Artworks in this gallery

• Introduction to Exhibition (2026)
• Late Geometric Attic Spouted Krater c. 730 B.C.E. Terracotta (2026) — The Late Geometric Attic Spouted Krater illustrates one of the earliest methods of representing the human form in Greek art. The figures are made up of basic geometric forms like triangular bodies and lines for limbs, which are much more concerned with stylization than realism. Organized in horizontal registers and surrounded by ornate designs, the figures are more of a symbolic component of a larger narrative scene than actual depictions of human beings. Dating back to the Greek Geometric period, this vase piece shows a culture where artists were more concerned with design and aesthetic rhythm than with the realistic observation of the human form. This piece is significant to the exhibition because it shows the beginning point of the human form in Greek art as being symbolic and highly stylized. By starting with such a simplified form of the human body, the exhibition points out the extreme artistic advancements that would soon follow as Greek sculptors began to study the human form in greater detail.
• Discobolus (Discus Thrower) Myron c. 450 B.C.E. Roman marble copy of Greek bronze original (2026) — Myron’s Discobolus is one of the most important pieces in terms of the Greek understanding of the human form during the Classical period. It is a representation of an athlete in the moment just prior to throwing a discus, with his body twisted in a pose that is very balanced and circular. While this is a very realistic representation, there is also a strong understanding of idealization in terms of the smooth surfaces and perfect proportions of muscles. This is a representation not of any individual but of the Greek ideal in terms of athleticism. This is a very important piece in terms of the artistic understanding of the human form during this time, as this is a representation of balance, proportion, and order. This is also a very important piece to include in the exhibition, as it is a representation of the balance between naturalism and idealism that is seen in Classical Greek art. In terms of the understanding of the human form, this is a necessary and important piece in terms of the artistic development of the discus thrower. Compared to the Geometric period, this is a very advanced understanding in terms of anatomy, movement, and proportion.
• Winged Victory of Samothrace c. 190 B.C.E. Marble (2026) — The Winged Victory of Samothrace is a good example of the dynamic movement and spatial interaction typical of Hellenistic sculpture. The goddess Nike is depicted standing on the prow of a ship, with her wings spread out and her clothing as if blown by a strong gust of wind. The deep folds of the clothing form strong directional lines that stress the movement and energy of the sculpture. Unlike the balanced composition of the earlier Classical sculptures, this sculpture depicts a particular moment of dynamic movement, as if the goddess has just arrived in celebration of a naval victory. This sculpture, created during the Hellenistic period when artists began to experiment with dynamic poses and dramatic compositions, reflects a new interest in movement and emotional expression. The sculpture also has a strong interaction with space, inviting the viewer to walk around the sculpture and admire it from different angles. In the context of the exhibition, this sculpture illustrates the transition from the balanced idealism of Classical sculpture to the more expressive and dynamic depictions of the human body characteristic of Hellenistic sculpture.
• Laocoön and His Sons Athanadoros, Hagesandros, and Polydoros of Rhodes Early 1st century C.E. Marble (2026) — Laocoön and His Sons is a representation of one of the most expressive forms of Hellenistic sculpture. The sculpture shows the Trojan priest Laocoön and his two sons fighting off the serpents sent by the gods. The bodies of the figures twist in dramatic diagonal lines that express a sense of intense movement and energy, while the detailed musculature and faces express a sense of physical pain and mental anguish. The sculpture engages the viewer in the narrative moment, providing a vivid representation of human struggle. Linked to the Hellenistic tradition, the sculpture represents a time when artists were pushing the boundaries of complex composition, expressive gesture, and emotional expression. The detailed anatomy and movement of the sculpture demonstrate the advanced knowledge of the human form that the Greek sculptors had developed at this stage. In the context of the exhibition, this sculpture represents the ultimate form of expressive figural representation, demonstrating how artists were able to use the human form to express powerful emotional and narrative experiences.
• Augustus of Primaporta Early 1st century C.E. Marble (2026) — The Augustus of Primaporta illustrates how the Roman artists were able to incorporate Greek sculptural traditions to convey political power. The statue represents the Roman Emperor Augustus in a contrapposto position inspired by Greek sculpture, with idealized proportions and youthful facial features that convey power and authority. The relief scenes on his armor depict symbolic images that celebrate Roman victories and the approval of the gods. Although the figure represents the Greek ideal of physical perfection, the statue has a specific Roman intention as political propaganda. The statue represents Augustus as a powerful ruler and a divinely favored leader, thus confirming the legitimacy of his rule. As an artwork in the exhibition, it symbolizes the final phase of the evolution of the human form in Greek and Roman sculpture, where the Roman artists were able to adopt the visual language of Greek sculpture to convey imperial identity and political power.

About the creator

Gavin Eidson on Galerra