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Calamis  

5th century, male.

Active in Athensc.460 BC.

Sculptor, goldsmith.

Ancient Greek, Pre-Classical period.

Calamis, an Athenian by adoption, is noted in the ancient sources as a sculptor of divinities. Given the lack of agreement amongst these sources, however, it would be unwise to attribute many works to him. Two pieces, very similar in style, have been traditionally attributed to him: ...

Article

5th century, male.

Active in Athens, active at the end of the 5th century BC.

Sculptor, metal worker.

Ancient Greek.

Callimachus, whose origins are unknown, was active chiefly in Athens. The work most often attributed to him is a Venus Genetrix, a Roman copy of which is in the Louvre. This statue conforms to the ideal perfect rhythm described by Polyclitus, being constructed according to a geometry that is subtly emphasised by the drapery. The total height is equal to eight times that of the head, the mark of Ionian elegance, which can also be seen in the smile, the flowing hair and the grace of the general appearance. In this, Callimachus is clearly the follower of Phidias who had integrated borrowings from Ionian art....

Article

Thorsten Opper

Greek bronze statue of the early 5th century bc from the sanctuary of Apollo at Delphi (h. 1.8 m; Delphi, Archaeol. Mus.; see fig.). The Charioteer was discovered in 1896 together with bronze fragments of a horse team and chariot, the arm of a further, smaller figure (an outrider or groom) and an inscribed base block of Pentelic marble, all of which seem to have belonged to the same monument. A young man, the charioteer is clad in a xystis, the long, short-sleeved tunic typical of his profession, the long vertical folds of which highlight the statue's plain, column-like character. While the Charioteer stands erect, with his feet close together and his weight evenly distributed, his entire body turns to the right in an unusual, gradual spiral movement, perhaps an indication that the figure was meant to be seen in a three-quarter profile from the right. The statue was cast in seven main pieces, possibly in the direct lost-wax technique; only the left arm is now missing. Finer details were added in different materials (glass paste, black stone and brown onyx for the eyes, copper for eyelashes and lips, silver for the teeth, copper and silver for the inlaid meander pattern of the hair band). The remains of the dedicatory inscription (‘Polyzalos erected me… Make him prosper, glorious Apollo’) are essential for narrowing down the date and historical context of the monument. It seems likely that the ...

Article

5th century, male.

Sculptor, goldsmith.

Ancient Greek.

Dionysodorus was, according to Pliny, the pupil of Critius.

Article

Myr...  

5th century, male.

Active in Agrigentum.

Medallist.

Ancient Greek.

Only the first three letters of this sculptor's name are legible. The signature is on a tetradrachm (four-drachma coin) showing a quadriga and two eagles attacking a hare.

Article

Onatas  

5th century, male.

Active during the first half of the 5th century BC.

Sculptor, worker in bronze.

Ancient Greek.

Onatas is mentioned by Pausanias; no works survive that can be attributed to him with certainty. Pausanias' descriptions give us an idea of his work, among which is said to have been a Demeter with a horse's head. Some scholars have suggested that he was responsible for the east pediment of the temple of Aphaea at Aegina that, compared with the west pediment, shows a development towards a less archaic, softer and more personal style that is closer to the Classical style....

Article

Thorsten Opper

[Tyrannicides; Gr. Tyrannoktonoi]

Greek statue group originally executed in bronze by Antenor, which was frequently copied throughout the Greek and Roman world. Nothing from the original work survives.

In 514 bc the Athenians Harmodios and Aristogeiton assassinated the tyrant Hipparchos, son of Peisistratos, who had ruled over Athens together with his brother Hippias. Harmodios was killed on the spot; Aristogeiton briefly escaped but was put to death soon after. Hippias, the original target of the plot, remained unharmed and continued to rule for another four years. After he had finally been expelled in 510 bc and a democratic regime installed under the new leader Kleisthenes in 508/7 bc, the state commissioned a bronze monument of the ‘tyrant slayers’ by the sculptor Antenor. While the tyrant slayers’ action did not lead to an immediate change in government, and may have been inspired by personal rather than political motives, the state nevertheless created an iconic symbol for the new democracy that all Athenians could identify with. When the exiled Hippias returned with the invading Persian army under Xerxes in ...