Greek Sculptor and Bronze Artist
Myron is a maximum representative of the transition period between the so-called "severe style" and the classicism of the fifth century BC, dominated by Phidias. Born in Eleutera, he was a disciple of Hageladas, perfecting himself as a bronze artist.
Little is known of his biography, but his prestige was not diminished by the passage of time, as confirmed by sources ranging from Pausanias to Pliny, who regarded him as one of the greatest Greek sculptors during the Roman Empire.
Contribution to Sculpture
Stylistically, Myron's great contribution was his ability to transfer the sensation of movement to sculpture, resonating with the reflections of the School of Elea on the problem of movement, as posed by Heraclitus and Parmenides.
Original Works and Replicas
None of the original sculptures attributed to Myron have endured over time; however, numerous replicas, primarily of Roman origin, exist in marble.
Athena and Marsyas Group
Source: Vatican Museum
This group of sculptures belongs to full Classicism. Myron's composition is extremely careful; the diagonals that create a "V" shape between the two figures enhance the movement in the composition.
This snapshot not only freezes the moment of greatest tension but, like the Discobolus, allows us to anticipate the next step of the faun, who is about to pick up the double flute from the floor.
The Faun
The faun is finely carved, with great attention to anatomical detail, and is carved very flat, leaving no room for light and shadow play. The softness of his skin contrasts with the roughness of his hair and beard, showcasing masterly workmanship.
His face reveals a gesture of astonishment or surprise upon finding the flute. The diagonally opposed positioning of his arms and legs adds significant movement to the figure, breaking with the frontality.
Athena
Athena's face exhibits a serene attitude, reflecting the Greek ethos, and does not show the emotions caused by her anger. The carving is elegant, featuring a soft contrapposto that suggests the wet cloth technique beneath the peplum.
Her gesture of throwing the flute to the ground is graceful, and the folds formed by the peplum fall naturally, balancing light and shadow. Various textures can be observed in the carving, from the peplum and skin to the hair and helmet, creating a cohesive unit.
Artistic Context
In the middle of the 5th century B.C., significant transformations occurred in Athenian politics, economy, and society, reaching its peak under Pericles. This transformation was reflected in art, as artists sought ideal beauty through reason, mathematics, harmony, and proportion.
This is evident in the beautifully proportioned bodies of Athena and Marsyas, as well as the harmonious composition filled with movement, which breaks from the rigidity of the previous stage. Works like the Discobolus, also by Myron, and Polyclitus's Doryphoros exemplify this artistic moment.
Iconography
Myron's intention may have been to differentiate art from craftsmanship and to elevate art as a sublime expression of human creativity.
The challenge to the gods has been used in iconography to distinguish art from craftsmanship, as seen in Velázquez's "Las Hilanderas," which narrates the myth of Arachne challenging Athena to weave.
The Myth
The theme of the work is derived from Ovid's Metamorphoses, specifically the myth of Apollo and Marsias. According to Ovid, Athena invented the double flute (aulos) but was mocked by many gods upon presenting it at Olympus. Angered, she discarded the flute and threatened to deform anyone who dared to play it.
At that moment, the faun Marsias appeared, enchanted by the flute's beautiful melodies. Undeterred by the threat of deformation, he picked it up and learned to play. Apollo, angered by the faun's challenge, proposed a musical duel, ultimately defeating Marsias, who was then punished by being hung from a tree and flayed.
Goddess of Victory of Samothrace
Source: Wikipedia
The Victory of Samothrace, also known as the Winged Victory of Samothrace, is a sculpture from the Hellenistic period, crafted around 190 BC. While its exact authorship remains uncertain, it is believed to belong to the school of Rhodes. Since its discovery in the 19th century, it has been part of the Louvre Museum's antiquities collection and has become a symbol of international fame.
Formal Characteristics
The Victory of Samothrace exemplifies Hellenistic art through its search for movement and dynamism, contrasting the balance of the classical period. The sculpture represents Nike, the messenger goddess of victory, carved in white Paros marble, standing at a height of 2.75 meters on a gray marble base, representing the prow of a ship, bringing the total height to 5.57 meters.
Sculptural Technique
The sculptor employed the contraposto stance, a posture celebrated for its naturalistic appeal. By shifting the body's weight onto one leg, the figure exudes a sense of ease, disrupting the rigidity of verticality and frontality. The graceful curvature enhances realism.
The drapery plays a pivotal role in the artwork's dramatic flair, with thick fabrics cascading around the legs, exemplifying the draping technique. The torso and abdomen exhibit a sculptural rendition reminiscent of "wet drapery," allowing the subtle contours, such as the navel, to emerge beneath the textured fabric.
