Hercules Resting and Hermaphroditos Asleep, Research Paper Example

The statuette of Hercules resting placed in Louvre is one of the smaller-scale copies of a bronze statue by Lysippos (c.390- p.310 BC) whose original works did not remain. Material of statuette and its size stop specialist from specific dating, which ranges among the 3^rd century BC or the 1^st CE. Numerous copies of the Lyssipos work in marble and bronze undoubtedly prove merited recognition of the sculptor’s mastery by contemporaries.

We perceive Hercules as the heroic ideal and combatant of monsters; he stands resting on the club covered by the Nemean lion skin. The presentation of Hercules in fatigue is symbolic; it embraces all the twelve labors: the first connected with the golden apples of the Hesperides – and the last verified by the skin.

The body of Hercules is represented in highly realistic way due to extreme naturalism. It is an example of classical contrapposto (the contrasting of one half of the body to another), intensifying three-dimensional perception. “Strength, steeled and proved by exertion, is the main feature, which early Greek art already indicated in its creations, but … Lissipus especially unfolded into a form which could not again be outdone” (Westropp, 1967,p.195). The reduced proportions of the sculpture contradicted the Classical canon worked out by Polykleitos by changing the height of the head from one-eighth of the body to one-seventh.

The sculptor placed the figure in three-dimensional place to multiply the points of view for observers by positions of the arms and legs. He was obviously interested in the number of variants the sculpture gains from various perspectives. These characteristics – smaller head than in earlier Greek art, several points of view, projected out limbs – Pollitt (1986) names stylistic features of Lissipus sculpture.

The work Hermaphrodiros asleep represents a two-sexed son of Hermes and Aphrodite lying nude on the mattress with legs partly covered. The sculpture dated the 2^nd century AD belongs to the late Hellenistic period. Greek art played a significant part in its development. It is evident in multiple copies of Greek works. Executed in marble, it is presumably the copy of a Greek sleeping Hermaphroditos. The author is unknown because sculpture of that period was associated with sculpture portraits of famous statesmen.

The curves of a woman body and men physiology intrigue the viewers, confirm the tendency to theatrical settings, and highlight the intimacy of scenes. The androgynous nature of the statue is sometimes “interpreted as a half-playful, half-erotic creation, designed to illustrate Platonic and more general philosophical reflections on love” (Hermaphroditos Asleep).

In spite of firm material, the details of body and folds on a cloth are depicted clearly replenishing truthfulness to the posture. The positions of head and leg point to the drowsiness or reverie of Hermaphroditos. He is not sleeping deeply; his body is not entirely relaxed.

The author also applies contrapposto rules of symmetrical contraposition; the leg is raised and the head turned. The named details enable the viewers to perceive the figure of Hermaphroditos in the three-dimensional space the mastery of which has been developed by that time.

The named works though created in different periods vividly show the urge of the ancient artists to make the human states (sleep, smile, fatigue) of temporary emotions the principal subjects of art. Sculptors revealed those states through body sensuality inclining to conventional eroticism. Sculptures executed in such way show the human nature of deities and heroes. Art becomes more comprehensible and close to people by rejecting monumentalism and giving way to intimacy and secular viewpoints.

References

Astier, M.-B. “Hermaphroditos Asleep”. Retriefed June 18 from http://www.louvre.fr/llv/oeuvres/detail_notice.jsp? CONTENT%3C%3Ecnt_id=10134198673225803&CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225803&FOLDER%3C%3Efolder_id=9852723696500817&bmLocale=en

Pollitt, J.J. (1986). Art in the Hellenistic age. Cambridge: Cambridge University Press.

Westropp, H. M. (1967) Handbook of archaeology. London: Bell and Dadly.