We must, therefore, assign the artistic activity of Myron himself to the first half of the fifth century. This is really a way to remind ourselves of the Greeks concern with the potential of humanity, the potential of the mind, and the potential of the body. The traditional date given by Pliny, which makes Myron a contemporary of Polyclitus, is evidently wrong. Why would you cover up the beauty of the body in sport, which is, of course, a celebration of what the human body can achieve. In the Discobolus, the self-contained completeness in the action finds its expression and counterpart in the lines of the composition itself.
Sculpting in bronze, he was noted for his animals of which no examples have survived and for his athletes in action. The Discobolus is justly famous for its splendid suggestion of vigorous manhood, its bold pose, and its perfect balance. The Discus Thrower is really designed to be seen only from the front. The effect is perhaps somewhat dry, and suggests the appearance of a man in hard training, and even the tension of muscles that would not be exerted at the moment of action is portrayed. The copyist also had to add a supportive trunk of marble because of the weight of the statue and struts between arms and body to keep the arms from falling off the figure. After the purchase, Townley discovered that his statue had been wrongly restored, as the head on the statue was looking down as opposed to the original statue in which the head is turned upward towards the discus, as shown in figures 1 and 216. This one is frankly realistic and may have been made pretty much for its own sake.
He appears to have been the first to realize the principle, never afterwards violated in Greek sculpture of the best period, that a statue or a sculptural group must be complete in itself, must possess a certain unity and concentration, so as to attract and contain the interest of the spectator within the work itself, and not to direct it to other extraneous objects, nor even to allow it to wander away. The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, or smaller scaled versions in bronze. In the later days of antiquity, especially after the Roman conquest of Greece, there was evidently an enormous demand for reproductions of the famous works of Greek sculpture, and numerous artists devoted themselves to supplying this demand. For the observation of drapery, too, he had constant opportunities in the figures that surrounded him in daily life. This was almost always employed when the copyist, as frequently happened, was working out a marble copy of a bronze original. But here, the face is absolutely serene. The copies may or may not have been of the same quality as the original, and Roman artists may have taken some liberties when copying Greek words.
Quintilian himself declares that to find fault with the Discobolus argues a lack of appreciation of art. He is recorded, however, to have been a pupil of the Argive sculptor Ageladas, who was for a long time the acknowledged leader of the Peloponnesian School of athletic sculpture; and it is said that his fellow-pupils were Phidias and Polyclitus. This is evidently the meaning of the story, though it is misinterpreted by some later authorities in accordance with the eclectic spirit of their own age. A false restoration, which makes the thrower turn his head toward this direction, not only produces a painful and even impossible attitude, but also destroys the harmony of the composition, by breaking in upon the system of concentric curves in which every member of the body follows the swing of the extended arm. The daily exercises in the palaestra or gymnasium and the frequently recurring athletic festivals gave him constant opportunities for observing the human form both in rest and in action. Had Myron been born a century earlier, he could no more have produced these works than if he had lived at the present day. But that doesn't mean that the ancient Greeks didn't want to convey movement.
Therefore, there was no need for the eye of the competitor to be turned towards a distant goal, but the head could follow the motion of the arm that swung the quoit, the position of the feet sufficing to define the direction of the throw. His early manhood must have coincided with the period of the Persian wars. Will also delete on comment score of -1 or less. There he could see a variety and grace of texture and of folds such as no draping of a model in unfamiliar garments and materials could ever have suggested. In any history, and above all in the history of art, there are two main aspects, from which the subject may be considered.
His great attainment, as exemplified by the Discobolus, was the choice of a subject and a moment that was suitable to representation in sculpture. That is to say, he was the earliest sculptor whose works appeared, even to critics who were familiar with the whole range of later art, to be admirable alike for the boldness and originality of their design and the skill of their execution, and who was spoken of in the same breath with Polyclitus and Lysippus, with Phidias and Praxiteles. His works are known through descriptions by ancient writers, such as Pliny and Pausanias, and two of them by copies, the Discobolus Gr. The other trademark of embodied in this sculpture is how well the body is proportioned, the symmetria. The Lancellotti Discobolus is now featured in the National Museum of Rome23. There is no real strain within the body.
Edit: bad grammar and forgotten words. If it were not for the formal locks of hair, the rather expressionless face, and some ancient evidence, which fixes the career of Myron in the first half of the fifth century, the statue might well be regarded as a work of the great age of Greek sculpture. Please share the entire work. The marble statues are roughly the same size, measuring 1. He has taken a moment of action so transitory that students of athletics still debate if it is feasible, and he has given it the completeness of a.
He is supposed to have been a pupil of Ageladas of Argos, but he worked largely in Athens. He was accounted a master of anatomy and action, but weak in the rendering of the face. Although the original bronze statue has been lost in time, the legacy of Myron will live on in the many Roman and modern day replicas of his famous Discobolus28. His pose is said to be unnatural to a human, and today considered a rather inefficient way to throw the discus. Gardener's Art Through the Ages.
Probably he could not in any case have been a master of psychic analysis, but it is more than doubtful if his themes would have gained by such mastery. Some seem to reproduce their originals with considerable exactness; others are obviously far inferior to them. It was of course an immense benefit to that art to be able to see the stripped body at exercise in the sunlight, and that, coupled with the natural Greek sense of form, is the secret of the unchallenged supremacy of Greek sculpture. One very common alteration was the addition of a support in the form of a tree-stump or some other object. They include the Townley Discobolus and the Lancellotti Discobolusl 1. The statue is therefore exemplary of both Severe and High Classical attributes. Before the study approaches the work of this individual master, it may be advisable to take a more general survey of the character of Greek sculpture, as contrasted with earlier and later styles.
And here, even at this moment when he's about to release the discus. Posts deemed as such will be removed. The Townley Discobolus is the second to be discovered of the two statues — found roughly ten years after the Lancellotti Discobolus13. A marble copy found in Rome demonstrates the way a sculptor may at the same time hold to conventions and reach out toward new forms. But there was a real logic there.