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ATHENE & MARSYAS

ATHENE & MARSYAS. THE BASICS. sculpted by Myron. c.450 BC. originals were bronze. Athena = 1.73m tall Marsyas = 1.59m tall. the origin sculpture sat on the Akropolis. the original survives in fragments and the group is reconstructed from surviving Roman copies.

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ATHENE & MARSYAS

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  1. ATHENE & MARSYAS

  2. THE BASICS • sculpted by Myron. • c.450 BC. • originals were bronze. • Athena = 1.73m tall • Marsyas = 1.59m tall. • the origin sculpture sat on the Akropolis. • the original survives in fragments and the group is reconstructed from surviving Roman copies.

  3. THE STORY BEHIND THE SCULPTURE • Athene invented the aulos (double flute) • while playing the aulos she saw her puffed cheeks in a reflection and threw away the flute in disgust. • Marsyas rescued and mastered the flute despite being warned not to by Athene. • Marsyas challenged Apollo (the god of Music) to a competition. • he lost this challenge when Apollo played his lyre upside down – Marsyas couldn’t do this. • for his hubris (contempt of the gods) Marsyas was strung up and flayed alive.

  4. THE POSE • is one of action. • figures posed with the freedom that bronze allowed. • the set piece has only one viewpoint and that is from the front: they appear thin if viewed from the side.

  5. THE POSE • the two separate figures are linked be their COMMON GAZE down at the pipe. Without this connection the two individuals would appear unrelated. • contrast of VERTICAL and OBLIQUE lines.

  6. MOVEMENT • movement very innovative and complicated. • Myron is more concerned with • the movement of the bodies. • the capturing of a rhythmos. • the two movements contrast each other (quiet dignity vs. violent recoil) and capture the moment extremely well.

  7. ATHENA • walking away but turns to warn Marsyas. • this turn twists her body: her head profile while her torso remains frontal. • she is a youthful figure with … • a Corinthian helmet • a fluted peplos. • a belt around her middle • she probably held a spear in her right hand. • varied in depth and direction in the folds of her drapery. • the outline of her knee and breasts visible. • emotion shown through gesture rather than face. • quiet, dignified pose compared with violent reaction of Marsyass. • similar to the Mourning Athene.

  8. MARSYAS • shown in three-quarter view. • caught between moving back (because of Athena’s warning) AND moving forwards (to pick up the flute). • he leans back with his weight on the bent left leg. • his right arm is raised in surprise. • he is trim and his muscles are firm. • his hair is more naturalistic. • his grotesque face is contorted similar in a grimace similar to that of the centaurs from the Parthenon metopes.

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