In six pages the Archaic Kouros, the Classical Kritios Boy, and the Hellenistic Nike of Samothrace sculptures are analyzed. Five sources are cited in the bibliography.
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from one period of time to another. We see that the sculptures become more and more realistic in nature, presenting the viewer with a slow progression towards what seems to
be a depiction of a perfect figure. Three sculptures which offer us an obvious look at the evolution are Kouros from the Archaic period, the Kritios Boy from the Classical
period, and Nike of Samothrace from the Hellenistic period. In the following paper we examine each sculpture separately and then provide a brief discussion of the three as they relate
to one another. Kouros The title of the piece being examined is the New York Kouros, so named because it resides at the Metropolitan Museum of art in
New York. It was made in Greece and dates back to 600 BCE. The subject matter of this particular sculpture is a Kouros, or a Greek youth. And, in relationship
to the significance of the form, as it relates to any religious or mythical ideal or entity, one author sums up the symbolic nature of Kouros in the following: "the
Kouros is basically meaningless -or rather, its significance must lie in only distinguishing characteristics, namely, its nudity, its youth, its beauty, its autonomy, and its immutability: in other words, its
form" (Kerr). In addition, it was presumably used at the entrance to the burial site of a youth who belonged to a wealthy family. In terms of an analysis
of the piece itself we note that the sculpture is made from marble, having been carved. When we speak of volumes we note that "The sculptor uses these divisions of
the body to establish a set of rigid proportions based on simple mathematical relationships. Most obviously, the width of the figure is equal to its depth and approximately one quarter