A Study in Contrapposto

Greek and Roman

Greek and Michelangelo

Grave Stele of Hegeso – Classical Greek Major Points of Style:

1. Spatial Depth – through overlapping, through the ¾ view of the figures, through varying the depth of carving - see servants left art and lid of the jewelry box.

2. Framing – Figures are placed outside the “frame” – a temple like form with pillars and a pediment.

3. Contrapposto – seen especially in the servant at left, has an elegant, restful look.

4. Organic draperies – clothing follows the contours of the body to reveal the form.

Contrast of Classicism (roundels above) and Constantine’s Style Detail of Arch of Constantine , Rome, c. 313 AD

Christ the ShepherdEvidence of Roman style

into Early Christian.

Polykleitos, Spearbearer, “Canon” Augustus, 14 BC,

Michelangelo never saw the Riace Bronze, but understood the underlying concepts of contrapposto and of inner tension but outer control through studying other works in the Vatican

Collection.

The Epitome of Contrapposto in Michelangelo Sistine Chapel, Rome 1508 -1512

Prophets and Sibyls, Isaiah left. Sibyl from Delphi

Detail of the Delphic Sibyl

A study in the expression of fear or “terribilito” as it was called in Michelangelo’s day

Sistine Chapel, Rome - Studies in Contrapposto – extreme counter-movement

The “ignudi” near the Drunkenness of Noah scene. Jonah looks to God Separating Light from Dark.

Hellenistic Relief, Temple of Zeus, Pergamum 2nd century BC

Jonah from the Early Christian Era and Michaelangelo’s Jonah –

Sistine Chapel