Most artists do not enjoy remaining static - they want to create new and different artworks as their career progresses. Clearly, the person who created this artwork was not a beginner. Perhaps they were at a stage in their career where they wanted to explore new avenues of expression and creativity. This statue is a new, more realistic form of sculpture, and perhaps the artist was testing their own abilities and creativity by creating something that was new, unique, and different. This is often how styles of artwork change and grow, and certainly Greek artists had many of the same characteristics of later artists - they wanted to push new boundaries and find new forms of expressions. Of course, these are only theories. It will probably never be known exactly why the artist created this specific statue at this specific time, but it seems that as Greece and Greek culture were evolving, as all cultures do, so were her artwork and her artists. In conclusion, this work clearly illustrates how Greek art and culture were evolving and growing. Previous sculptures were static and unemotional, while the "Kritios Boy" is neither. The piece is moving somehow, and poignant for all that it represents. It is a beautiful example of Hellenistic art, and an example...
The culture of Greece seemed always to be on the move, and so does this statute that changed the art world in Hellenistic times.
Greek Temple Architecture From Its Inception Through the Hellenistic Period Present day Greece still retains the Greek temples, shrines and sanctuaries of the pre-Hellenic period. The modern world of architecture and historians regards these temples very highly because of their unique and simple designs and also because of their apparent beauty and technical excellence. These temples have a profound history behind them because they stand testament to perhaps one of the
Hellenistic Art As Hellenistic art is gradually transformed into Roman and early Christian art, the concept of pathos continues to play an important role. Discuss pathos in the evolution from Hellenistic to Roman art and the emergence of pietas as a marker of Roman/Early Christian art. The Hellenistic period is focusing on artworks created in the timeframe between: the death of Alexander the Great (in 332 BC) to the beginning of ancient
As such the Hellenistic style of paining was used partially as a marketing tool to attract followers. However, it was also used to convey religious elements in a manner that was appealing to many non-believers during the period. To obtain the attention of the general population, the artwork needed to be stunning both visually and conceptual. As such the Hellenistic was the ideal candidate in which to achieve these
Hellenic Tombs One of the ways in which the art, history and architecture of ancient cultures can be understood and investigated is through what is left behind to be examined. Some of the most permanent artifacts that are available for examination are ancient tombs which have stood the test to time. From these tombs one can not only understand and form opinions of the architecture and historical context of the time,
The Human Form: Archaic to HellenisticThe development of the human figure in Greek art from the Archaic Period through the Hellenistic Period is represented by changes in artistic technique, themselves reflective of cultural and philosophical value shifts in Greek society. As Greece became more philosophical and sophisticated, its art�especially that which depicted the human form�also appreciated in terms of idealization, realism, and drama.During the Archaic Period (600-400 BC), Greek art
"The Greeks studied the movement of the body, how weight is carried, and how a shift in stance could affect the placement of limbs, torso, and head. After 480 BCE, the first marble sculpture displaying the qualities of 'contrapposto," or weight shift, appeared in the Kritios Boy" ("Classical Greek Sculpture: Background," Greek Sculpture, 1998). This is why classical sculptures are more atomically naturalistic. This is particularly evident in the
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