Cultural Influences
With the conquests of Alexander the Great, Greek culture absorbed new political, social, and artistic influences. New trends from other Mediterranean areas, such as Egypt and Persia, contributed to a movement away from classical rationality and balance, embracing drama, tension, pathos, and the representation of various emotions.
The Hellenistic period can be characterized as a baroque interpretation of classical forms, as seen in the Victory of Samothrace. Multiple schools developed distinct styles, each emphasizing different characteristics of this artistic evolution.
Discovery
The Winged Victory of Samothrace was discovered in 1863 during French archaeological efforts led by Charles Champoiseau, a diplomat and amateur archaeologist. Amid Napoleon III's reign, Champoiseau learned of remarkable treasures on the island of Samothrace and, recognizing the opportunity for enriching France's artistic heritage, initiated excavations.
Within the Sanctuary of the Great Gods, he discovered fragments of the sculpture, although some components, like the face and arms, were missing. Initially, the sculpture lacked significant museum attention. However, once the base was found, situated on the bow of a ship, its importance became apparent, leading to a reconstruction effort in 1875.
Restorations
Following this discovery, curator Félix Ravaisson-Mollien resolved to restore the sculpture using its original pieces. This meticulous restoration process took place between 1880 and 1884. The left wing was reconstructed using an inverted plaster cast of the intact right wing, and the figure's chest was restored. Upon completion, the sculpture was relocated to the Daru Stairs within the Louvre Museum, where it remains accessible today.
The Myth of Nike
Source: Wikipedia
Nike, the Greek goddess of victory, was viewed as an independent figure in mythology, initially not associated with other gods. Over time, she became linked with Athena, particularly after the Battle of Salamis in 480 BC against the Persian king Xerxes I.
Various ancient Greek poets, including Homer and Hesiod, had differing ideas about Nike's origin. Hesiod described her as the daughter of the Titan Pallas and an Oceanid named Styx, making her the sister of Zealus, Cratos, and Bia. Conversely, Homer posited that Nike was the daughter of Ares, the Greek god of War, embodying death, pain, and destruction.
Nike's significance in Greek divinity predates the Olympian gods, which leads some historians to consider her an epithet or nickname for Athena. Her allegiance to the Olympian gods during the Titan War highlights her role in securing victory for them, solidifying her position as the divine guardian of triumph.
Laurent Marqueste
Source: Wikipedia
Laurent-Honoré Marqueste, a French sculptor rooted in the neo-Baroque Beaux-Arts tradition, rose to prominence in the art world. He apprenticed under distinguished masters François Jouffroy and Alexandre Falguière and won the prestigious Prix de Rome in 1871.
Born on June 12, 1848, in Toulouse, Marqueste showcased his talent publicly at the Paris Salon of 1874 with the painting "Jacob and the Angel." In 1893, he became a professor at the École des Beaux-Arts in Paris. His contributions earned him accolades, including the Legion of Honour in 1884, and advancements to officer and commander ranks in 1894 and 1903. He also became a member of the Institut de France in 1894.
Artistic Style
Renowned for his virtuosity, Marqueste often created sculptures featuring multiple figures, demonstrating meticulous craftsmanship. His practice included collaborating with specialized carvers, a common studio approach among French sculptors in the late 19th century.
His work was recognized with the Grand Prix at the Paris Exposition Universelle of 1900.
Perseus Slaying Medusa
Marqueste's work achieved acclaim, leading to multiple commissions. One notable instance occurred in 1903 when he produced a marble replica for Danish collector Carl Jacobsen, founder of the Carlsberg brewery, now displayed at the Ny Carlsberg Glyptotek in Copenhagen.
Artistic Technique
Marqueste's portrayal of movement is remarkable, with Perseus depicted in a dynamic pose reminiscent of Renaissance sculptures. The interaction between the figures and the intricacies of texture, particularly in the representation of the snake-haired Medusa and the tension in Perseus's grip, adds depth and realism.
Historical Context
Commissioned during a period when mythology was being reinterpreted and popularized in art, Marqueste's "Perseus Slaying Medusa" reflects a renewed fascination with ancient myths, paralleling the cultural zeitgeist of the early 20th century.
The enduring legacy of Greek sculpture lies in its mastery of form, movement, and emotion, encapsulating ideals of beauty and heroism that continue to inspire artists and audiences alike.
From Myron's innovative approaches to motion and anatomy to the Hellenistic flair of the Victory of Samothrace and the neo-Baroque style of Marqueste, these works represent the evolution of sculptural art through time, echoing the complexities of human experience and the divine narratives that shape our understanding of culture.