The Strangford "Apollo" is of uncertain provenience, but is nearly related in style to the marbles of Aegina. This statue, by the position of body, legs, and head, belongs to the series of "Apollo" figures discussed above; but the arms were no longer attached to the sides, and were probably bent at the elbows. The most obvious traces of a lingering archaism, besides the rigidity of the attitude, are the narrowness of the hips and the formal arrangement of the hair, with its double row of snail-shell curls. The statue has been spoken of by a high authority as showing only "a meager and painful rendering of nature." That is one way of looking at it. But there is another way, which has been finely expressed by Pater, in an essay on "The Marbles of Aegina":
"As art which has passed its prime has sometimes the charm of an absolute refinement in taste and workmanship, so immature art also, as we now see, has its own attractiveness in the naivete, the freshness of spirit, which finds power and interest in simple motives of feeling, and in the freshness of hand, which has a sense of enjoyment in mechanical processes still performed unmechanically, in the spending of care and intelligence on every touch. ... The workman is at work in dry earnestness, with a sort of hard strength of detail, a scrupulousness verging on stiffness, like that of an early Flemish painter; he communicates to us his still youthful sense of pleasure in the experience of the first rudimentary difficulties of his art overcome."
Next Chapter: The transitional period
Back to the table of Contents * More online Greek Resources
Reference address : https://www.ellopos.net/elpenor/greek-texts/ancient-greece/history-of-ancient-greek-art-29.asp