Lysippos- ancient Greek sculptor.
Born in Sikyon. In antiquity it was claimed (Pliny the Elder) that Lysippos created 1,500 statues. Even if this is an exaggeration, it is clear that Lysippos was an extremely prolific and versatile artist. The bulk of his works were predominantly bronze statues depicting gods, Hercules, athletes and other contemporaries, as well as horses and dogs.
Lysippos was the court sculptor of Alexander the Great. A colossal statue of Zeus by Lysippos stood in the agora of Tarentum. According to Pliny, its height was 40 cubits (17.6 m). Other statues of Zeus were erected by Lysippos in the agora of Sikyon, in the temple at Argos and in the temple of Megara, and last work represented Zeus accompanied by the Muses.
An image of a bronze statue of Poseidon with one leg on a raised platform that stood in Sikyon is found on surviving coins; a copy of it is a statue resembling the image on coins in the Lateran Museum (Vatican). The figure of the sun god Helios, created by Lysippos in Rhodes, depicted the god on a chariot drawn by four; this motif was used by the sculptor in other compositions. Available in the Louvre, Capitoline Museums and British Museum copies depicting Eros loosening the bowstring may go back to the Eros of Lysippos at Thespiae. Also located in Sikyon, the statue depicted Kairos (god of luck): the god in winged sandals sat on a wheel, his hair hung forward, but the back of his head was bald; copies of the statue survive on small reliefs and cameos.
Hercules is Lysippos' favorite character. The seated figure of Hercules on the acropolis of Tarentum depicted the hero in a gloomy mood after he had purified Augean stables: Hercules sat on a basket in which he carried manure, his head rested on his arm, his elbow rested on his knee. Fabius Maximus took this statue to Rome after taking Tarentum in 209 BC, and in 325 AD Constantine the Great transported it to the newly founded Constantinople. Perhaps the Hercules we see on coins from Sikyon goes back to a lost original, copies of which are both the Farnese Hercules in Naples and the statue signed with the name of Lysippos in Florence. Here we again see the gloomy Hercules, dejectedly leaning on a club, with a lion's skin draped over it. The statue of Hercules Epitrapedius, depicting the hero “at the table”, represented him, according to the descriptions and many existing repetitions different sizes, sitting on the stones, with a cup of wine in one hand and a club in the other - probably after he ascended to Olympus. The figurine, which was originally a table decoration created for Alexander the Great, was subsequently seen in Rome by Statius and Martial.
The portraits of Alexander created by Lysippos were praised for the combination of two qualities. Firstly, they realistically reproduced the model’s appearance, including the unusual turn of the neck, and secondly, the courageous and majestic character of the emperor was clearly expressed here. The figure representing Alexander with a spear appears to have served as the original for both the herm formerly owned by José Nicolas Azar and the bronze figurine (both now in the Louvre). Lysippos depicted Alexander on horseback, both alone and with his comrades who fell in the Battle of Granicus in 334 BC. An existing equestrian bronze statue of Alexander with a stern oar under his horse, perhaps an allusion to the same battle on the river, may be a replica of the latter statue. Other portraits by Lysippos included that of Socrates (the best copies are perhaps the busts in the Louvre and the Museo Nazionale delle Terme in Naples); portrait of Aesop; there were still portraits of the poetess Praxilla and Seleucus. Together with Leochares, Lysippos created for Craterus a group depicting the scene of a lion hunt, in which Craterus saved Alexander's life; after 321 BC the group was dedicated to Delphi.
Apoxyomenes, an athlete scraping off dirt from himself after exercise (in antiquity they used to anoint themselves before athletic activities), was subsequently placed by Agrippa in front of the baths he built in Rome. Perhaps its copy is marble statue in the Vatican. With a scraper held in the left hand, the athlete cleans the outstretched right hand. Thus, left hand crosses the body, which was the first case of reproducing movement in the third dimension that we encounter in ancient Greek sculpture. The head of the statue is smaller than was traditionally accepted early sculpture, facial features are nervous, thin; Hair disheveled from exercise is reproduced with great vividness.
Another portrait image of an athlete by Lysippos is the marble Agios found in Delphi (located in the Delphi Museum); the same signature as under it was also found in Pharsal, but no statue was found there. Both inscriptions list the many victories of Agius, the ancestor of the Thessalian ruler Daoch, who commissioned the statue, and the inscription from Pharsalus lists Lysippos as the author of the work. The statue found at Delphi resembles Scopas in style, who in turn was influenced by Polykleitos. Since Lysippos himself called Doryphorus Polycletus his teacher (whose angular proportions he, however, rejected), it is quite possible that he was also influenced by his older contemporary Scopas.
Lysippos is at the same time the last of the great classical masters and the first Hellenistic sculptor. Many of his students, including his own three sons, had a profound impact on the art of the 2nd century BC.

