"Hermes with the Child Dionysus" or "Hermes Olympia" is a classical statue made of Parian marble, discovered by Ernst Curtius in 1877 during excavations of the Temple of Hera at Olympia. The height of the Hermes figure is 212 cm, with a pedestal - 370 cm.

The statue is in the collection of the Archaeological Museum of Olympia. The limbs of the figures of Hermes and Dionysus are partially lost; Hermes' hair still bears traces of cinnabar coating.

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Excerpt characterizing Hermes with the infant Dionysus

Berg always spoke very precisely, calmly and courteously. His conversation always concerned himself alone; he always remained calmly silent while they were talking about something that had nothing directly to do with him. And he could remain silent in this way for several hours without experiencing or causing the slightest confusion in others. But as soon as the conversation concerned him personally, he began to speak at length and with visible pleasure.
- Consider my position, Pyotr Nikolaich: if I were in the cavalry, I would receive no more than two hundred rubles a third, even with the rank of lieutenant; and now I get two hundred and thirty,” he said with a joyful, pleasant smile, looking at Shinshin and the count, as if it was obvious to him that his success would always be the main goal of the desires of all other people.
“Besides, Pyotr Nikolaich, having joined the guard, I am visible,” Berg continued, “and vacancies in the guards infantry are much more frequent.” Then, figure out for yourself how I could make a living out of two hundred and thirty rubles. “And I’m putting it aside and sending it to my father,” he continued, starting the ring.
“La balance y est... [The balance is established...] A German is threshing a loaf of bread on the butt, comme dit le proverbe, [as the proverb says],” Shinshin said, shifting the amber to the other side of his mouth and winked at the count.
The Count burst out laughing. Other guests, seeing that Shinshin was talking, came up to listen. Berg, not noticing either ridicule or indifference, continued to talk about how, by transferring to the guard, he had already won a rank in front of his comrades in the corps, how in wartime a company commander can be killed, and he, remaining senior in the company, can very easily be company commander, and how everyone in the regiment loves him, and how his daddy is pleased with him. Berg apparently enjoyed telling all this, and did not seem to suspect that other people might also have their own interests. But everything he told was so sweetly sedate, the naivety of his young egoism was so obvious that he disarmed his listeners.

PRAXITEL
APHRODITE OF KNIDO
(APHRODITE BRASCHI)
Roman copy
I century BC. Glyptothek,
Munich

ABOUT The bottom of the most famous works in ancient sculpture is Aphrodite of Knidos, the first ancient Greek sculpture (height - 2 m), depicting a naked woman before bathing.

According to legend, daily baths restored Aphrodite's virginity. Pliny wrote that many people specially went to the island of Cnidus, to the shores of Asia Minor, to see the famous Aphrodite, who stood in an open round temple. Time has not preserved the original of this statue, but the name of the earthly woman who served as the sculptor’s model is known. Praxiteles created the goddess of love and beauty as the personification of earthly femininity, inspired by the image of his beloved, the beautiful Phryne. Indeed, Aphrodite’s face, although created according to the canon, with the dreamy look of languid shadowed eyes, carries a touch of individuality that points to a specific original. By creating an almost portrait image, Praxiteles looked into the future.

The sculptural group “Hermes with the Child Dionysus” is considered an authentic work of Praxiteles. She, miraculously preserved almost entirely, was found lying on the floor during excavations of the Temple of Hera in Olympia. According to the myth, Hermes, the messenger of the gods of Olympus, was supposed to carry little Dionysus and hand him over to the nymphs to raise. The sculptor presented Hermes at the moment when, having stopped on the way, he, throwing a cloak over a high stump and leaning on it, entertained the baby by playing with a bunch of grapes. (The hand of Hermes was not found, but judging by the image on the fresco from Pompeii, Hermes was holding grapes.)

Hermes with the baby Dionysus. IV century BC. Museum, Olympia

The sculpture “Hermes with the Child Dionysus” is typical of the late classical period. She does not personify physical strength, as was previously customary, but beauty and harmony, restrained and lyrical human communication.

The depiction of feelings and the inner life of characters is a new phenomenon in ancient art, not typical of high classics. The masculinity of Hermes is emphasized by the infantile appearance of Dionysus. The curved lines of the figure of Hermes are graceful. His strong and developed body lacks the athleticism characteristic of Polykleitos's works.

The facial expression, although devoid of individual features, is soft and thoughtful. The hair was dyed and held in place with a silver bandage.

"Hermes with the Child Dionysus" or "Hermes Olympia" Praxiteles achieved a feeling of body warmth by finely modeling the surface of marble and with great skill conveyed in stone the fabric of the cloak of Hermes and the clothes of Dionysus.

The statue is in the collection of the Archaeological Museum of Olympia. The limbs of the figures of Hermes and Dionysus are partially lost; Hermes' hair still bears traces of cinnabar coating.

