Greek
Sculpture
& Nekkid People
by Diebold
Essen
One of life's little mysteries
Among the great early civilizations, why did only the Greeks celebrate the naked human
body in art? The number of square inches of skin you'll find in classical Chinese art is
limited to faces, arms, hands, and the occasional leg or foot. India was not much better
(though there was a later, brief, extraordinary outburst of public erotic exuberance).
But give a talented ancient Greek artist a
good block of marble and it was Katy, bar the door. Anything went. Museums are still
inhibited about showing everything (storerooms are full of proof of the lack of
self-censorship in the good old days around the Aegean). But what they do show is, well,
it is what it is.
Generations of art scholars have made careers
analyzing it. One such scholar, the late Kenneth Clark, even managed to turn a priggish
little volume of his called "The Nude" (in which he convinced himself that there
was a profound esthetic difference between nudity and nakedness)
into a PBS series.
Generations of artists have stood--and still
stand--long hours before the works, learning lessons beyond words.
Generations of tourists have trooped--and
still troop--through the sculpture-filled galleries of the Louvre, etc., for reasons best
known to themselves.
There's no substitute for an encounter with
the objects themselves. Sculpture is after all meant to be walked around. Reminders that
these extraordinary objects exist are helpful. So here's ours.
Two caveats
1. "Where are the wimmen?" In classical Greek art, the ratio between male and
female subjects is roughly 20 to 1. We're not about to get into the gender wars here.
We're just showing the stuff as it is.
2. Some of the best surviving pieces are in
the Vatican Museum. Sadly, we don't have any of those in little little exhibit. Not
because we're anti-Catholic, but because the Church Fathers long ago saw fit to apply fig
leaves to cover all offending penises. We refuse to be a party to such childishness. Click here if you want to see one example of how such infantile
censorship mars a great work of art.
Some, of course, might say that the midi files
we've added to the pages below also mar the works of art. At least you can turn your
speakers down. But just try removing a fig leaf in the Vatican Museums and see what
happens.
Aphrodite
and Pan. 2nd Cent. B.C.E.
Aphrodite of Melos (Venus de Milo).
Apollo Belvedere. 320 B.C.E.
Apollo of Tenea. 550 B.C.E.
Apollo Sauroctinius. 4th Cent. B.C.E.
Borghese Boxer. 3rd Cent. B.C.E.
Boy with Thorn.
Boy with Thorn 2.
Crouching Aphrodite. 4th Cent. B.C.E.
Demeter. 6th Cent. B.C.E.
Discobolos (The Discus Thrower). Front.
Discobolos (The Discus Thrower). Back.
The Dying Gaul. 240 B.C.E.
Farnese Hercules. 320 B.C.
The Fillet Binder. 5th Cent. B.C.E.
Hermes Seated. 4th Cent. B.C.E.
Hermes Standing. 4th Cent. B.C.E.
Hermes and Dionysos. 4th Cent. B.C.E.
Kouros. 600 B.C.E.
Laokoon.
Lysippos. 4th Cent. B.C.E.
Medici Aphrodite. 4th Cent. B.C.E.
Narcissus. 410 B.C.E.
Nike of Samothrace (Winged Victory). 3rd Cent. B.C.E.
Nike Adjusting Her Sandel. 5th Cent. B.C.E.
Satyr Holding Dionysos.
Strangford Apollo. 500 B.C.E.
Wounded Amazon. 4th Cent. B.C.E.
Wounded Warrior. 600 B.C.E.
Zeus. 450 B.C.E.
How many voices of humor and hope
do you encounter on the Internet?

We need your support.
Thank you.
Send this page to a friend.
Magellan's
Log VIII
Magellan's
Log front page
|