Sculptures of Lysippos:

"Resting Hermes", sculpture made by Lysippos. Not preserved. Known from a Roman copy kept in the National Archaeological Museum of Naples.

Hermes

Satyr with baby Dionysus

Praxilla

Muse

Poseidon with a dolphin

Eros

Eros drawing a bow

"Eros Stretching the Bow", sculpture made by Lysippos. Not preserved. Known from copies. One of the copies is stored in State Hermitage, Saint Petersburg.
Eros is depicted as a teenager, whose body has already acquired some angularity, but has not yet lost the childish softness of its forms. The young god pulls the string on his bow. With complete naturalness and life-like truthfulness of the pose, Lysippos created a complex spatial composition in which parts of the figure are located in different intersecting planes. Thanks to this, the image acquires special dynamism.

One Hundred Great Treasures.
Sarcophagus of Alexander the Great

Lysippos. Lifetime
sculpture of Alexander, 4th century. BC.

If the turbulent life of Alexander the Great is known to us in more or less detail, then his death at less than 33 years old remains a mystery: did he die a natural death or fell victim to a conspiracy? Some historians (I.G. Droizen, P. Clochet and others) reduce the causes of the king’s death to illness: Alexander’s body was exhausted by inhuman stress and could not withstand malaria. According to this version, Alexander the Great, upon returning to Babylon, fell ill with oriental fever in some special severe form, from which he soon died.

This version was questioned even by ancient historians, and some of them left us information about violent death great commander. So, for example, according to one version, Alexander fell ill with a fever after repeated feasts at Media. The ancient historians Flavius ​​Arrian, Plutarch, Diodorus and Justin write about this, differing with each other only in their views on the course of the disease.

Diodorus wrote that Alexander the Great, having drunk a large cup of wine, suddenly (as if struck with a strong blow) screamed loudly and groaned. His friends carried him out in their arms, put him to bed and sat with him all the time. The disease intensified, but the doctors could not help the Macedonian king. Justin, confirming this information, definitely states that the matter is not an oriental disease, but an insidious murder...

Alexander on his deathbed

So far, not a single material monument has been found that directly indicates the date of death of Alexander the Great (as well as the date of his birth). The evidence that has reached us from ancient authors is ambiguous and insufficiently definite: some historians call the date of death of Alexander the Great only by the month in the language ancient calendar(without indicating the year of any era), others, on the contrary, only the year - the 113th or 114th Olympiad. It is impossible to accurately translate ancient calendar dates into the Julian calendar, since our knowledge in this matter is incomplete. Therefore in historical literature you can find more than ten different dates death of Alexander the Great Julian calendar- from May 324 to September 323 BC.

Head of Alexander the Great

As soon as Alexander the Great died, disputes and strife began over his inheritance. The military leaders and nobles began to quarrel among themselves: seven days passed, and his body remained unburied. Finally, the body was embalmed, placed in a golden coffin, and a royal crown was placed on the head of the deceased. Alexander the Great was temporarily buried in Babylon, but for another two years the companions argued about where to take the golden sarcophagus of their former master on the triumphal chariot.

Then the sarcophagus was dug up and sent to Macedonia, but in Syria, Ptolemy I attacked the funeral cortege, took the “trophy” and transported it to Memphis, where he buried it near one of the ancient temples of the god Amun. True, other historical evidence suggests that the high priest of Memphis opposed the burial of the body of Alexander the Great in the city: “It cannot be left here. Take him to the city built near Rakotis. For his burial place will be unlucky, marked by wars and bloody battles.”

