{Classical Greek Art [continued (12)]} ([–] Sculpture [continued (9)])[27th January 1991]

[Redbook8:195][19910127:1250l]{Classical Greek Art [continued (12)]} ([–] Sculpture [continued (9)])[27th January 1991]

19910127.1250

[continued]

- - - - - - - - - - - - -

/...*

‘... Callimachus, whose reputation for too finicky attention to detail accords with the final stages of the transparent drapery style at the very end of the 5^th century [bce].***

***‘The sculptors of the early 4^th century [bce] continued the traditions of the later 5^th [century bce], with balanced poses, transparent or heavy drapery, and serene, rather remote expressions....’

****

*[A sign in the ms indicating that this entry, at the foot of ms p195, follows on from the journal entry before last, at the foot of ms p194]

**M~→U~?

***(64G~m~400BCE)\

512M~384BCE

****– ibid [Encylopaedia of Visual Art 1:]137

[continued]

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{Classical Greek Art [continued (11)]} ([–]Sculpture [continued (8)][The Pediments of the Temple of Zeus at Olympia])[27th January 1991]

[Redbook8:195][19910127:1250k]{Classical Greek Art [continued (11)]} ([–]Sculpture [continued (8)][The Pediments of the Temple of Zeus at Olympia])[27th January 1991]

19910127.1250

[continued]

[A double-page section from the Encylopaedia of Visual Art,* ‘The Pediments of the Temple of Zeus at Olympia’ ,** is inserted in the ms at p195 but is not reproduced in the ts]

***

*E[ncylopaedia of] V[isual] A[rt]1:134-5

**c470-460BCE:

2048G~m~\

512C512BCE

(64G~m~464)

***(This refers to [[Redbook8:193][19910127:1250e]{Classical Greek Art [continued (5)]} ([–]Sculpture [continued] [– Balance])[27th January 1991]&2f,] p193 period)

[continued]

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{Classical Greek Art [continued (10)]} ([–] Sculpture [continued (7)][– The followers of Polycleitos])[27th January 1991]

[Redbook8:194][19910127:1250j]{Classical Greek Art [continued (10)]} ([–] Sculpture [continued (7)][– The followers of Polycleitos])[27th January 1991]

19910127.1250

[continued]

‘Just as the Phidian* [sic] tradition relaxed with the developing drapery styles and more sensual forms, so these men [, the followers of Polycleitos,]** evidently softened the square, heavily muscled Polycleitan types into more slender and flowing figures like the bronze Idolino (Museo Archeologico, Florence), a Roman copy of a late-5th-century original....’***

****

*ref [last previous entry,] above

**ref [[Redbook8:192][19910127:1250d]{Classical Greek Art [continued (4)][– Sculpture][– Chiasmus]}[27th January 1991],] 192

***512M~g~384BCE

****– ibid [Encylopaedia of Visual Art 1:]137

[continued]

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{Classical Greek Art [continued (9)]} ([–] Sculpture [continued (6)][– Pheidias])[27th January 1991]

[Redbook8:194][19910127:1250i]{Classical Greek Art [continued (9)]} ([–] Sculpture [continued (6)][– Pheidias])[27th January 1991]

19910127.1250

[continued]

*‘But it is the name of Pheidias that stands out.

‘We get a good idea of his style through the sculptors of the Parthenon at Athens (constructed 449-432BC[E]),** over whose design he has general control. At least here we can examine genuine 5th-century work, whereas most of his other statues are only known to us from copies, often on a small scale. Although there is plenty of life and movement about his compositions on the Parthenon, his style is a quiet, idealising one,*** and the figures are self-contained and inward-looking.’

****

(Now see again 192 para 4 re Chiasmus)#***

*[Same paragraph as last previous entry above, & immediately following]

**2048G~m~\512C512BCE

512S~r~\(64C)448BCE

(64M~g~432BCE)

***

	C
r~		S~

****– ibid [Encylopaedia of Visual Art 1:]133

#***ref [[Redbook8:192][19910127:1250d]{Classical Greek Art [continued (4)][– Sculpture][– Chiasmus]}[27th January 1991],] 192 above.