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Hermes with baby Dionysus

is a Hellenistic statue made of Parian marble, discovered by Ernst Curtius in 1877 during excavations of the Temple of Hera at Olympia. The height of the Hermes figure is 212 cm, with a pedestal - 370 cm.

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See what “Hermes with the baby Dionysus” is in other dictionaries: Hermes with baby Dionysus

- a marble statue found in Olympia in 1877. In appearance, it is an original work by Praxiteles (c. 340-330). D.M. (Ancient culture: literature, theater, art, philosophy, science. Dictionary reference book / Edited by V.N. Yarho. M ...- (Greek Hermes) in Greek mythology, the messenger and messenger of the gods, the god of livestock, the patron of shepherds and travelers, the son of Zeus and the Pleiades of Maya; accompanied the souls of the dead to Hades. He was also honored as the patron of trade and profit,... ... Ancient world. Dictionary-reference book.

HERMES Dictionary-reference book on Ancient Greece and Rome, on mythology

HERMES- Originally – a phallic deity, depicted by herms. He entered the Olympic pantheon as the son of Zeus and Maya, daughter of Atlas. It was believed that Hermes was born in Arcadia. Homer’s “Hymn to Hermes” describes the pranks of the young god: for example, he stole from... ... List of Ancient Greek names

- (Mercurius Hermes) Greek. god, son of Zeus and Maya, daughter of Atlas, born on the Arcadian mountain Cyllene. Immediately after birth, he leaves the swaddling clothes and his mother’s cave and steals 50 cows from the herd that Apollo was tending. Apollo recognizes the thief who makes... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

- (Praxiteles) (c. 390 BC, c. 330 BC), ancient Greek sculptor. Representative of the late classics. Son and student of Kephisodotus. He worked mainly in Athens. The works of Praxiteles, executed mainly in marble,... ... Art encyclopedia

- (4th century BC), ancient Greek sculptor, born in Athens c. 390 BC Perhaps Praxiteles is the son and student of Kephisodotus the Elder. Praxiteles worked in his hometown in 370-330 BC, and in 350-330 BC. also sculpted in Mantinea and Asia Minor. His … Collier's Encyclopedia

- (Praxitéles) (c. 390 BC, Athens, c. 330 BC), ancient Greek sculptor, representative of the late classics. Son and student of the sculptor Kephisodotus. He worked mainly in Athens. P.’s works (performed mainly in ... ... Great Soviet Encyclopedia

Praxiteles- (Greek Praxiteles) (c. 390 c. 330 BC) Greek sculptor, son of the Athenian sculptor Kephisodotus. Of the 10 works attributed to him, only the group “Hermes with the Child Dionysus” and a number of Roman copies of the statue of Aphrodite of Cnidus have survived,... ... Ancient world. Dictionary-reference book.

The flexible figure of Hermes gracefully leaned against the tree trunk. The master managed to improve the interpretation of the motif of a man with a child in his arms: the movements of both hands of Hermes are compositionally connected with the baby. Probably, in his right, unpreserved hand there was a bunch of grapes, with which he teased Dionysus, which is why the baby reached for it. The poses of the heroes moved even further away from the constrained straightness observed in earlier masters. The figure of Hermes is proportionally built and perfectly detailed, the smiling face is full of liveliness, the profile is graceful

Praxiteles is the first sculptor to depict a nude woman as realistically as possible: sculpture Aphrodite of Knidos, where the naked goddess holds her fallen robe with her hand. Subsequently, many sculptors depicted the goddess in a similar pose. Aphrodite of Praxiteles became so popular that it gave rise to a special type in female sculpture: the type of Aphrodite of Cnidus (for example, Venus de Milo belongs to this type).

Praxiteles was an unsurpassed master in conveying the grace of the body and the subtle harmony of the spirit. Most often he depicted gods, and even satyrs, as young; in his work replaced the majesty and sublimity of the images of the 5th century. BC. grace and dreamy tenderness come.

Hellenism

At the end of the 4th century BC. on the ruins of the enormous power of Alexander the Great, several new despotic monarchies arise. This world was distinguished by enormous diversity, contrasts of wealth and poverty,

influence of Eastern cults.

The cities of Egypt (Alexandria), Syria, Pergamon in Asia Minor, and the island of Rhodes became centers of Hellenistic culture.

"Nike of Samothrace"(190 BC)

In honor of the naval victory over the fleet of the Syrian king, the inhabitants of the island of Samothrace installed it. The figure of the goddess was placed on the pier and was doused with spray from the sea. The winged goddess seemed to be running towards the sea, her clothes clung to the body of the goddess and clearly outlined it. This whimsicality speaks of new trends in sculpture. The folds of wet clothes are clearly sculpted by the sculptor, the impulse of a flying goddess is perfectly conveyed, it seems that wings heavy with water are fluttering in the wind.

