The Flickr Greekart Image Generatr

Kouros much smaller than life-size. The head and neck are missing, as are the legs from the knees down. The entire surface is badly chipped. The left leg is advanced, while the clenched fists are attached to the thighs and the upper arms to the sides.

General Structure,
Torso. Median line marked along linea alba. Lower boundary of thorax not discernible. Three transverse divisions of rectus abdominis above navel are indicated by horizontal grooves. Navel marked by button-like protuberance within deep depression. Slight protrusion at flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends towards genitals with straight sides.
Hand. Clenched, with index finger placed against thigh.
Leg. No depression over great trochanter indicated. Preserved left knee oval shaped.

Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Parian marble sculpture
Height: 44 cm.
Probably from Athens Kerameikos.
About 540 ВС.
Athens, National Archaeological Museum, Inv. No. 72

The statue stood atop a grave in the Kerameikos. This was a life-size funerary statue. The left leg is advanced and the clenched fists will have touched the thighs. The hair falls in long tresses on the back. The anatomical details of the abdominal musculature are rendered mainly by deep grooves, without any modeling.

GENERAL STRUCTURE.
Broad shoulders and narrow waist. Head large in proportion. Seen in profile, greatest protrusion of back higher than that of chest. Vertebral column more or less straight.
HEAD.
Skull. Flat at back.
Ear. Enough preserved to show that it resembled the Dipylon heads; that is, it is flat and stylized, with single, uniformly broad groove separating helix and antihelix. Position vertical.
Mouth. Preserved left corner of mouth sharply cut, forming triangular depression.
Hair. Hangs down behind in (apparently) fourteen tresses. Mass divided first vertically, then horizontally, into grooves and ridges; each tress ends below in a more or less pointed member. Round forehead and temples arranged in short strands. Fillet encircles head; was tied at back, and one end remains, which hangs loosely down, forking at tip.
NECK.
Much broken but traces survive of grooves for sterno-mastoids. No indication of swelling of trapezium.
TORSO, FRONT.
Clavicles rise abruptly from median line in shallow curve towards shoulders, without indication of sternal notch. Median line indicated by groove in two sections, one along sternum, the other along linea alba. Nipples marked by knobs.
Lower boundary of thorax indicated by grooves forming obtuse angle, with apex well below pectorals. Three horizontal grooves cross median line above navel, perhaps to indicate transverse divisions of abdominal muscle. Contour of waist forms slender inward curve. Navel marked by knob surrounded by circular groove.
Lower boundary of abdomen marked by broad ridge, which apparently travelled all the way round, like a girdle.
ARM. Mostly missing. Was separated from body for about same distance as Sounion statues.

Sources:
Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture; product of an Attic worksho,
Height: 167 cm.
About 580 BC.
Found in the Kerameikos, Athens, in 1887.
Athens, National Archaeological Museum, Inv. No. 71

The statue stood atop a grave in the Kerameikos. This was a life-size funerary statue. The left leg is advanced and the clenched fists will have touched the thighs. The hair falls in long tresses on the back. The anatomical details of the abdominal musculature are rendered mainly by deep grooves, without any modeling.

GENERAL STRUCTURE.
Broad shoulders and narrow waist. Head large in proportion. Seen in profile, greatest protrusion of back higher than that of chest. Vertebral column more or less straight.
HEAD.
Skull. Flat at back.
Ear. Enough preserved to show that it resembled the Dipylon heads; that is, it is flat and stylized, with single, uniformly broad groove separating helix and antihelix. Position vertical.
Mouth. Preserved left corner of mouth sharply cut, forming triangular depression.
Hair. Hangs down behind in (apparently) fourteen tresses. Mass divided first vertically, then horizontally, into grooves and ridges; each tress ends below in a more or less pointed member. Round forehead and temples arranged in short strands. Fillet encircles head; was tied at back, and one end remains, which hangs loosely down, forking at tip.
NECK.
Much broken but traces survive of grooves for sterno-mastoids. No indication of swelling of trapezium.
TORSO, FRONT.
Clavicles rise abruptly from median line in shallow curve towards shoulders, without indication of sternal notch. Median line indicated by groove in two sections, one along sternum, the other along linea alba. Nipples marked by knobs.
Lower boundary of thorax indicated by grooves forming obtuse angle, with apex well below pectorals. Three horizontal grooves cross median line above navel, perhaps to indicate transverse divisions of abdominal muscle. Contour of waist forms slender inward curve. Navel marked by knob surrounded by circular groove.
Lower boundary of abdomen marked by broad ridge, which apparently travelled all the way round, like a girdle.
ARM. Mostly missing. Was separated from body for about same distance as Sounion statues.