[continued]

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{Classical Greek Art [continued (8)]} ([–] Sculpture [continued (5)])[27th January 1991]

[Redbook8:194][19910127:1250h]{Classical Greek Art [continued (8)]} ([–] Sculpture [continued (5)])[27th January 1991]

19910127.1250

[continued]

*‘Several names are known to us, like those of Strongylion, who followed the tradition of Myron,** and Cresilas (fl[ourished] 450-425BC[E],*** a rather severe sculptor whose portrait of Pericles is typical of the idealising portrait figures now becoming popular.****

#

*(Same para[graph] as [last previous entry] above, & immediately following)

**[See last previous entry but one]

***512S~448BCE

****(r~?)S~, M~? – assuming

either that idealism in (r~?) Philosophy is not the same as in Art

(cf V. [[Redbook5:171][19880618:1855]{The Metaphysic of Metaphysics}[18^th June 1988],] 171);

or that at this stage of Crisis Resolution r~ & S~ are still frequently intertwined

– the i[nner] c[ircle] & the o[uter] c[ircle] not separated.

#– ibid [Encylopaedia of Visual Art 1:]133

[per next journal entry]

[continued]

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{Classical Greek Art [continued (7)]} ([–]Sculpture [continued (4)][–restlessness])[27th January 1991]

[Redbook8:193][19910127:1250g]{Classical Greek Art [continued (7)]} ([–]Sculpture [continued (4)][–restlessness])[27th January 1991]

19910127.1250

[continued]

‘These* Transitional compositions followed logically from the Archaic, but they manifest an inherent and unsatisfying restlessness** which is the rider to the experimental approach of the artists. Their successors after 450BC[E]*** overcame this.’

*[See last two(?) previous entries)]

**2048G~,512C512[bce]

***64C,512S~r~448BCE

****– ibid [Encylopaedia of Visual Art 1:]133

[But? cf [Redbook8:196][19910127:1250n]{Classical Greek Art [continued (14)]} ([–] Sculpture [continued (11)])[27th January 1991]]

[continued]

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{Classical Greek Art [continued (6)]} ([–] Sculpture [continued (3)] [– Balance [continued]])[27th January 1991]

[Redbook8:193][19910127:1250f]{Classical Greek Art [continued (6)]} ([–] Sculpture [continued (3)] [– Balance [continued]])[27th January 1991]

19910127.1250

[continued]

‘With Kritios and Nesiotes we are on slightly surer ground. They made the statues of the Tyrannicides Harmodius and Aristogeiton erected in 477/6[bce],* which have been identified in several copies that show a vigorous composition of two striding, ** threatening figures with powerfully modelled musculature. The famous bronze Zeus, poised to throw his thunderbolt,*** found in the sea off Artemisium (National Museum, Athens), is an original of the same type, some 15 years younger.**** All are shown at that self-contained moment of balance, just before an action,# in which the sculptors of the Transitional Period were particularly interested, and which was developed to its limits c460-450BC[E]#* by Myron of Eleutherae with his Discobolus#** and his Athene and Marsyas#*** (copies in Museo Nationale, Rome; Städtische Galerie, Frankfurt am Main; and Lateran Museum, Rome, respectively [sic]).

#****

*512C512BCE

(64A~480BCE)

512S~r~448BCE

**S~→M~→U~

***C→M~→U~

****ie c462/1 (64G~464BCE)

(& NB 512S~r~448BCE)

#

C
	\
		S~
			\
				M~

(In the ms the lines are broken, & the lowest is a downward-sloping arrow)

#*

(64G~464 – C)\

512C512 – S~r~ 448BCE

#**

C

☼ DISC M~

#***

G~ - cf T.XII

so:

		C
	/		\
g~		?		M~
	\		/
		–

(In the ms the upper two lines are downward-sloping arrows)

#****– ibid [Encylopaedia of Visual Art 1:]133

[per next journal entry]

[continued]

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