Sculpture has always tended toward the humanistic and naturalistic. Depiction of the human form as it appears in nature, weather for superstitious, religious, magical or purely artistic purposes, has been a concentration for every civilization. "Coming To Life" explores the evolution of the human form, specifically as depicted through the use of sculpture. Taking into account the chronological disparity of artistic evolution between cultures, as well as their preferred artistic style, medium and, design technique, "Coming To Life" has focused on sculpture of the Mediterranean and Near East from the third Millennium BCE to the second Century CE. We see the evolution of form through specific progressive developments; archaic stylization to realism, realistic movement to the Classical idealized form, and finally the Roman realization of facial emotional expression. "Coming to life" offers a streamlined view of these distinct changes.
Cycladic violin-shaped figurine (2), Unknown, "3200-2800 BC" - "", From the collection of: Museum of Cycladic Art
Though not nearly the oldest representation of human form, the "Violin-Shaped" figurines that emerged from the Cycladic Islands in Greece throughout the Early Bronze Age (third millennium BCE), are examples of the derivative nature of early human form. Many of the Violin-Shaped figures were free of any etchings, but this one is a fine example of light engraving in an attempt to show collar bone, folded arms, pubis, and legs. The head is simply an elongated prong, a stylistic representation common to that time in the cyclades.
'Violin' figurine, -2800/-2800, From the collection of: British Museum
This Schematic type violin-shaped figurine, is an amazing representation of the evolution in artistic form. This figurine has the addition of defined breasts, arms and pubis in the attempt to not only more clearly define the piece as the representation of the human form, but to identify it as female as well. The head is again,a simple elongated prong, in the common style of the time.
Female figure, Unknown, ca. 2600 BCE, From the collection of: The Israel Museum, Jerusalem
Referred to as "folded-arm figurines", these typical Cycladic idols owe their charm to the simplification of female body form. Concentrating only on essential forms, detail would have been added by a painting in a later stage of production. It is believed they could be painted depending on their use, either ritualistically or for funerary purposes.
Mantiklos "Apollo", Unknown, about 700 B.C. - 675 B.C., From the collection of: Museum of Fine Arts, Boston
With the Mantiklos Apollo, we see a shift into imagery. this is no longer a generic human form, but potentially an identifiable representation based on specific qualities. There is an inscription on the leg, and a potential bow in his hand, making it a representation of Apollo, or a shield and spear, making it the man Mantiklos, as outlined by the inscription.
The figure represents a transition period between the rigid form and the muscular, as he is shown in attempted movement.
Standing cedar statuette of a man, -1985/-1878, From the collection of: British Museum
Coming form an Egyptian Tomb, this wooden statuette depicts a figure standing with one leg forward as well as with clothing fashionable of his time. This would be a precursor and model for the Kouroi of Naxos, Paros and Samos appearing in the sixth century BCE.
The Moschophoros (Calf-bearer)., Unknown, Around 570 BC, From the collection of: Acropolis Museum
Known as "The Calf Bearer", this figure represents definitive movement of form. The young man has one foot in front of the other, and carries a calf for sacrifice. Though man and animal are bound as a group, two distinct figures are easily recognizable with body structure and texture being well developed.
Statue of a Girl ("The Budapest Dancer"), ca. 240–220 B.C., From the collection of: Museum of Fine Arts, Budapest
Known as “The Budapest Dancer” this representation of a young girl bending forward and pulling her garment aside represents a complicated interplay of gestures. Her weight rests on the outstretched left leg, while the upper part of the body leans forward. This represents a major evolution in that there is now definitive knowledge of human anatomy and biology.
Aphrodite and Eros, unknown, 100 BC - 0 AD, From the collection of: Kunsthistorisches Museum Wien
This depiction of Aphrodite again represents how sculptors are now becoming masters. Her weight shifted to her right leg, behind her, demonstrates skeletal as well as muscular knowledge of human form. The more impressive adaptation of this period is is the representation of texture, and the fine chiton lightly draping her form.
Augustus, Unknown, 1st century - 2nd century, From the collection of: Museum of Fine Arts, Boston
Portrait of Emperor Augustus typical of the first century CE, with a Roman focus on idealized portraiture, attempting to harken back to the age of heroes. Symbolic as well as realistic detail becomes popular and well done. With smooth skin and detailed, wavy hair, the emperor would have looked even more lifelike with the original paint.
Roman Gentleman, ca. 120 C.E., From the collection of: The Nelson-Atkins Museum of Art
This portrait of a Roman Gentleman demonstrates the Roman evolution of portraiture towards 'verism'. At this time, artists attempted to make the portrait as realistic as possible, being sure to include all surface details and flaws. Facial expressions also gave a glimpse as to the subject's state of mind and personality.
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