Sources:
Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture; product of an Attic worksho,
Height: 167 cm.
About 580 BC.
Found in the Kerameikos, Athens, in 1887.
Athens, National Archaeological Museum, Inv. No. 71

Greek Art, Arte Greca, Greek sculpture, Scultura Greca, National Archaeological, Mesogeia Museum, Museo archeologico Nazionale, Atene, Athens, No. 71, 71

The sculpture is poreserved complete with its plinth. The lower legs are reattached and the left shin restored with plaster. The left leg is advanced, while the arms hang rather loosely and are attached to the thighs. The hair hangs down the back and sits in shell-like curls on the forehead. The figure is depicted as a thin, almost fragile youth and lacks the robust air of contemporary mainland Greek works. The modeling exudes the delicacy, lissom quality and grace of Archaic art in the Cyclades.
Torso, front.
Only heads of clavicles near sternum clearly visible. Median line only faintly visible. Thorax rather flat; arch indicating its lower boundary rises to level of pectorals. Four transverse divisions of rectus abdominis above navel. Navel marked by circular groove. Slight protrusion at slender flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends with straight sides towards genitals.
Torso, back.
Broad, deep groove marks spinal furrow. Shoulder-blades indicated by slightly raised rounded planes, outlined by grooves; below these, similar grooves, one on each side, travel from spine downward and outward. Slight indication of erector spinae.
Arm.
Detached from side from a little below armpit to a little above wrist. Long and slender. Not bent at elbow. Forearm no longer in supine position, but turned inward in correct semi-pronated position; transition from forearm to wrist consequently natural.
Hand.
Clenched, with thumb next to thigh but separated from it by deep groove. Little finger touches thigh at back. Lower head of ulna at wrist indicated by protrusion.
Leg.
Depression over great trochanter not indicated. Internal vastus descends slightly lower than external one. Front edge of shin-bone is rounded. Patella has triangular shape, and attachments of muscles at side of knee are well rendered. Junction of patella with shin-bone natural. Inner malleolus higher than outer.
Foot.
Big toe directed forward; four others move gently downward and recede along one curve as they
touch the ground, the big toe projecting a little further than the second one, and the little toe slanting slightly inward.

Foot-plinth.
Roughly oval hi shape, folio whig more or less contours of feet.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Source for the detailed description:
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture
Height: 214 cm.
About 550 BC.
Found on Melos (Cyclades) in 1891.
Athens, National Archaeological Museum, Inv. No.1558

The sculpture is poreserved complete with its plinth. The lower legs are reattached and the left shin restored with plaster. The left leg is advanced, while the arms hang rather loosely and are attached to the thighs. The hair hangs down the back and sits in shell-like curls on the forehead. The figure is depicted as a thin, almost fragile youth and lacks the robust air of contemporary mainland Greek works. The modeling exudes the delicacy, lissom quality and grace of Archaic art in the Cyclades.
Torso, front.
Only heads of clavicles near sternum clearly visible. Median line only faintly visible. Thorax rather flat; arch indicating its lower boundary rises to level of pectorals. Four transverse divisions of rectus abdominis above navel. Navel marked by circular groove. Slight protrusion at slender flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends with straight sides towards genitals.
Torso, back.
Broad, deep groove marks spinal furrow. Shoulder-blades indicated by slightly raised rounded planes, outlined by grooves; below these, similar grooves, one on each side, travel from spine downward and outward. Slight indication of erector spinae.
Arm.
Detached from side from a little below armpit to a little above wrist. Long and slender. Not bent at elbow. Forearm no longer in supine position, but turned inward in correct semi-pronated position; transition from forearm to wrist consequently natural.
Hand.
Clenched, with thumb next to thigh but separated from it by deep groove. Little finger touches thigh at back. Lower head of ulna at wrist indicated by protrusion.
Leg.
Depression over great trochanter not indicated. Internal vastus descends slightly lower than external one. Front edge of shin-bone is rounded. Patella has triangular shape, and attachments of muscles at side of knee are well rendered. Junction of patella with shin-bone natural. Inner malleolus higher than outer.
Foot.
Big toe directed forward; four others move gently downward and recede along one curve as they
touch the ground, the big toe projecting a little further than the second one, and the little toe slanting slightly inward.