« Venus of Melos"(120 BC) sculptor Agesander. One of the most famous sculptures in the world. The goddess of love and beauty Aphrodite (Venus in Roman) is depicted, probably the goddess looked into the shield that was in her hand. The contrast between the naked body and the superbly detailed folds of the goddess’s clothing is interesting. The goddess stands and seems to be moving, the movement of her body is somewhat helical, her torso is slightly inclined. These are all signs of a new time

In Pergamon the most famous work was “Altar of Zeus” (180 -160 BC) N.E.)

The most interesting is the frieze of the altar. The frieze of the altar depicts a battle between gods and giants, the figures are dynamic, their muscles are tense, and the passion of battle and pain is conveyed. The images are powerful, grandiose, the moment is dramatic. This is already the idea of ​​affirming the smallness and weakness of man before higher powers. Such an idea could not have existed in classical Greece. Rhodes Island - the easternmost island in the Aegean Sea. The sculpture of this island is multi-figured, dramatic, designed to influence human emotions._

“The Farnaic Bull”, “Laocoon” (40 BC) “Laocoon” represents a multi-figure composition that depicts the priest of Troy and his sons; Because the priest did not allow the Trojans to drag a huge horse into the city, Poseidon sent snakes against the priest and his sons, and they killed Laocoon and his sons. This moment is depicted in the sculpture. The pathos is exaggerated, excessive drama and too much clarity distinguish this sculpture.

