Standing Demosthenes
Title
Standing Demosthenes
Date
Roman copy, unknown date; Hellenistic original, ca. 280 BC
Artist or Workshop
Polyeuktos, original artist
Materials
Marble copy of bronze original
Height of the work
202 cm tall
Provenience
Copy said to be from Campania, Italy
Original: Athenian Agora
Original: Athenian Agora
Current Location
Ny Carlsberg Glyptothek of Copenhagen, Denmark
Description and Significance
Description:
The portrait “Standing Demosthenes” shows a standing man and is just over life-size. He looks to be around fifty or sixty, with clear wrinkles, predominantly on his face. His cheeks are hollow, and his brow is furrowed. His lips are closed tightly and his jaw is clenched. He is looking downward, as though he is just looked away from the viewer. His beard is closely cropped, and his hairline is slightly receding. He is very thin with his bones creating most of his body’s definition rather than muscle. His chest is sunken and his hunched shoulders are quite bony. In his hands, there is a partially unrolled scroll. He is standing in contrapposto, a typical stance for the early Hellenistic period. From the perspective of the viewer, his right foot is pointed forward, while his left foot is turned outward. There is a round container of scrolls placed behind his right foot. He is wearing a himation, which is wrapped around his body. It is rolled underneath his chest and draped over his right shoulder. It falls around his ankles, exposing his sandaled feet. He is standing on a small, round platform.
Significance:
This sculpture of Demosthenes is an exemplary piece of Hellenistic portraiture. It is individualized and realistic, appealing to the audience’s emotions. His identity is known from both ancient texts and an inscription that appears on one of the several Roman replicas. The original Greek version would have been made of bronze, not marble. The container of scrolls behind his right foot would not have been present on the original and is acting as a support for the heavier marble. Even though it is not an exact physical representation, as Demosthenes died 40 years before this was made, it pays great attention to using physical features to portray his inner character. Demosthenes was an orator who spoke out against the Macedonian conquest of Greece. As a result, he was seen as one of Athens’ greatest advocates. This statue was originally on display at the Athenian Agora, possibly as part of a collection of statues of individuals who had defended Athens in the past. However, his attempts to speak out against Macedonia failed and he ultimately committed suicide. His posture and expression reflect the anxiety and stress he felt during his life. He appears uncertain and unconfident, as though he is aware that his efforts have been in vain. This statue’s hands are not original, but have been restored based on ancient texts. However, scholars now think that instead of holding a scroll, his fingers would have been interlaced, adding to his uneasy appearance. Even though his physiognomy may not accurately reflect the real Demosthenes, his inner state is clearly conveyed through this work. Furthermore, it has been suggested by one scholar that his slightly awkward mouth position is a reference to the stutter he had to overcome in his youth. By portraying Demosthenes’ inner struggle, the audience is able to empathize with him. It does not simply portray him as a historical character but encourages the viewer to understand his anxiety. This appeal to emotion and heightened realism makes this a wonderful example of a Hellenistic art.
The portrait “Standing Demosthenes” shows a standing man and is just over life-size. He looks to be around fifty or sixty, with clear wrinkles, predominantly on his face. His cheeks are hollow, and his brow is furrowed. His lips are closed tightly and his jaw is clenched. He is looking downward, as though he is just looked away from the viewer. His beard is closely cropped, and his hairline is slightly receding. He is very thin with his bones creating most of his body’s definition rather than muscle. His chest is sunken and his hunched shoulders are quite bony. In his hands, there is a partially unrolled scroll. He is standing in contrapposto, a typical stance for the early Hellenistic period. From the perspective of the viewer, his right foot is pointed forward, while his left foot is turned outward. There is a round container of scrolls placed behind his right foot. He is wearing a himation, which is wrapped around his body. It is rolled underneath his chest and draped over his right shoulder. It falls around his ankles, exposing his sandaled feet. He is standing on a small, round platform.
Significance:
This sculpture of Demosthenes is an exemplary piece of Hellenistic portraiture. It is individualized and realistic, appealing to the audience’s emotions. His identity is known from both ancient texts and an inscription that appears on one of the several Roman replicas. The original Greek version would have been made of bronze, not marble. The container of scrolls behind his right foot would not have been present on the original and is acting as a support for the heavier marble. Even though it is not an exact physical representation, as Demosthenes died 40 years before this was made, it pays great attention to using physical features to portray his inner character. Demosthenes was an orator who spoke out against the Macedonian conquest of Greece. As a result, he was seen as one of Athens’ greatest advocates. This statue was originally on display at the Athenian Agora, possibly as part of a collection of statues of individuals who had defended Athens in the past. However, his attempts to speak out against Macedonia failed and he ultimately committed suicide. His posture and expression reflect the anxiety and stress he felt during his life. He appears uncertain and unconfident, as though he is aware that his efforts have been in vain. This statue’s hands are not original, but have been restored based on ancient texts. However, scholars now think that instead of holding a scroll, his fingers would have been interlaced, adding to his uneasy appearance. Even though his physiognomy may not accurately reflect the real Demosthenes, his inner state is clearly conveyed through this work. Furthermore, it has been suggested by one scholar that his slightly awkward mouth position is a reference to the stutter he had to overcome in his youth. By portraying Demosthenes’ inner struggle, the audience is able to empathize with him. It does not simply portray him as a historical character but encourages the viewer to understand his anxiety. This appeal to emotion and heightened realism makes this a wonderful example of a Hellenistic art.
References
"Copenhagen, NCG 436A." Sculpture. N.p., n.d. Web. 03 Mar. 2017. <http://www.perseus.tufts.edu/hopper/artifact?name=Copenhagen%2C%2BNCG%2B436A&object=Sculpture>.
Fullerton, Mark D. Greek Art. Cambridge: Cambridge U Press, 2000. 38-39. Print.
Havelock, Christine Mitchell. Hellenistic Art. (London): Phaidon, 1971. 77. Print.
Fullerton, Mark D. Greek Art. Cambridge: Cambridge U Press, 2000. 38-39. Print.
Havelock, Christine Mitchell. Hellenistic Art. (London): Phaidon, 1971. 77. Print.
Contributor
Becca Peters
Citation
Polyeuktos, original artist , “Standing Demosthenes,” Digital Portrait "Basket" - ARTH488A "Ancient Mediterranean Portraiture", accessed April 18, 2024, http://classicalchopped.artinterp.org/omeka/items/show/22.
Item Relations
This item has no relations.