Foot-plinth.
Roughly oval hi shape, folio whig more or less contours of feet.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Source for the detailed description:
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture
Height: 214 cm.
About 550 BC.
Found on Melos (Cyclades) in 1891.
Athens, National Archaeological Museum, Inv. No.1558

The sculpture is poreserved complete with its plinth. The lower legs are reattached and the left shin restored with plaster. The left leg is advanced, while the arms hang rather loosely and are attached to the thighs. The hair hangs down the back and sits in shell-like curls on the forehead. The figure is depicted as a thin, almost fragile youth and lacks the robust air of contemporary mainland Greek works. The modeling exudes the delicacy, lissom quality and grace of Archaic art in the Cyclades.
Torso, front.
Only heads of clavicles near sternum clearly visible. Median line only faintly visible. Thorax rather flat; arch indicating its lower boundary rises to level of pectorals. Four transverse divisions of rectus abdominis above navel. Navel marked by circular groove. Slight protrusion at slender flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends with straight sides towards genitals.
Torso, back.
Broad, deep groove marks spinal furrow. Shoulder-blades indicated by slightly raised rounded planes, outlined by grooves; below these, similar grooves, one on each side, travel from spine downward and outward. Slight indication of erector spinae.
Arm.
Detached from side from a little below armpit to a little above wrist. Long and slender. Not bent at elbow. Forearm no longer in supine position, but turned inward in correct semi-pronated position; transition from forearm to wrist consequently natural.
Hand.
Clenched, with thumb next to thigh but separated from it by deep groove. Little finger touches thigh at back. Lower head of ulna at wrist indicated by protrusion.
Leg.
Depression over great trochanter not indicated. Internal vastus descends slightly lower than external one. Front edge of shin-bone is rounded. Patella has triangular shape, and attachments of muscles at side of knee are well rendered. Junction of patella with shin-bone natural. Inner malleolus higher than outer.
Foot.
Big toe directed forward; four others move gently downward and recede along one curve as they
touch the ground, the big toe projecting a little further than the second one, and the little toe slanting slightly inward.

Foot-plinth.
Roughly oval hi shape, folio whig more or less contours of feet.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Source for the detailed description:
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture
Height: 214 cm.
About 550 BC.
Found on Melos (Cyclades) in 1891.
Athens, National Archaeological Museum, Inv. No.1558

