Male Beauty in Art

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statuemania:

Le désespoir by Jean-Joseph Perraud,1869.

Musée d’Orsay, Paris.

Photo by antonio-m. on Flickr.

http://www.flickr.com/photos/antonio-m/8127591418/in/set-72157628167160169

(via pmikos)

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mrsramseysshawl:

Stuart Sandford (b. Sheffield, UK), Sebastian, 2012. Stainless steel sculpture, 243 cm x 80 cm x 65 cm. Unique

(via gnoth)

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blastedheath:

webissance

Laurent-Honoré Marqueste (French, 1848-1920), Perseus Slaying Medusa, 1903 version. Marble. Ny Carlsberg Glyptotek, Copenhagen.

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100artistsbook:

Marble faun by Jean Louis Brian (1805-64), Musée Calvet, Avignon

(via beardedspectacles)

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Marble Busts of Hadrian & Antinous, from Rome, Roman Empire, British Museum by carolemadge1 on Flickr.

Bust of Hadrian
Probably from Rome, Italy
AD 117 - 138

This statue shows Hadrian naked. This nakedness, originally a Greek style, showed that the emperor was heroic and almost god-like.

Bust of Antinous
From Rome, Italy
AD 130-140

The presence of an ivy wreath in this portrait links Antinous to the god Dionysus, the closest Greek equivalent to the Egyptian god Osiris. Roman aristocrats frequently incorporated fragments of classical statuary into the walls of their estates, but the rest of this statue has not been found.

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Statue of Resting Satyr Roman copy of 4th century BCE Greek original by Praxiteles Marble once displayed at Villa d’Este by mharrsch on Flickr.

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Orestes and Elektra by Menelaus after Praxiteles marble 1st century CE (1) by mharrsch on Flickr.

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Roman Emperor Augustus as Pontifex Maximus 1st century BCE (5) by mharrsch on Flickr.

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Statue of Diadoumenos (youth tying a fillet around his head), ca. 69–96 A.D.; Flavian Roman copy of a Greek bronze statue by Polykleitos, ca. 430 B.C. Marble (Pentelic)

This statue is a first-century A.D. Roman copy of a Greek bronze original dated around 430 B.C. The original bronze probably stood in a sanctuary such as that at Olympia or Delphi, where games were regularly held. Ancient literary accounts and over forty known copies attest to the original bronze being one of the most highly esteemed creations of Polykleitos, who sought to represent the nude male figure with perfect harmony among all parts and according to principles that could be reproduced by others. He carefully designed his figures with special attention paid to bodily proportions and stance, so that the effect of the whole is singularly harmonious. The thorax and pelvis of the Diadoumenos tilt in opposite directions, setting up rhythmic contrasts in the torso that create an impression of organic vitality. The position of the feet poised between standing and walking give a sense of potential movement. This rigorously calculated pose, which is found in almost all works attributed to Polykleitos, became a standard formula used in Greco-Roman and, later, western European art.