Praxiteles is an ancient Greek sculptor, born in Athens around 390 BC. Perhaps Praxiteles is the son and student of Kephisodotus the Elder. Praxiteles worked in his hometown in 370–330. BC, and in 350–330. BC. also sculpted in Mantinea and Asia Minor. His works, mostly in marble, are known mainly from Roman copies and testimonies of ancient authors.
The best idea of ​​the style of Praxiteles is given by the statue of Hermes with the infant Dionysus (Museum at Olympia), which was found during excavations in the Temple of Hera at Olympia. Despite doubts that have been expressed, this is almost certainly the original, created around 340 BC. The flexible figure of Hermes gracefully leaned against the tree trunk. The master managed to improve the interpretation of the motif of a man with a child in his arms: the movements of both hands of Hermes are compositionally connected with the baby. Probably, in his right, unpreserved hand there was a bunch of grapes, with which he teased Dionysus, which is why the baby reached for it. The poses of the heroes moved even further away from the constrained straightness observed in earlier masters. The figure of Hermes is proportionally built and perfectly worked out, the smiling face is full of liveliness, the profile is graceful, and the smooth surface of the skin contrasts sharply with the schematically outlined hair and the woolly surface of the cloak thrown over the trunk. The hair, drapery, eyes and lips, and sandal straps were painted. The painting of statues by Praxiteles was not only for a decorative effect: he considered it an extremely important matter and entrusted it to famous artists, for example Nicias from Athens and others. The masterful and innovative execution of Hermes made it the most famous work of Praxiteles in our time; however, in ancient times, his masterpieces were considered to be the statues of Aphrodite, Eros and satyrs that have not reached us. Judging by the surviving copies, they existed in several versions.
The statue of Aphrodite of Knidos was considered in ancient times not only the best creation of Praxiteles, but generally the best statue of all time. As Pliny the Elder writes, many came to Cnidus just to see her. It was the first monumental depiction of a completely naked female figure in Greek art, and therefore it was rejected by the inhabitants of Kos, for whom it was intended, after which it was bought by the townspeople of neighboring Knidos. In Roman times, the image of this statue of Aphrodite was minted on Cnidian coins, and numerous copies were made from it (the best of them is now in the Vatican, and the best copy of the head of Aphrodite is in the Kaufmann collection in Berlin). In ancient times it was claimed that Praxiteles' model was his lover, the hetaera Phryne.
Other statues of Aphrodite attributed to Praxiteles are less well represented. There is no copy of the statue chosen by the people of Kos. The Aphrodite of Arles, named after the place where it was found and kept in the Louvre, may not depict Aphrodite, but Phryne. The legs of the statue are hidden by drapery, and the torso is completely naked; judging by her pose, there was a mirror in her left hand. Several elegant figurines of a woman putting on a necklace have also survived, but in them again one can see both Aphrodite and a mortal woman.
Statues of Eros by Praxiteles were located in Thespiae in Boeotia and in Paria in Troas. An idea of ​​them can be given by graceful and elegant figures of Eros on coins, medallions and gems, where he is represented leaning on a column and supporting his head with his hand, or next to the herm, as on coins from Paria. The torsos of similar statues from Bay (kept in Naples and the Metropolitan Museum of Art in New York) and from the Palatine Hill (in the Louvre and in the museum in Parma) have been preserved.
From copies, two versions of the statue of a young satyr are known, one of which may belong to the early period of Praxiteles’ work, and the other to the mature period. The first type of statue depicts a satyr pouring wine with his right hand from a highly held jug into a cup in his other hand; he has a bandage and a wreath of ivy on his head, his facial features are noble, his profile is thin. The best copies of this type are found in Castel Gandolfo, in Anzio and in Torre del Greco. In the second version (it was copied more often, the best statues are in the Torlonia Museum and in the Capitoline Museum in Rome; to these should be added the torso from the Palatine Hill, kept in the Louvre) depicted a satyr leaning on a tree trunk, holding a flute in his right hand, and with his left, throwing back the panther skin thrown over his shoulder.
The motif of a figure leaning on a support is also used in the statue of Dionysus, the best copy of which is in Madrid. Dionysus rests on a herm reminiscent of the herm of the sculptor Alcamenes, the same as in Hermes by Kephisodotus. The statue of Apollo Lyceum, so called because it was located in the Athenian gymnasium Lyceum, is reproduced on Attic coins. Apollo here leans on a column and supports his head with his right hand, and in his left hand there is a bow. Quite a few copies of this statue have survived, the best of which are in the Louvre and in the Capitoline Museum in Rome. There are also copies of the statue of the young Apollo Sauroctone (Apollo killing a lizard) - in the Louvre, in the Vatican, in the Villa Albani in Rome, etc.
In two versions of the statue of Artemis created by Praxiteles, we see examples of the solution to the motif of a draped human figure. One of them depicts a young huntress dressed in a simple peplos, who takes an arrow from a quiver behind her back. The best copy of this type is Artemis, kept in Dresden. The second option is the so-called. Artemis Bravronia from the Athenian Acropolis, dating back to 345 BC, belongs to the late period of the master’s work. It is believed that a copy of it is a statue found in Gabii and kept in the Louvre. Artemis is depicted here as the patroness of women: she throws a cover over her right shoulder, brought by a woman as a gift for successfully relieving her of a burden.
One of the last works of Praxiteles is the group of Leto with Apollo and Artemis, fragments of which were found in Mantinea. On the pedestal, the sculptor sculpted a relief depicting the competition between Apollo and Marsyas in the presence of nine muses; the relief (entirely, except for the figures of the three muses) was found and is now located in Athens. The folds of the draperies reveal a wealth of graceful plastic motifs.
Praxiteles was an unsurpassed master in conveying the grace of the body and the subtle harmony of the spirit. Most often he depicted gods, and even satyrs, as young; in his work replaced the majesty and sublimity of the images of the 5th century BC. grace and dreamy tenderness come. The art of Praxiteles was continued in the works of his sons and students, Cephisodotus the Younger and Timarchus, who worked on orders from the Ptolemies on the island of Kos and transferred the sculptor’s style to the East. In the Alexandrian imitations of Praxiteles, his characteristic tenderness turns into weakness and sluggish lifelessness.
"Hermes with the Child Dionysus", a sculptural group believed to be an authentic work of Praxiteles, was made in marble around 330 BC. e. Kept in the Archaeological Museum, Olympia. The flexible figure of Hermes gracefully leaned against the tree trunk. Probably, in his right, unpreserved hand there was a bunch of grapes, with which he teased Dionysus, which is why the baby reached for it. The figure of Hermes is proportionally built and perfectly worked out, the smiling face is full of liveliness, the profile is graceful, and the smooth surface of the skin contrasts sharply with the schematically outlined hair and the woolly surface of the cloak thrown over the trunk. The hair, drapery, eyes and lips, and sandal straps were painted.

"Aphrodite of Cnidus", sculpture made by Praxiteles. A naked goddess is depicted holding a fallen robe with her hand. Not preserved, known from a Roman copy, stored in the Vatican Museums. Praxiteles was the first to dare to depict the female figure of Aphrodite completely naked. In those days in Hellas, the naked body of the goddess was an absolute taboo. By creating a nude Aphrodite, Praxiteles took a very bold step, demonstrating to his contemporaries that she was not only a majestic goddess, but also a beautiful woman.

"Resting Satyr", marble sculpture by Praxiteles. Copies are kept in the Capitoline Museum (Rome) and the State Hermitage (St. Petersburg). The handsome young man, resting, casually leaned against a tree trunk. Subtle modeling, as well as shadows softly sliding over the surface of the body, create a feeling of breathing, a thrill of life. The lynx skin thrown over the shoulder with its heavy folds and rough texture emphasizes the extraordinary vitality and warmth of the body. His deep-set eyes carefully look at the world around him, there is a soft, slightly sly smile on his lips, and in his right hand is the flute he had just played.