Archaic Male Freestanding Statue

Cheat Sheet

The Basics

Prescribed examples probably grave markers.

Kouroi in marble have stiff upright pose, faces rigidly looking straight ahead, weight evenly distributed between both
legs, one of which is in front of the other, perhaps to suggest walking but both feet flat on ground.

Emphasis on symmetry with entire body vertical and eyes, chest, waist, knees all parallel to ground.

Main view from front, side and back views being separate and subsidiary with little attempt at transition.

Minor differences in hairstyle but predominantly similar in emphasis on regular symmetrical curls and beaded
pattern continuing down neck to provide added support (EXCLUDING ARISTODIKOS).

Differences – NYK vs ANA

Main difference is in representation of musculature – the New York kouros has a relatively flat surface reminding of
stone block from which carved divided up by pairs of repeated patterns to suggest chest, abdomen, knees, and
elbows.

Anavyssos kouros has more rounded forms suggestive of youth in his prime and possibility of animation;
development also in face.

New York kouros has elongated form with large patterned eyes and no sense of structure.

Anavyssos kouros has more natural shape with more realistically proportioned eyes and some suggestion of
structure to chin.

Innovation in archaic statues

Poses and proportions, for example the Aristodikos Kouros with his hair short and arms lifted away from the support
of the body.

Therefore, you could say that the sculptor of Aristodikos Kouros created a bold piece with unusual features.

However, as a whole you could say they were not innovative or bold because they continued to use standard
features, ‘safe’ traditional poses and common subjects for example the archaic smile, and use of deities as subject
matter.

Example Question – Analysis

‘Regular, repetitive and boring.’ How far do you agree with this assessment of the archaic art?

Regular: the use of symmetry in facial and bodily forms in Kouroi

Repetitive: the use of the same stance in the kouros

Boring: this is up to the opinion of the candidate and what they may find aesthetically pleasing; BUT there is
variation of both form and pattern in all areas of archaic art
 (Relevant) Expert Opinions

General

“Not all the artwork shows the body naked but a lot of it does. For the Greeks the body had almost entirely positive
connotations: there was no shame.” Dr. Ian Jenkins

“Laughter destroys the body and is testimony to lack of control- [that] is one explanation for why there is almost no
laughter in ancient Greek sculpture.” Vasso Kindi

“We no longer look on a ‘real man’; we cannot square the over-developed architectural musculature with the clear
skin of the face, we know we look at a construct.” Robin Osborne

Archaic

"The interplay of mass and void makes the statue much more interesting visually" - Susan Woodford on the New
York Kouros (590-580BCE)

“The overriding impulse of archaic art was to formalize, to pattern, to remake nature in order to make it intelligible.”
– Hurwit on New York Kouros (590-580BCE)

“Stewart suggests that their boots may mark them as “farmers or travelers,” while their muscular physiques “remind
one of the oxen whose places they took in Herodotus’ story””- Charles C. Chiasson on Kleobis and Biton

"The sensitive swelling of the cheeks, the subtle modelling around the eyes and mouth give the face a radiant
expression." - Susan Woodford on Anavyssos (520-510BCE)

“To the Archaic sculptor, however, women were little more than clothes hangers.” John Boardman on female korai

“Breasts are admitted to exist, but not much admired.” John Boardman on female korai