Read the text for detail. Give the title of the text. Draft the abstract of the text in English.
On Delos, the marble statues of two citizens, Cleopatra and Dioskourides, now unfortunately headless, have survived in their original positions in a courtyard of the couple's house. These honorific statues, put up by Cleopatra around 140 bce when her husband Dioskourides dedicated tripods to Apollo, are standard types, heavily draped and conservative in appearance. Folds of cloth, seen through Cleopatra's upper garment, run counter to the upper folds, which lead the eye around the figure and thus suggest various viewpoints. To this extent we are in the realm of the new. But the drapery has none of the devices of the deeply cut, swirling drapery
of Pergamene baroque, and is markedly retrospective. The figures themselves are reminiscent of Classical calm and control, a far cry from the exuberance and extravagance of Hellenistic baroque.
Debate continues as to the immediacy of the impact on Hellenistic sculptors and patrons of Praxiteles' startling Aphrodite of Knidos. Praxiteles had finally uncovered the essence of the goddess of love: her body. During the Hellenistic period, this exciting theme, not unnaturally, provoked many variations; it is difficult, however, without further evidence, to date the originals of all the variants, known to us only in Roman copies. Some scholars maintain that the revealed female body—so captivating was its appearance—gave rise to adapted poses in sculpture in the later 4th century, and that the creation of modified views continued during the third. Others, however, think that while Praxiteles' Aphrodite provided the formal platform for the development of the female nude, it was not until the second half of the 2nd
century bce (i.e. coinciding with increased, indeed dominant, Roman presence in Greece) that the type became popular, and variants began to proliferate. The Capitoline Venus, a Roman copy of an original of the third or 2nd century bce, changes the goddess from a distant, confident figure into a more immediate, self-conscious type. The Crouching Aphrodite, a Roman copy of a 2nd-century original, presents an altogether new sculptural pose.
Give the definition of the following terms.
Hellenistic baroque style
Psychological portraits
Role portraits
Classicizing and baroque tendencies
Subject matter
Small-scale copies
Describe the following statues.
The Aphrodite of Melos (Venus de Milo); Eutychides' Tyche (Fortune); the portrait of Demosthenes; the Seated Boxer; the Laocoon group; the group of the Gaul and his wife; the Large Gauls; Auge and her son Telephos; Electra and Orestes.
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Translate the following text in Russian.
One group of relief panels of the 1st century bce demonstrates the interest of sculptors and patrons in echoing the styles of earlier times. The relief illustrated shows a scene with two Nikai (personifications of Victory) and a bull. Both in style and subject matter, it is a clear evocation of the sculptures of the balustrade of the 5th-century Temple of Athena Nike on the Acropolis in Athens. The theme, a procession of Nikai, is the same, while precarious postures (note the position of the left leg of the Nike at the left), clinging transparent drapery, and calligraphic rendering of folds are, if anything, even more pronounced. Thus, forms from earlier Greek art were adapted for Roman use. Since the Greek works most often used were Athenian of the Classical period, and since one center of production of such work in the 1st century was Athens, these reliefs are often termed ‘neo-Attic’.
This retrospective paraphrasing or quoting of earlier styles was not confined to reliefs, nor to Greece. Another center of production, active by the middle years of the century, was Rome. Here, two artists, Pasiteles and Arkesilaos, known to us from literary sources, led the way. A pupil of Pasiteles called Stephanos created and signed a standing male athlete which enjoyed great popularity. No fewer than seventeen replicas have survived (imagine how many there may have been), either singly or in combination with other figures. Here, the Stephanos athlete is joined by a beefy female companion who drapes her right arm over his right shoulder. How many styles (Archaic, Transitional, High Classical, Late Classical, Hellenistic) are detectable in these Classicizing figures? Sometimes taken to represent a mythological pair, Electra and Orestes, their identity and meaning doubtless varied according to their Roman context.
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