This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence.

This sculpture signals the transition from the Classical to the Hellenistic period. Although his features and body fully display the achievement of Classic artists, the active and unstable pose and the interest in characterizing a state of abandon are something new. In his introspective expression, the arm gracefully raised to his head, his softly muscular body, and full wavy hair, he bears comparison with the Dionysos on the roughly contemporary bronze volute-krater from Derveni.

© All Rights Reserved

This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence.

This sculpture signals the transition from the Classical to the Hellenistic period. Although his features and body fully display the achievement of Classic artists, the active and unstable pose and the interest in characterizing a state of abandon are something new. In his introspective expression, the arm gracefully raised to his head, his softly muscular body, and full wavy hair, he bears comparison with the Dionysos on the roughly contemporary bronze volute-krater from Derveni.

© All Rights Reserved

This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence.

This sculpture signals the transition from the Classical to the Hellenistic period. Although his features and body fully display the achievement of Classic artists, the active and unstable pose and the interest in characterizing a state of abandon are something new. In his introspective expression, the arm gracefully raised to his head, his softly muscular body, and full wavy hair, he bears comparison with the Dionysos on the roughly contemporary bronze volute-krater from Derveni.

© All Rights Reserved

This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence.

This sculpture signals the transition from the Classical to the Hellenistic period. Although his features and body fully display the achievement of Classic artists, the active and unstable pose and the interest in characterizing a state of abandon are something new. In his introspective expression, the arm gracefully raised to his head, his softly muscular body, and full wavy hair, he bears comparison with the Dionysos on the roughly contemporary bronze volute-krater from Derveni.

© All Rights Reserved

This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence.

This sculpture signals the transition from the Classical to the Hellenistic period. Although his features and body fully display the achievement of Classic artists, the active and unstable pose and the interest in characterizing a state of abandon are something new. In his introspective expression, the arm gracefully raised to his head, his softly muscular body, and full wavy hair, he bears comparison with the Dionysos on the roughly contemporary bronze volute-krater from Derveni.

© All Rights Reserved