Bourdon. Sebastian - Augustus before the tomb
Alexander the Great

When the body of Alexander the Great arrived in Alexandria in a luxurious boat, Ptolemy ordered the embalming to be repeated, the body was placed in a new sarcophagus, which was installed in the mausoleum on central square. Flavius ​​Arrian describes the funeral procession moving through the streets of Alexandria:

“A chariot with golden spokes and rims on wheels was drawn by 8 mules, decorated with golden crowns, golden bells and necklaces of precious stones. On the chariot stood a structure cast in gold, resembling a palanquin with a vaulted dome, decorated on the inside with rubies, emeralds and carbuncles.

Four paintings hung inside the palanquin. The first depicted a rich chariot of skillful workmanship, in which a warrior sat with a scepter in his hands. The chariot was surrounded by guards in full armor and a detachment of Persians; warriors of the ancient Greek heavily armed infantry walked in front.

The second picture showed a line of elephants in battle dress; Indians sat on their necks, and soldiers from the army of Alexander the Great sat on their rumps.

The third painting depicted a cavalry detachment maneuvering during a battle.

The fourth picture showed ships in battle formation, ready to attack the enemy fleet visible on the horizon.

Under the palanquin was a square golden throne decorated with relief figures; Golden rings hung from it, into which were threaded garlands of fresh flowers, changing every day. When the rays of the sun fell inside the palanquin, the precious stones of the dome sparkled dazzlingly and illuminated the heavy golden sarcophagus in which the body anointed with incense rested.”

Over the course of many centuries, archaeologists from many countries have made more than 100 attempts to trace the tomb of Alexander the Great. Many of them were convinced that great king He was buried in Alexandria. The researchers relied on historical facts, which confirmed that after Alexander’s death, many prominent people came to worship at his tomb. When the Roman Emperor Augustus arrived in Egypt to personally punish the rebellious Antony and Cleopatra, he (on learning of their suicide) demanded to be taken to the tomb of the greatest of the Macedonians. However, for some reason the famous commander of antiquity was already lying in a glass sarcophagus...

Caesar Caligula owned the shield of Alexander the Great, which he (according to legend) took from a burial place during one of his Egyptian trips. However, not a single historical chronicle indicated where the tomb of the invincible commander was located. Maybe that's why all attempts to find her ended in vain.

Golden sarcophagus, glass... And there is also a marble sarcophagus from Sidon, widely known as the “Sarcophagus of Alexander”. It is a work of Hellenic masters from the late 4th century. On one of its longitudinal sides, the battle of Alexander the Great with the Persians is depicted in high relief.

Sarcophagus of Alexander from Sidon. Marble. Around 325-310 BC Archaeological Museum. Istanbul

“The battle was hot on both sides, the Greeks and Persians mercilessly killed each other. Everyone got angry and fought like fierce animals. The Macedonians and Greeks rushed at the Persians with such desperate fury that Darius himself was confused and did not know what to do. Near his chariot there were already piles of dead.”

These scenes of this battle were depicted on the “Sarcophagus of Alexander”. The large composition consists of figures full of movement, very convincingly conveying the height of the fight. The figures of the fighters are full of strength and energy; the lifeless bodies of the dead seem in sharp contrast to them. The ancient sculptor carefully conveyed the differences in clothing and weapons of the Persians and Greeks, only one of the heroically fighting is represented naked.

The figures depicted on the sarcophagus were very well preserved; only parts made of metal and some parts of the warriors’ weapons were lost. The value of the “Sarcophagus of Alexander” also lies in the fact that the polychrome on it is well preserved. The palette that the master used when painting the sarcophagus was very rich: he used lilac, purple, blue, yellow, reddish and brown paint. The saddlecloths of the horses are marked with paint, the clothes and weapons of the warriors, as well as their hair and eyes are colored with them. It was thanks to polychrome that the impression of a lively, concentrated gaze was achieved.

Alexander's head. She is 2000 years old!

In 1989, in search of the tomb of Alexander the Great, specialists from Greece began excavations 25 kilometers from the Siwa oasis, choosing this area not by chance. Alexander the Great visited Siwa to convince the Egyptians and his army that the blood of the god Amun flowed in his veins. In the temple of this god there was a statue of Amun, decorated with gold and precious stones. The head and arms of the statue were attached to the body with hinges.

