Transcript Right: Freestanding male statue from the Mausoleum at

Right: Freestanding male statue from
the Mausoleum at Halikarnassos
Below: Drawing of the Mausoleum at
Halikarnassos, c. 350-340 BC
Altar of Zeus
(Pergamon, Turkey),
c. 175 BCE
Attalos I and the
Gauls/ gigantomachy/
Pergamon in Asia
Minor
high relief/ violent
movement
Epigonos (?). Gallic chieftain
killing himself and his wife,
Roman copy after a bronze
original from Pergamon,
c. 230-220 BCE, marble
Epigonos (?). Dying Gaul, Roman copy of a bronze
original from Pergamon, c. 230-220 BCE, marble
theatrical moving, and noble representations of an
enemy/ pathos/ tubicen with a torque
Compare with
dying warrior
from the
Temple of
Aphaia
Reconstruction drawing of an
Attalid group of Gauls at Pergamon
Nike of Samothrace,
c. 190 BCE, marble
suggestion of
movement/ effect of
statuary amplified by
its setting
Alexandros of Antioch-onthe-Meander. Venus de Milo
(Melos, Greece), c. 150-125
BCE, marble
teasing the spectator
Aphrodite, Eros, and Pan
(Delos), c. 100 BCE,
marble
Barberini Faun
(Rome), c. 230-200
BCE, marble
Seated boxer (Rome),
c. 100-50 BCE, bronze
using art to appeal to
the emotions rather
than the intellect/
addressing the subject
of defeat
Old market woman, c. 150100 BCE, marble
Polyeuktos. Demosthenes, Roman copy
after a bronze original of c. 280 BCE,
marble
using art to capture a likeness and
personality/ Demosthenes/ realistic
depiction vs. an idealized one
Athanadoros,
Hagesandros, and
Polydoros of
Rhodes. Laocoon
and his sons
(Rome) early 1st
century CE,
marble
Virgil’s Aeneid/
Laocoon/ art as a
theatrical device
Jean-Baptiste
Carpeaux. Ugolino
and his Children,
1865-67, marble
fascination with
torture and despair/
Dante’s Inferno