The sculpture is poreserved complete with its plinth. The lower legs are reattached and the left shin restored with plaster. The left leg is advanced, while the arms hang rather loosely and are attached to the thighs. The hair hangs down the back and sits in shell-like curls on the forehead. The figure is depicted as a thin, almost fragile youth and lacks the robust air of contemporary mainland Greek works. The modeling exudes the delicacy, lissom quality and grace of Archaic art in the Cyclades.
Torso, front.
Only heads of clavicles near sternum clearly visible. Median line only faintly visible. Thorax rather flat; arch indicating its lower boundary rises to level of pectorals. Four transverse divisions of rectus abdominis above navel. Navel marked by circular groove. Slight protrusion at slender flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends with straight sides towards genitals.
Torso, back.
Broad, deep groove marks spinal furrow. Shoulder-blades indicated by slightly raised rounded planes, outlined by grooves; below these, similar grooves, one on each side, travel from spine downward and outward. Slight indication of erector spinae.
Arm.
Detached from side from a little below armpit to a little above wrist. Long and slender. Not bent at elbow. Forearm no longer in supine position, but turned inward in correct semi-pronated position; transition from forearm to wrist consequently natural.
Hand.
Clenched, with thumb next to thigh but separated from it by deep groove. Little finger touches thigh at back. Lower head of ulna at wrist indicated by protrusion.
Leg.
Depression over great trochanter not indicated. Internal vastus descends slightly lower than external one. Front edge of shin-bone is rounded. Patella has triangular shape, and attachments of muscles at side of knee are well rendered. Junction of patella with shin-bone natural. Inner malleolus higher than outer.
Foot.
Big toe directed forward; four others move gently downward and recede along one curve as they
touch the ground, the big toe projecting a little further than the second one, and the little toe slanting slightly inward.

Foot-plinth.
Roughly oval hi shape, folio whig more or less contours of feet.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Source for the detailed description:
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture
Height: 214 cm.
About 550 BC.
Found on Melos (Cyclades) in 1891.
Athens, National Archaeological Museum, Inv. No.1558

The sculpture is poreserved complete with its plinth. The lower legs are reattached and the left shin restored with plaster. The left leg is advanced, while the arms hang rather loosely and are attached to the thighs. The hair hangs down the back and sits in shell-like curls on the forehead. The figure is depicted as a thin, almost fragile youth and lacks the robust air of contemporary mainland Greek works. The modeling exudes the delicacy, lissom quality and grace of Archaic art in the Cyclades.
Torso, front.
Only heads of clavicles near sternum clearly visible. Median line only faintly visible. Thorax rather flat; arch indicating its lower boundary rises to level of pectorals. Four transverse divisions of rectus abdominis above navel. Navel marked by circular groove. Slight protrusion at slender flanks indicates swelling of external oblique over iliac crest. Lower boundary of abdomen descends with straight sides towards genitals.
Torso, back.
Broad, deep groove marks spinal furrow. Shoulder-blades indicated by slightly raised rounded planes, outlined by grooves; below these, similar grooves, one on each side, travel from spine downward and outward. Slight indication of erector spinae.
Arm.
Detached from side from a little below armpit to a little above wrist. Long and slender. Not bent at elbow. Forearm no longer in supine position, but turned inward in correct semi-pronated position; transition from forearm to wrist consequently natural.
Hand.
Clenched, with thumb next to thigh but separated from it by deep groove. Little finger touches thigh at back. Lower head of ulna at wrist indicated by protrusion.
Leg.
Depression over great trochanter not indicated. Internal vastus descends slightly lower than external one. Front edge of shin-bone is rounded. Patella has triangular shape, and attachments of muscles at side of knee are well rendered. Junction of patella with shin-bone natural. Inner malleolus higher than outer.
Foot.
Big toe directed forward; four others move gently downward and recede along one curve as they
touch the ground, the big toe projecting a little further than the second one, and the little toe slanting slightly inward.

Foot-plinth.
Roughly oval hi shape, folio whig more or less contours of feet.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Source for the detailed description:
Gisela Richter, “Kouroi - Archaic Greek Youths - A study of the development of Kouros type in Greek sculpture”

Naxian marble sculpture
Height: 214 cm.
About 550 BC.
Found on Melos (Cyclades) in 1891.
Athens, National Archaeological Museum, Inv. No.1558

The right hand from the wrist and the left arm from the middle of the upper arm are missing. The nose is broken. Reassembled at the arm and legs, with small areas restored at the joins. The youth is depicted nude on an integral plinth of irregular shape. He stands firmly on his right leg,
next to which is a support in the form of a tree trunk. The left, relaxed leg is bent at the knee. He will have held some object in his right hand, which is raised and extended forward. On his head he wears a ribbon, and his hair sits in waves and curls on the forehead and the nape.
According to some scholars this work is a Roman copy of a bronze statue attributed to Cypriot sculptor Stypax (V century BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Pentelic marble statue
Height: 125 cm.
Eclectic work of the 2nd c. AD
Found on the site of the temple of Olympian Zeus, Athens.
Athens, National Archaeological Museum, Inv. no. 248