When Alexander the Great appeared before Amon, the chief priest of the temple informed him that God recognized him as his son. At the words of the priest, the statue seemed to make a movement with its head and arms, which was interpreted as the consent of God.

The name "Miraki" (as scientists have suggested) comes from the ancient Greek word "mirakion", which translated means "a person who died very young." In addition, the oasis itself began to be called Siwa only a few centuries ago, and before that it was known as Santaria. Experts in the field of ancient languages ​​gave the following interpretation of this name: “The place where Alexander rests.”

Coin and image of Alexander the Great

So where is this place? Since 1990, Greek archaeologists have concluded that they are excavating an “extraordinarily magnificent structure” that could only belong to a particularly revered royal person.

Today we can quite accurately imagine what the “tomb” of Alexander the Great looks like. The complex consisted of a temple and the tomb itself. It was surrounded by a wall (2 meters thick) decorated with frescoes and paintings. The main gate led to a spacious room guarded by two stone lions. In the hall with an area of ​​10 square meters archaeologists dug up small chambers littered with slabs, which had not been opened by anyone until then. In one of them, according to legend, the remains of King Log were supposed to be kept.

This version is supported not only by the size of the excavated complex. According to experts, all the buildings and paintings are completely uncharacteristic of ancient Egyptian architecture and wall painting, but have much in common with the design of Macedonian tombs. In addition, fragments of an alabaster sarcophagus made outside Egypt were found here.

In the tomb, archaeologists also unearthed a unique image of a lion, the like of which had previously been found only in ancient Greek houses. However, the most convincing evidence is a bas-relief above the entrance to the tomb with an eight-pointed star - the personal symbol of Alexander the Great.

Ancient Sidon (Saida)

At the end of January 1995, objects were discovered that made the hearts of many scientists beat faster. These were three steles with inscriptions in ancient Greek, the deciphering of which almost completely confirmed the assumptions of archaeologists.
The inscription on the first stele reads:

"Alexander. Amon-Ra. In the name of the most venerable Alexander, I make these sacrifices at the direction of God and transfer here a body that is as light as the smallest shield - while I am the lord of Egypt. It was I who was the bearer of his secrets and the executor of his orders. I was honest to him and to all people. And since I am the last one still alive, I declare here that I did all the above for his sake.”
This text was written approximately in 290 BC, and its author is Ptolemy I, the closest ally of the great Alexander, to whom the famous commander bequeathed to transport his remains to Siwa.

The inscription on the second stele reads as follows:
“The first and only one among all who drank poison without a moment’s doubt.”

The third stela testifies:
“400 thousand people live in this area, 100 thousand of them serve in the army and 30 thousand soldiers guard the tomb.”

Bust of Alexander the Great. 4th century BC Marble

After the announcement of the excavation results, the quiet oasis of Siwa began to look more like a multimillion-dollar city. Foreign correspondents and journalists, delegations of Egyptian ministries and societies for the protection of valuables rushed here. The flow of people was so great that a highway was even built to the excavation site.

Meanwhile, despite the sensational finds, the number of skeptics who doubt that the burial in Siwa belongs to Alexander the Great has not decreased. One of the Egyptian historians, for example, believes that there is nothing surprising in the fact that a “Macedonian tomb” was found in Siwa. In his opinion, it only means that the oasis was on a busy route between Egypt and the Greek settlements in Libya.

A similar point of view is shared by M. Jones, director of the Norman archaeological mission, who believes that only Alexandria needs to look for the burial place of the great commander. But in his opinion, Alexander the Great's desire to be buried in Siwa does not yet serve as proof that his body was actually transported from Babylon to this remote oasis.

However, Greek archaeologists hope that further excavations will provide an answer to the exciting world science question: where are the remains of the great conqueror buried?

Resting Hermes is one of the first ancient bronzes to become the property of enlightened art lovers in modern times. This statue of a young athlete was discovered in 1758 during excavations at Herculaneum on the so-called. Villa of the Papyri.

The Sicilian Bourbons took the statue to the Portici palace complex, from where, with the news of Napoleon's offensive (1798), it traveled to Palermo, where it remained until 1816. The original currently adorns the National Archaeological Museum of Naples, a copy - the Getty Villa in Malibu.

