The Myron Discobolus, also known as the Discus Thrower, is a famous ancient Greek sculpture that depicts a man in the midst of throwing a discus. The sculpture was created by the Greek sculptor Myron in the 5th century BC, and it is considered one of the greatest works of ancient Greek art.
The Myron Discobolus is a life-sized sculpture made of bronze, and it is thought to have originally been part of a group of sculptures that decorated the entrance to the stadium at Delphi. The sculpture depicts a naked, athletic man in the midst of throwing a discus. His body is tense and his muscles are flexed as he prepares to release the discus, and his face is contorted in concentration.
One of the most impressive aspects of the Myron Discobolus is the way in which Myron captured the human form in motion. The sculpture is incredibly lifelike and realistic, and it captures the moment of tension and release that is so characteristic of the discus throw. The man's muscles are carefully sculpted and his body is perfectly balanced, and this helps to give the sculpture a sense of dynamic movement.
In addition to its technical mastery, the Myron Discobolus is also notable for its cultural significance. The discus throw was a popular event in the ancient Olympic games, and the sculpture serves as a testament to the physical and mental discipline required to excel at this demanding sport. The sculpture also reflects the importance of physical fitness and athleticism in ancient Greek culture, and it has become an enduring symbol of this cultural ideal.
Today, the Myron Discobolus is one of the most famous and well-loved works of ancient Greek art. It has inspired countless imitations and adaptations, and it has come to represent the enduring beauty and power of the human form. Whether viewed as a masterpiece of art or as a symbol of ancient Greek culture, the Myron Discobolus is a truly remarkable work that continues to captivate and inspire people all over the world.
Discobolus
However, the ancient technique of discus-throwing may have been rather different: there is no representational evidence for anything more than a three-quarter turn, rather than the two and a half turns used today, and this may be one factor making a direct comparison difficult. The Italian archeologist Carlo Fea identified the sculpture as a copy from the original of Myron. It is also highly recognized on the international scale as a major sporting activity which is highly favoured among many. Whichever principle is followed to guide the selection and arrangement of the facts, the study cannot follow it to the entire exclusion of the other. Armand and Ca' d'Zan. Myron's Discobolus was long known from descriptions: "When you came in the hall," he said, "didn't you notice a totally gorgeous statue up there, by Demetrios the portraitist? The statues of athletic victors from his hand could be seen at Olympia and at Delphi.
Discobolus By Myron (Ancient Greek Art) Analysis And Research Example
Myron is often credited with being the first sculptor to master this style. This Grecian work of art is renowed for its contribution to the contraposito form of sculpture. Depictions of discus throwers were almost always caught in this moment of near-standing, with the discus clutched in both hands. Sculpting in bronze, he was noted for his animals of which no examples have survived and for his athletes in action. Quintilian himself declares that to find fault with the Discobolus argues a lack of appreciation of art. Your hand must be spread wide but not strained.
This was almost always employed when the copyist, as frequently happened, was working out a marble copy of a bronze original. Also there is very little emotion shown in the discus thrower's face, and "to a modern eye, it may seem that Myron's desire for perfection has made him suppress too rigorously the sense of strain in the individual muscles," Clark observes. What would you do? There he could see a variety and grace of texture and of folds such as no draping of a model in unfamiliar garments and materials could ever have suggested. We must, therefore, assign the artistic activity of Myron himself to the first half of the fifth century. This picture is connected to the starfish with the eye in the center of it. The Discus Thrower is really designed to be seen only from the front. Myron as she opened the sliding door.
The other trademark of Myron embodied in this sculpture is how well the body is proportioned, the symmetria. The torso shows no muscular strain, however, even though the limbs are outflung. Townley Discobolus After the discovery of the Discobolus Palombara a second notable Discobolus was excavated, at Hadrian's Villa in 1790, and was purchased by the English antiquary and art dealer established in Rome, Thomas Jenkins, at public auction in 1792. Such an inference is borne out by some other works of the master, such as his group of Athena and Marsyas, and especially his Ladas, a statue of a runner poised on tiptoe just as he reached the goal, a work of which only literary accounts are preserved. In still further subordinating facial expression, Myron is but following the great law of concentration, which is recognized in all great art. Often one copy was made from another, and sometimes the copyists did not hesitate to alter the originals in details, so that many of their productions are reflections rather than copies, in any exact sense. Looking at the statue, it may be observed that the pose it holds is anatomically impossible.
Also there is very little emotion shown in the discus thrower's face, and "to a modern eye, it may seem that Myron's desire for perfection has made him suppress too rigorously the sense of strain in the individual muscles," Clark observes. Here again the social surroundings of the Greek artist gave him an immense advantage over all others. It was shipped by rail to Munich and displayed in the Glyptothek; it was returned after the WW II in 1948 and placed in the Museo Nazionale in 1953. After the discovery of the Discobolus Palombara a second notableDiscobolus was excavated, at Hadrian's Villa in 1790, and was purchased by the English antiquary and art dealer established in Rome, Thomas Jenkins, at public auction in 1792. The Discobolus of Myron "discus thrower", Greek: Δισκοβόλος, Diskobólos is a Greek sculpture that was completed toward the end of the Severe period, circa 460—450BC.
Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. The artist has caught the athlete in the culminating act of throwing the disk, rendering his body in a complicated torsion full of life. Myron, when sculpting, was more interested in showing action than anything else. His most representative work was probably Diskobolos, described by Quintilian and Lucian, of which inadequate copies can be seen in the British Museum, the Vatican, and the National Museum in Rome. It was instantly famous, though the Massimo jealously guarded access to it Haskell and Penny 1981:200.
The starfish is the central symbol of The Star Thrower. The potential energy expressed in this sculpture's tightly wound pose, expressing the moment of stasis just before the release, is an example of the advancement of Classical sculpture from Archaic. He was supreme in capturing the moment of action, since he focused on this aspect of his statues more than anything else, even the beauty of just a resting athlete. Wind and waterpower for milling grain have also been used nearly as long. Myron is often credited with being the first sculptor to master this style.
This was because no one particular set of muscles was over-developed, with the result that their proportions were harmonious. One fragmentary copy was completely misunderstood by the sculptor to whom it was handed over and restored as a fleeing Niobid! His son Lycius was employed on an important public commission, the statues set up by the knights of Athens at the entrance to the Acropolis, about 446 B. The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, and smaller scaled versions in bronze. Only one has a head, which has never been broken off and which shows the original position, as it is described by Lucian. The muscles appear about as natural as those in the contemporary Olympian pediment sculpture, and yet this is a single figure. Examples of the Discobolus of Myron include: - Discobolus Palombara now in the Museo Nazionale Romano, Rome. Origin: Museo Vaticano Subject info: The Discobolus "discus thrower" is a famous Roman marble copy of a lost Greek bronze original of Myron completed during the zenith of the classical period between 460-450 BC.
The English connoisseur Charles Townley paid Jenkins £400 for the statue, which arrived at the semi-public gallery Townley commissioned in Park Street, London, in 1794. If it were not for the formal locks of hair, the rather expressionless face, and some ancient evidence, which fixes the career of Myron in the first half of the fifth century, the statue might well be regarded as a work of the great age of Greek sculpture. Giovanni Becatti, The Art of Ancient Greece and Rome New York, Harry N, Abrams, Inc. Yet the artist is no less dependent upon external circumstances for the occasion and the material of his works. Typically an athlete would be portrayed in a poised stasis, but Myron pushed the boundaries of sculpting in his quest to display the athlete dynamically and fluently. In the Discobolus, the clear lines of demarcation are not inconsistent with a correct and skilful modeling of the surface.
