The Myths shall never die                    Crystal GERMAin

Ancient Greek beliefs revolved around a hierarchy of gods and goddesses. Many of the sculptures during this period represented mythical gods and heroic warriors. Even though many of the sculptures were ruined, Greek mythology never died and is seen later in history. This gallery represents interpretations of Greek mythological sculptures created between the 17th and 20th century. 

Created in the 19th century, Thorvaldsen's sculpture depicts the Greek myth of Hebe, the goddess of youth, who was responsible for pouring the drink of immortality to other Greek gods. His interpretation shows several features seen in Greek art that show the ideal representation of the human form. Hebe is sculpted fully clothed in a relaxed pose that was known to the Classical period. The weight of the sculpture is placed on one leg with the other bent to resemble movement or an active pose that revolved from the Archaic period. The curved lines within the drapery show the light natural flow of the garment. He also give emphasize to the natural body features underneath and is seen in the form of the breast and knee that progressed during the High Classical period. Her skin is sculpted smooth and her face shows a calm expression, which was also seen in Classical Greek art.
Created in the 20th century, Bourdelle's sculpture depicts the Greek myth of the half god Hercules and one of his labors with Stymflides. Inspried by Archaic Greek sculptures, Hercules is presented in a very similar warrior stance as the Archer statue featured in the pediments of the Temple of Aphasia. The curved nature of the bow and the drawback of Hercules' arm gives the statue a sense of motion and seeming as the image was created to be the exact time of the release of the arrow. The pattern of the varying directions of curved lines over the entire statue represent athletic masculinity that was known to all Greek God and warrior sculptures. The statue is also created in a very disproportion manner to the actual human body, as seen with the comparison of Hercules' hand that drew back the bow and his head. The statue is also braced by the rock foundation rather than being completely freestanding as seen in Archaic Greek art as well.
Created in the 19th century, Gibson's sculpture depicts the Greek myth of Hylas being taken captive by the water nymphs (naiads) because of his beauty. Gibson draws off of several different aspects seen from Archaic to Late Classical art in Ancient Greece to complete his sculpture. Halas is shown with very little muscular definition which was known to the Archaic era. However, the slight curved lines representing the female form of the breast and the nymphs shown naked but covered by pieces of garment displaying modesty was seen in Late Classical Greek art when Goddess were first displayed naked. Even though the unity of the sculpture represents an erotic scene, only a calm expression known to the Classical art era is given to both Hylas and the nymphs.
Created in the 19th century, Barye's sculpture depicts the Greedk myth of Theseus preparing to defeat the Minotaur that King Minos sacrifices Athenian youths and maidens to each year. Done in a neoclassical style, Barye's sculpture is inspired by the Classical art of Ancient Greece and features are seen in many aspects of his statue. The statue itself displays movements as seen in the curve lines representing the arched back of the Minotaur that is about to fall, as well as the overall asymmetrial proportion that favors the right side of the statue. Even though the statue represents a fight, the facial expression given to Theseus resembles a calm essence that was known to the Classical era. Barye also emphasizes the masculinity of both Theseus and the Minotaur through the various curved lines used to depict life-like muscle tone throughout the entire sculpture. However, the most defined aspect that signifies the art seen in Ancient Greece is the arrangement of Theseus' hair that was copied from the Greek statue the Apollo de Piombino.
Created at the end of the 19th century, Montford's sculpture was inspired by the Greek myth of Atalanta's race and her defeat by Hippomenes and she is depicted holding the very apple that caused her defeat. Montford's statue takes aspects seen in Greek art from early to Late Classical styles. The statue itself is positioned in the relaxed life-like contrapposto pose that is seen in Classical Greek art, as Atalanta is positioned with her weight on one leg and the curvature of lines representing the shift of her hip to display the weight distribution. Her other leg is seen lifted as well to give the statue a sense of movement. We can also see that Montford's statue is an amalgamation of the three styles known to Ancient Greece from the smooth texture given to represent the idealistic nature of the skin that was first seen in Classical art, the curvature lines shown to represent the human form seen in the breast and her head positioned to the side of the engaged leg seen in the High Classical era, and Atalanta being sculpted nude which was first seen in the Late Classical era.
Created in the later 19th century, Mackennal's sculpture was inspired by the Greek mythological sorceress Circe. It depicts Circe with her arms out as if she is casting a hypnotic spell, such as was done to Odyssesus' crew when they arrived on the island of Aeaea after the destruction of Troy. Similar to the Archaic ear in Ancient Greece, Mackennal displays the statue in a very stiff pose with the legs together using very little negative space between them. However, Mackennal utilized features from Classical to Late Classical Greek art to render the realistic beauty of the female form. The glare of the statue represents the smoothness that reflects the natural beauty of the female that progressed during Classical art in Greece. Even though sculpted in a stiff manner, to represent the female form known in the High Classical era the usage of rounded curves emphasize the flow of the hips and form of the breast and knees. However, Circe is also sculpted nude which was first displayed during the Late Classical period when the first Goddess was sculpted nude.
Created in the 17th century, Kern's sculpture was inspired by the goddess' of Greek mythology and depicts The Three Graces. Taken from the art of the Late Classical era in Ancient Greece, Kern displays the goddess in a more natural essence rather than idealistic form. Emphasizing more off of the contrapposto relaxed pose, Kern's usage of curvature throughout the sculpture displays the natural form of the female stomach, buttocks, and cheeks. The line displayed on the far left figure's back also emphasizes the natural flow of the spine as well. Pulling from the Hellenistic era, Kern's sculpture also displays individualized joyful emotion that is seen in the facial features of the two forward facing figures and the overall unity of the sculpture.
Created in the 20th century, Robin's sculpture depicts the Greek myth of Orpheus playing the lyre with great misery after the loss of his beloved wife Eurydice. Robin's statue displays a very Archaic nature. The sculpture itself, even though a sad moment, shows Orpheus' muscularity. However, such as seen in Archaic Greek art, attention to the actual human form is lacking. This can be seen in the curvature given to the torso. The sculpture itself is not proportion in scale either, which is seen with the comparison of Orpheus' hand being larger in proportion to his head. As seen being supported by the rock formation to the side and bottom, the statue is not self-standing either, which was also a big element seen in Archaic Greek art.
Created in the 17th century, Marsy's sculpture depicts the Greek myth of Boreas, the God of the North Wind, as he kidnaps Orithyia, King Erechtheus' daughter. The two figures being intertwined give a sense of motion to the statue. Marty also depicts both Boreas and Orithyia naked and represents the natural form of their body. Geometric lines given to Boreas show his swelling veins representing muscularity that progressed in Classical Greek art and the shinny texture given to Orithyia represent her smooth skin seen in High Classical art. However, even though shown naked, the drapery intertwined between the two figures give modesty to Orithyia which is known to Late Classical Greek art when the first Goddess was sculpted nude.
Created early in the 19th century, this sculpture represents the Greek myth of Niobe and depicts one of her seven children pulling his cloak over his head to protect him from the God's deadly arrows. This piece is drawn off of several eras of Greek art and is considered to be a masterful forgery. The head was sculpted form the Niobid group and seen in the face alone are several Greek qualities. The open eyes are a representation from the Archaic art era, the broad facial features are noted to the progression of the Classical art era, and the scared emotional expression is drawn from Hellenistic period. Sculpted from the Greek sculpture of Apollo, the curvature lines in the torso represent great masculinity that was given to the sculpted Gods and warriors in throughout Greek art as well; however, the lack of extreme definition in the muscularity shows it was drawn more from the Archaic era.
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This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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