The right hand from the wrist and the left arm from the middle of the upper arm are missing. The nose is broken. Reassembled at the arm and legs, with small areas restored at the joins. The youth is depicted nude on an integral plinth of irregular shape. He stands firmly on his right leg,
next to which is a support in the form of a tree trunk. The left, relaxed leg is bent at the knee. He will have held some object in his right hand, which is raised and extended forward. On his head he wears a ribbon, and his hair sits in waves and curls on the forehead and the nape.
According to some scholars this work is a Roman copy of a bronze statue attributed to Cypriot sculptor Stypax (V century BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Pentelic marble statue
Height: 125 cm.
Eclectic work of the 2nd c. AD
Found on the site of the temple of Olympian Zeus, Athens.
Athens, National Archaeological Museum, Inv. no. 248

The right hand from the wrist and the left arm from the middle of the upper arm are missing. The nose is broken. Reassembled at the arm and legs, with small areas restored at the joins. The youth is depicted nude on an integral plinth of irregular shape. He stands firmly on his right leg,
next to which is a support in the form of a tree trunk. The left, relaxed leg is bent at the knee. He will have held some object in his right hand, which is raised and extended forward. On his head he wears a ribbon, and his hair sits in waves and curls on the forehead and the nape.
According to some scholars this work is a Roman copy of a bronze statue attributed to Cypriot sculptor Stypax (V century BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Pentelic marble statue
Height: 125 cm.
Eclectic work of the 2nd c. AD
Found on the site of the temple of Olympian Zeus, Athens.
Athens, National Archaeological Museum, Inv. no. 248

Depiction of a young man, nude, his weight resting on his left leg. The relaxed right leg is bent and drawn behind and to the side with only the toes touching the ground, giving the body strong contrapposto. The left arm hangs loose at the side, while the right is held forwards and upwards and slightly extended to the right. It is evident from the open fingers that he held an object in his right hand. It is not clear whom the statue depicts. The statue is assembled and restored in a number of places on the abdomen and left shoulder.
According to one view it is the hero Perseus, holding the head of Medusa, although a more prob-able theory regards it as a representation of Paris, the prince of Troy, shown during his judgement holding the apple of Strife, which he is about to award to the most beautiful goddess.
The general structure of the piece, with the strongly modeled muscles, particularly the transverse abdominal, pectoralis major and gluteal muscles, attests to the Polykleitian tradition. Probably from the hand of the sculptor Euphranor of Sikyon (340-330 BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Bronze statue
Height: 194 cm.
Attributed to Euphranor of Sikyon
340 – 330 BC
Found in the sea off Antikythera in 1900,
Athens, National Archaeological Museum, Inv. No. X13396

Depiction of a young man, nude, his weight resting on his left leg. The relaxed right leg is bent and drawn behind and to the side with only the toes touching the ground, giving the body strong contrapposto. The left arm hangs loose at the side, while the right is held forwards and upwards and slightly extended to the right. It is evident from the open fingers that he held an object in his right hand. It is not clear whom the statue depicts. The statue is assembled and restored in a number of places on the abdomen and left shoulder.
According to one view it is the hero Perseus, holding the head of Medusa, although a more prob-able theory regards it as a representation of Paris, the prince of Troy, shown during his judgement holding the apple of Strife, which he is about to award to the most beautiful goddess.
The general structure of the piece, with the strongly modeled muscles, particularly the transverse abdominal, pectoralis major and gluteal muscles, attests to the Polykleitian tradition. Probably from the hand of the sculptor Euphranor of Sikyon (340-330 BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Bronze statue
Height: 194 cm.
Attributed to Euphranor of Sikyon
340 – 330 BC
Found in the sea off Antikythera in 1900,
Athens, National Archaeological Museum, Inv. No. X13396

