style was not especially associated with Pergamon, from which it takes its name, but the very wealthy kings of that state were among the first to collect and also copy Classical sculpture, and also commissioned much new work, including the famous Pergamon Altar whose sculpture is now mostly in Berlin and which exemplifies the new style, as do the Mausoleum at Halicarnassus (another of the Seven Wonders), the famous Laocoön and his Sons in the Vatican Museums, a late example, and the bronze original of The Dying Gaul (illustrated at top), which we know was part of a group actually commissioned for Pergamon in about 228 BCE, from which the Ludovisi Gaul was also a copy. The group called the Farnese Bull, possibly a 2nd-century marble original, is still larger and more complex,[52] Small Greek terracotta figurines were very popular as ornaments in the home Hellenistic sculpture greatly expanded the range of subjects represented, partly as a result of greater general prosperity, and the emergence of a very wealthy class who had large houses decorated with sculpture, although we know that some examples of subjects that seem best suited to the home, such as children with animals, were in fact placed in temples or other public places. For a much more popular home decoration market there were Tanagra figurines, and those from other centres where small pottery figures were produced on an industrial scale, some religious but others showing animals and elegantly dressed ladies. Sculptors became more technically skilled in representing facial expressions conveying a wide variety of emotions and the portraiture of individuals, as well representing different ages and races. The reliefs from the Mausoleum are rather atypical in that respect; most work was free-standing, and group compositions with several figures to be seen in the round, like the Laocoon and the Pergamon group celebrating victory over the Gauls became popular, having been rare before. The Barberini Faun, showing a satyr sprawled asleep, presumably after drink, is an example of the moral relaxation of the period, and the readiness to create large and expensive sculptures of subjects that fall short of the heroic.[53] After the conquests of Alexander Hellenistic culture was dominant in the courts of most of the Near East, and some of Central Asia, and increasingly being adopted by European elites, especially in Italy, where Greek colonies initially controlled most of the South. Hellenistic art, and artists, spread very widely, and was especially influential in the expanding Roman Republic and when it encountered Buddhism in the easternmost extensions of the Hellenistic area. The massive so-called Alexander Sarcophagus found in Sidon in modern Lebanon, was probably made there at the start of the period by expatriate Greek artists for a Hellenized Persian governor.[54] The wealth of the period led to a greatly increased production of luxury forms of small sculpture, including engraved gems and cameos, jewellery, and gold and silverware. The Riace Bronzes, very rare bronze figures recovered from the sea, c. 460–430 Hermes and the Infant Dionysos, possibly an original by Praxiteles, 4th century Two elegant ladies, pottery figurines, 350–300 Bronze Statuette of a Horse, late 2nd – 1st century BCE Metropolitan Museum of Art The Winged Victory of Samothrace, c. 190 BCE, Louvre Venus de Milo, c. 130–100 BCE, Greek, the Louvre Laocoön and his Sons, Greek, (Late Hellenistic), perhaps a copy, between 200 BCE and 20 CE, white marble, Vatican Museum Leochares, Apollo Belvedere, c. 130–140 CE. Roman copy after a Greek bronze original of 330–320 BCE. Vatican Museums Europe after the Greeks Roman sculpture Main article: Roman sculpture Section of Trajan's Column, CE 113, with scenes from the Dacian Wars Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced

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