From the very beginning, the statue was associated with the name of Lysippos, although it has now been established that it is an ancient Roman copy of a lost Greek original. During the 20th century, maritime archaeologists discovered the statues “Youth of Marathon” and “Athlete from Fano” that were typologically similar to “Hermes”.

Lysippos is a Greek sculptor, along with Scopas and Praxiteles, one of the triad of the greatest sculptors of classical Greek sculpture. Completes the era of the late classics (IV century BC)

Born in Sicyon around 390 BC. He started out as a foundry worker and learned the craft of a sculptor by studying the proportions of Polykleitos' Doryphoros. Among contemporary art, Lysippos' works stood out for their naturalism (especially in the rendering of hair and eyes), as well as for their somewhat elongated proportions. Commentators have noted his grace and elegance, the symmetry and coherent balance of the figures he created, which were more compact than the ideal presented by Polycletus and with proportionately smaller heads, giving the figures the impression of greater height. He was known for his attention to detail in his eyelids and toenails. He was the favorite artist of Alexander the Great, whom he depicted from his boyhood, including naked. His works have not reached our time, at least in the original - only Roman copies of Lysippos' works have survived.

Pliny attributed up to one and a half thousand works to him, but this number is clearly exaggerated and is based on a legend according to which Lysippos, when creating each of his works, put one in a chest gemstone. After his death, more than one and a half thousand stones were discovered there. One of central works Lysippos, a colossal bronze statue of Hercules, was taken from Tarentum to Constantinople and melted there in 1022. Pliny, describing Lysippos' engineering prowess, wrote:

44. Lysippos. Hercules statue

Lysippos created sculptures in complex movements, counting on walking around the statue in a circle, processing their surfaces with equal care. The reversal of a figure in space was an innovative achievement of Lysippos. He was inexhaustibly diverse in the invention of plastic motifs and very prolific. Working exclusively in bronze, Lysippos preferred male figures in terms of subject matter; His favorite hero was Hercules. Not a single one has survived genuine work sculptor, but there are quite a large number of copies and repetitions, giving an approximate idea of ​​the master's style.

Ancient Greek sculptor.

Started out as a foundry worker; learned the skill of a sculptor by studying the proportions of sculptures Polykleitos.

The bulk of his works were bronze statues depicting gods, Hercules, athletes and other contemporaries, as well as horses and dogs. His statues have not reached us, but are known from descriptions of ancient authors and Roman copies.

According to Pliny the Elder, depicted people not “as they are, but as they appear (to our senses).”

“The list of sculptors of this century includes the brilliant name of Lysippos. Researchers attribute him to the Argive school and claim that he had a completely different direction than the Athenian school.
In essence, he was her direct follower, but, having accepted her traditions, he stepped further. In his youth, the artist Eupomp answered his question: “Which teacher should I choose?” - answered, pointing to the crowd crowded on the mountain: “Here is the only teacher: nature.”
These words sank deep into the soul of the brilliant young man, and he, not trusting authority Polykleitan canon, took up the precise study of nature. Before him, people were sculpted in accordance with the principles of the canon, that is, in full confidence, then true beauty consists in the proportionality of all forms and in the proportion of people of average height. Lysippos preferred a tall, slender figure. His limbs became lighter, his stature taller. His extraordinary fertility helped him create up to 1,500 statues.
He carved and carved Zeus, Apollo, Poseidon, heroes, demigods. He was especially famous for his Helios in a chariot drawn by four horses.
Nero He even ordered it to be gilded and thus spoiled the group. His statue gained great fame " Opportunity" This is a very nice allegory. A young man, with fluff just emerging, is rolling on a ball. His legs are winged (the chance is fleeting), in his hands are scales and a razor - after all, the happiness of chance fluctuates, hangs on the edge of a razor. He has a tuft of hair on his forehead, and the rest is cut short: you have to catch the chance by the hair in a big way, right away, if it slips away, you won’t catch it.
At times Lysippos made colossal groups.
By order Alexander the Great he made the "Battle of Granicus", which consisted of thirty-five figures, 26 of them mounted. Alexander allowed only him to sculpt busts of himself. The most excellent example of his modeling has come down to us in the statue of Apoxyomenes - an athlete cleaning off dirt from himself after a fight with an iron comb.”

