• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Problems and features of temple sculpture - The Greeks built temples for display. They were meant to impress and provide great beauty for all to see.

Extracts from this document...


Problems and features of temple sculpture The Greeks built temples for display. They were meant to impress and provide great beauty for all to see. When artists were employed to sculpt features on temples there were several problems that they had to take into consideration, friezes, metopes and pediments. One of the first problems the artists confronted were metopes. These were placed just inside the entrance. The reason for metopes being difficult for artists to make were their rectangular shape and only one caption could be used and would have to be instantly recognisable to the observer. The figures would also have to be in the right proportions. The Herakles and the Kerkopes metope from Temple C at Selinus is a quite successful example of a metope. ...read more.


However the figures are not particularly lifelike which spoils the effect of the metope, if they were more realistic this would enhance the image. Friezes were another problem for artists they ran along the outside of the temples and were a predominant feature, but were also difficult to design successfully. The difficulties with friezes were that they were long and narrow, therefore fitting the characters in and in the correct proportions was hard. Again, a scene would have to be identifiable instantly. The frieze of Siphnian Treasury, portraying the Battle of gods and giants is what I think to be an excellent example of a frieze. As the frieze was made out of marble finer detail could be added, this was good because the more detail the greater the realism. ...read more.


The problems that the artists faced with the pediments were there unusual shape, triangular. Also, a scene had to be fitted in the correct proportion, have a consistent scale and be identifiable. In the west pediment of the Temple of Aphaia at Aegin the artist has cleverly shown The Greeks fighting the Trojans. This scene is in mid action with Athene standing domineeringly in the centre of the pediment. This symbolises the power of the gods, watching over the struggle. As the area slopes down to the corners the artist has got the men kneeling, falling down and dying filling the space. I think this pediment shows an amazing battle scene and is very interesting. Generally I feel that the artists of temple sculpture managed to overcome these problems and made beautiful and very attractive historical pieces of art. Cecily Wearne US1Y ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Art & Design section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Art & Design essays

  1. How have beauty and the grotesque been portrayed in art?

    Graham Sutherland died in 1980. Sutherland uses abstraction masterfully to conjure a grotesque image of Christ. Strict contortion of the face (as we have observed in Da Vinci's work) makes a particularly painful and striking effect. The fact that the figure is compiled of large blocks of various colours and

  2. Surrealism - artists and techniques.

    The two other statues, one in front and one behind are surrounding the statue in the middle, so it looks like the statue in the middle is restricted, and the two other statues are looking down on the statue in the middle.

  1. What was new about Michelangelo's treatment of religious themes in sculpture?

    Michelangelo's work, although magnificent, is almost comic in its nature. The work undoubtedly shows the drunkenness of Bacchus, as the figure staggers uncertainly and the dilated pupils show undisguised intoxication. The figure uncertainly raises a goblet in a toast to the spectator.

  2. On the History Of Sculpture

    Sculptors often add texture to their work through the use of different materials that can be pounded, molded, carved, or shaped into a three-dimensional form. However, the material typically used by a culture depends upon what is readily available geographically, such as the wooden idols in Africa, or the marble statues in Rome.

  1. An Except from The Decay of Lying by Oscar Wilde discussion

    There are many forms of reality, what may be considered real to me may be considered impartial to another. But that is not because my reality does not exist but instead because another can't understand my concept of reality. Therefore through art we express what is closest to our own

  2. Self, Body and Portrait

    Tuscan Goldsmith Benvenalo Cellini wrote a lively story of his own life, which was enriched by many details of his fellow artists and patrons. In the same century, both Catholic and Protestant theology emphasised the importance of self - examination and self awareness.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work