METOPES
Square panels decorated with relief sculpture, often depicting scenes
from myth, part of the frieze on a Doric temple along with triglyphs.
'metopes, being rectangular or sometimes square, presented problems
to sculptors similar to those faced by vase painters decorating panels. If
they wished to use the space effectively for story-telling, they had to
select a significant and recognisable /were intelligible at a distance. They
therefore made their principal figures as large as possible, thereby
restricting their number to no more than three (or, very rarely, four)'
- Woodford
,Herakles and the Kerkopes
Portrayal of narrative:
- Comic myth – coarse humour
- Contrast of expressions – imps smile while Herakles is
serious – he is the target of their joke
- Herakles' superhuman status is mocked
- Imps are identical and symmetrical – siblings –
contributes to narrative
Realism:
- Ambitious attempt at depth perception – sword hung
behind him
- ¾ turn, front facing profile – awkward / unnatural
- Problematic proportions – though large thighs could
contribute to narrative - 550 BC
Compositional Lines: - Templ
- Successful filling of space Selinu
- Mixture of diagonals and verticals.
, Herakles and the Nemean Lion - 460BC
- Temple of Z
at Olympia
- (non spec!
Portrayal of narrative:
- Beardless – first labour
- Low posture, hand on head – conveys the
enormity of the following 11 labours
- Focus is post-battle – Herakles seems
dejected – indication of mental state in
sophrosyne period
Compositional Lines:
- Simple lines – only vertical and horizontal
- Variety of levels
- Effectively fills space though minimalist
(some empty space around the top)
Square panels decorated with relief sculpture, often depicting scenes
from myth, part of the frieze on a Doric temple along with triglyphs.
'metopes, being rectangular or sometimes square, presented problems
to sculptors similar to those faced by vase painters decorating panels. If
they wished to use the space effectively for story-telling, they had to
select a significant and recognisable /were intelligible at a distance. They
therefore made their principal figures as large as possible, thereby
restricting their number to no more than three (or, very rarely, four)'
- Woodford
,Herakles and the Kerkopes
Portrayal of narrative:
- Comic myth – coarse humour
- Contrast of expressions – imps smile while Herakles is
serious – he is the target of their joke
- Herakles' superhuman status is mocked
- Imps are identical and symmetrical – siblings –
contributes to narrative
Realism:
- Ambitious attempt at depth perception – sword hung
behind him
- ¾ turn, front facing profile – awkward / unnatural
- Problematic proportions – though large thighs could
contribute to narrative - 550 BC
Compositional Lines: - Templ
- Successful filling of space Selinu
- Mixture of diagonals and verticals.
, Herakles and the Nemean Lion - 460BC
- Temple of Z
at Olympia
- (non spec!
Portrayal of narrative:
- Beardless – first labour
- Low posture, hand on head – conveys the
enormity of the following 11 labours
- Focus is post-battle – Herakles seems
dejected – indication of mental state in
sophrosyne period
Compositional Lines:
- Simple lines – only vertical and horizontal
- Variety of levels
- Effectively fills space though minimalist
(some empty space around the top)