Gnedich P.P., The World History Arts, M., Sovremennik, 1996, p. 103-104.

"Installed Polycletus the ideal of beauty dominated for almost a hundred subsequent years - until the time of Lysippos, the author of the portrait Alexander the Great and the creator of a new canon.
The figures of Lysippos are slender, long-legged and small-headed. The proportions are easy. This is how Lysippos himself defined the difference between the ideal Polykleitos and with his canon: “Polykleitos portrayed people as they really are, and I as they seem.”
This moment of illusoryness is associated with certain desires for pathos. The personification of this ideal is the statue of Apoxyomenos, a young man scraping a mixture of olive oil, sand and dirt from his body with a spatula.
A marble Roman copy of the bronze original by Lysippos is in the Vatican Museum in Rome. According to the new canon, the head of the depicted figure was placed along the length of the statue 8,5 times."

Alicia Kuczynska, Beautiful. Myth and reality, M., “Progress”, 1977, p. 97-98.

Lysippos creativity flourished during the reign of Alexander the Great(336–323 BC), of which he was a court artist. Alexander the Great, according to legend, did not allow anyone except Lysippos to portray himself...

Pliny the Elder claimed that everything was created by Lysippos 1500 statues, but this number is exaggerated and is probably based on a legend according to which, when creating each statue, the sculptor put one precious stone in a chest, where after his death more than 1,500 stones were discovered...

Lysippos called him his teacher Polykleitos. Among Lysippos's many students were his three sons. His student, Chares of Lindos, created the Colossus of Rhodes, one of the Seven Wonders of the Ancient World.

LYSIPPUS
(c. 390 - c. 300 BC), ancient Greek sculptor, born in Sikyon (Peloponnese). In antiquity it was claimed (Pliny the Elder) that Lysippos created 1,500 statues. Even if this is an exaggeration, it is clear that Lysippos was an extremely prolific and versatile artist. The bulk of his works were predominantly bronze statues depicting gods, Hercules, athletes and other contemporaries, as well as horses and dogs. Lysippos was the court sculptor of Alexander the Great. A colossal statue of Zeus by Lysippos stood in the agora of Tarentum. According to the same Pliny, its height was 40 cubits, i.e. 17.6 m. Other statues of Zeus were erected by Lysippos in the agora of Sicyon, in the temple at Argos and in the temple of Megara, the latter work representing Zeus accompanied by the Muses. An image of a bronze statue of Poseidon with one leg on a raised platform that stood in Sikyon is found on surviving coins; a copy of it is a statue resembling the image on coins in the Lateran Museum (Vatican). The figure of the sun god Helios, created by Lysippos in Rhodes, depicted the god on a chariot drawn by four; this motif was used by the sculptor in other compositions. Copies in the Louvre, the Capitoline Museums and the British Museum depicting Eros loosening the string of a bow probably go back to the Eros of Lysippos at Thespiae. Also located in Sikyon, the statue depicted Kairos (god of luck): the god in winged sandals sat on a wheel, his hair hung forward, but the back of his head was bald; copies of the statue survive on small reliefs and cameos.