Depiction of a young man, nude, his weight resting on his left leg. The relaxed right leg is bent and drawn behind and to the side with only the toes touching the ground, giving the body strong contrapposto. The left arm hangs loose at the side, while the right is held forwards and upwards and slightly extended to the right. It is evident from the open fingers that he held an object in his right hand. It is not clear whom the statue depicts. The statue is assembled and restored in a number of places on the abdomen and left shoulder.
According to one view it is the hero Perseus, holding the head of Medusa, although a more prob-able theory regards it as a representation of Paris, the prince of Troy, shown during his judgement holding the apple of Strife, which he is about to award to the most beautiful goddess.
The general structure of the piece, with the strongly modeled muscles, particularly the transverse abdominal, pectoralis major and gluteal muscles, attests to the Polykleitian tradition. Probably from the hand of the sculptor Euphranor of Sikyon (340-330 BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Bronze statue
Height: 194 cm.
Attributed to Euphranor of Sikyon
340 – 330 BC
Found in the sea off Antikythera in 1900,
Athens, National Archaeological Museum, Inv. No. X13396

Depiction of a young man, nude, his weight resting on his left leg. The relaxed right leg is bent and drawn behind and to the side with only the toes touching the ground, giving the body strong contrapposto. The left arm hangs loose at the side, while the right is held forwards and upwards and slightly extended to the right. It is evident from the open fingers that he held an object in his right hand. It is not clear whom the statue depicts. The statue is assembled and restored in a number of places on the abdomen and left shoulder.
According to one view it is the hero Perseus, holding the head of Medusa, although a more prob-able theory regards it as a representation of Paris, the prince of Troy, shown during his judgement holding the apple of Strife, which he is about to award to the most beautiful goddess.
The general structure of the piece, with the strongly modeled muscles, particularly the transverse abdominal, pectoralis major and gluteal muscles, attests to the Polykleitian tradition. Probably from the hand of the sculptor Euphranor of Sikyon (340-330 BC).

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Bronze statue
Height: 194 cm.
Attributed to Euphranor of Sikyon
340 – 330 BC
Found in the sea off Antikythera in 1900,
Athens, National Archaeological Museum, Inv. No. X13396

Funerary kouros preserved together with its low rectangular base, on which the name of the dead man, the Athenian aristocrat Aristodikos, is inscribed in the genitive: “Αριστοδίκο(υ)”.
The hair on the forehead is chipped, as are the eyes, nose and mouth. The short hair sits in small shell-like curls on the forehead, down to the ears, and on the nape of the neck. The left leg is advanced, while the arms are bent at the elbows and held forward and are no longer attached to the thighs. The muscles, well modeled and far removed from the stylized, linear treatment of earlier kouroi, have an almost naturalistic three-dimensional quality.
Work of an Attic sculptor who was familiar with and understood the structure of the body and the balance of its individual parts.
This piece is considered a landmark in the development of sculpture, and is the last in the kouros series.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Parian marble sculpture (base of Pentelic marble).
Height: 198 cm.
About 510-500 BC.
Found in the Mesogeia, Attica.
Athens, National Archaeological Museum, Inv. No. 3938

Funerary kouros preserved together with its low rectangular base, on which the name of the dead man, the Athenian aristocrat Aristodikos, is inscribed in the genitive: “Αριστοδίκο(υ)”.
The hair on the forehead is chipped, as are the eyes, nose and mouth. The short hair sits in small shell-like curls on the forehead, down to the ears, and on the nape of the neck. The left leg is advanced, while the arms are bent at the elbows and held forward and are no longer attached to the thighs. The muscles, well modeled and far removed from the stylized, linear treatment of earlier kouroi, have an almost naturalistic three-dimensional quality.
Work of an Attic sculptor who was familiar with and understood the structure of the body and the balance of its individual parts.
This piece is considered a landmark in the development of sculpture, and is the last in the kouros series.

Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”

Parian marble sculpture (base of Pentelic marble).
Height: 198 cm.
About 510-500 BC.
Found in the Mesogeia, Attica.
Athens, National Archaeological Museum, Inv. No. 3938

Gallery 162
Metropolitan Museum of Art, NYC