File:Six Greek sculptors (1915) (14781325844).jpg

Identifier: sixgreeksculptor00gard (find matches)
Title: Six Greek sculptors
Year: 1915 (1910s)
Authors: Gardner, Ernest Arthur, 1862-1939
Subjects: Sculptors Sculpture, Greek
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ightan altogether un-Hellenic conception. Another headof a Warrior, in the British Museum, and probably,though not certainly, of Pergamene work, will alsoserve to illustrate this side of Hellenistic art. It repre-sents most likely a combatant, again of foreign type,though his nationality is not easy to determine. In theintense expression of the eyes, and the way they areshadowed by the brow, we recognise a treatment derivedfrom Scopas ; but in the rough and matted hair, theknotty and exaggerated rendering of sinews and veins,and the restless and mobile brow, there is a contrast tothe restraint and moderation which is never absent fromfourth-century work, even if it be as vigorous as theTegea heads or the portrait of Alexander. The moderneffect produced by such a head as this, in which New hopes shine through the flesh they fray,New fears aggrandise the rags and tatters, anticipates in many ways the Christian art of a laterdate, and suggests at the same time that the reason Plate LXXXI
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HEAD OF WAUKIOK, IX BRITISH MUSEUM To face p. 250 HELLENISTIC SCULPTURE 251 why such things are not found in Hellenic art is notbecause earlier sculptors could not, but because theywould not produce them. Whether their notions ofthe limitations of the sculptors art be right or wrong,it can hardly be disputed that they kept within them,consciously or unconsciously, and that the differencebetween ancient and modern art is in some degree atleast due to these limitations. It would be easy to pursue further the developmentsof Hellenistic art, whether in the vigorous and imposingif exaggerated work of the Pergamene and otherAsiatic schools, in the somewhat academic stvle ofGreece itself, or in the numerous branches of Graeco-Roman art. But the examples already given mustsuffice to show how, on the one hand, the traditions ofthe great masters of Greek sculpture persisted throughmany generations of their successors, how, on the otherhand, new and to some extent non-Hellenic influenceswere at

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