Hercules is Lysippos' favorite character. The colossal seated figure of Hercules on the acropolis of Tarentum depicted the hero in a gloomy mood after he had cleared the Augean stables: Hercules sat on a basket in which he carried dung, his head resting on his arm, his elbow resting on his knee. This statue was taken by Fabius Maximus to Rome after it was destroyed in 209 BC. took Tarentum, and in 325 AD. Constantine the Great transported her to the newly founded Constantinople. Perhaps the Hercules we see on coins from Sikyon goes back to a lost original, copies of which are both the Farnese Hercules in Naples and the statue signed with the name of Lysippos in Florence. Here we again see the gloomy Hercules, dejectedly leaning on a club, with a lion's skin draped over it. The statue of Hercules Epitrapedius, depicting the hero "at the table", represented him, according to descriptions and many existing repetitions of different sizes, sitting on stones, with a cup of wine in one hand and a club in the other - probably after he had ascended to Olympus. The figurine, which was originally a table decoration created for Alexander the Great, was subsequently seen in Rome by Statius and Martial. The portraits of Alexander created by Lysippos were praised for the combination of two qualities. Firstly, they realistically reproduced the model’s appearance, including the unusual turn of the neck, and secondly, the courageous and majestic character of the emperor was clearly expressed here. The figure representing Alexander with a spear appears to have served as the original for both the herm formerly owned by José Nicolas Azar and the bronze figurine (both now in the Louvre). Lysippos depicted Alexander on horseback, both alone and with his comrades who died in the Battle of Granicus in 334 BC. An existing equestrian bronze statue of Alexander with a stern oar under his horse, perhaps an allusion to the same battle on the river, may be a replica of the latter statue. Other portraits by Lysippos included that of Socrates (the best copies are perhaps the busts in the Louvre and the Museo Nazionale delle Terme in Naples); portrait of Aesop; there were still portraits of the poetess Praxilla and Seleucus. Together with Leochares, Lysippos created for Craterus a group depicting the scene of a lion hunt, in which Craterus saved Alexander's life; after 321 BC the group was initiated into Delphi. Apoxyomenes, an athlete scraping off dirt from himself after exercise (in antiquity they used to anoint themselves before athletic activities), was subsequently placed by Agrippa in front of the baths he built in Rome. Perhaps its copy is a marble statue in the Vatican. With a scraper held in the left hand, the athlete cleans the right hand extended forward. Thus the left arm crosses the body, which was the first instance of movement in the third dimension that we encounter in ancient Greek sculpture. The head of the statue is smaller than was customary in the earlier sculpture, the facial features are nervous and delicate; Hair disheveled from exercise is reproduced with great vividness. Another portrait image of an athlete by Lysippos is the marble Agios found in Delphi (located in the Delphi Museum); the same signature as under it was also found in Pharsal, but no statue was found there. Both inscriptions list the many victories of Agius, the ancestor of the Thessalian ruler Daoch, who commissioned the statue, and the inscription from Pharsalus lists Lysippos as the author of the work. The statue found at Delphi resembles Scopas in style, who in turn was influenced by Polykleitos. Since Lysippos himself called Doryphorus Polycletus his teacher (whose angular proportions he, however, rejected), it is quite possible that he was also influenced by his older contemporary Scopas. Lysippos is at the same time the last of the great classical masters and the first Hellenistic sculptor. Many of his students, among whom were his own three sons, had a profound impact on the art of the 2nd century. BC.

Collier's Encyclopedia. - Open Society. 2000 .

See what "LYSIPPUS" is in other dictionaries:

- (Lesippos), ancient Greek sculptor of the 4th century. BC e. Largest representative late classics. Born in Sikyon. He was the court artist of Alexander the Great. The works of Lysippos, made mainly in bronze, are known... ... Art encyclopedia

Lysippos was a Greek sculptor, along with Scopas and Praxiteles, one of the triad of the greatest sculptors of classical Greek sculpture. Completes the era of the late classics (IV century BC). Born in Sikyon around 390 BC. Started... Wikipedia

Lysippos- Lysippos. Resting Hermes. 2nd half 4th century BC. Roman copy. National Museum. Naples. LYSIPPUS, ancient Greek sculptor of the 2nd half of the 4th century. BC. Representative of the late classics. Court artist of Alexander the Great.... ... Illustrated Encyclopedic Dictionary

LYSIPPUS, ancient Greek sculptor of the 2nd half of the 4th century. BC. Representative of the late classics. Court artist of Alexander the Great. Sculptures of Lysippos (athletes, mythological characters, preserved in Roman copies) are depicted in... ... Modern encyclopedia

Ancient Greek sculptor of the 2nd half. 4th century BC e. Representative of the late classics. Court artist of Alexander the Great. Creator of images of active heroes living a complex life inner life(Resting Hermes, Apoxyomenes, bust... ... Big encyclopedic Dictionary

- (Lýsippos) (born probably in the first, died in last decade 4th century BC BC), ancient Greek sculptor, the most prominent representative of the late classics (See Classics). Born in Sikyon. He was the court artist of Alexander the Great... Great Soviet Encyclopedia