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(both: fĭd`ēəs), c.500–c.432 B.C., Greek sculptor, one of the greatest sculptors of ancient Greece. No original in existence can be attributed to him with certainty, although numerous Roman copies in varying degrees of supposed fidelity exist. However, the estimates of ancient writers, their descriptions of his statues, and his influence on all later sculpture have secured his fame. His greatest achievements were the Athena Parthenos at Athens and the Zeus in the temple of Olympia, both colossal figures of chryselephantine workmanship (draperies of beaten gold, flesh parts incrusted with ivory). The Athena (dedicated in the ParthenonParthenon
[Gr.,=the virgin's place], temple sacred to Athena, on the acropolis at Athens. Built under Pericles between 447 B.C. and 432 B.C., it is the culminating masterpiece of Greek architecture. Ictinus and Callicrates were the architects and Phidias supervised the sculpture.
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 c.447–439 B.C.) was the chief treasure of Athens. It was destroyed in antiquity, but several copies are preserved (National Mus. of Antiquities, Athens). It was also represented on coins and gems. The Zeus (c.435 B.C.), counted as one of the Seven Wonders of the WorldSeven Wonders of the World,
in ancient classifications, were the Great Pyramid of Khufu (see pyramid) or all the pyramids with or without the sphinx; the Hanging Gardens of Babylon, with or without the walls; the mausoleum at Halicarnassus; the Artemision at Ephesus; the
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, was a majestic bearded figure seated upon a magnificently ornamented throne and wearing a mantle strewn with sculptured decorations. Terra-cotta molds, found in 1955–56 at Olympia on the site identified as Phidias' workshop, showed that the gold for the drapery had been hammered into the molds and then further decorated with glass inlays. Works of the master's younger years include a colossal bronze Athena (called the Promachos), the Athena Lemnia for the Acropolis, and a chryselephantine Athena for Pellene. Phidias has traditionally been credited with having been in charge of the Parthenon sculptures and other great works on the Acropolis, done for Pericles; but it is probable that they were made by pupils and assistants. Part of the frieze is now in the British Museum (see Elgin MarblesElgin Marbles
, ancient sculptures taken from Athens to England in 1806 by Thomas Bruce, 7th earl of Elgin; other fragments exist in several European museums. Consisting of much of the surviving frieze and other sculptures from the Parthenon, a caryatid, and a column from the
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See study by C. Walston (1885, repr. 1971).



a Greek sculptor who lived in the second and third quarters of the fifth century B.C.; one of the greatest masters of Greek art in the high classical style.

Phidias’ works are known only from descriptions by ancient authors and from copies. His most renowned non-extant works are the colossal bronze statue of Athena Promachos (the Warrior), erected on the Acropolis about 460 B.C. in honor of the Greek victories over the Persians, and two majestic chryselephantine statues—Olympian Zeus in the temple of Zeus in Olympia, one of the Seven Wonders of the World, and Athena Parthenos (the Maiden) in the Parthenon in Athens.

The best suggestion of what the work of Phidias was like is provided by the sculptural décor of the Parthenon, which was executed between 438 and 432 B.C. under the master’s guidance and probably with his personal participation. The remnants of the décor, done entirely in marble, are now housed in the British Museum in London, the Louvre in Paris, and the Acropolis Museum in Athens. Permeated with a profound humanism, the sculpture exalts the greatness of the Athenian polis and its citizens and depicts the struggle of Athens against its enemies. The sculpture of the Parthenon, together with its architecture, constitutes one of the finest examples of the synthesis of the arts. The sculpture is distinguished by the exceptional richness of its rhythms and compositional techniques, the subtlety of its modeling, the virtuosity of its chiaroscuro, and the overall unity of its plastic masses.


Niuberg, S. N. Fidii. Moscow, 1941.
Langlotz, E. Phidiasprobleme. Frankfurt am Main [1947].
Bendinelli, G. Sulle tracce di opere fidiache andate perdute. Turin, 1954.
Gavela, B. Fidija. [Novi Sad, 1974.]


Greek sculptor (468–432 B.C.), epitome of classical art. [Gk. Art: Benét]


5th century bc, Greek sculptor, regarded as one of the greatest of sculptors. He executed the sculptures of the Parthenon and the colossal statue of Zeus at Olympia, one of the Seven Wonders of the World: neither survives in the original
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A Phidias Academia e uma das academias mais tradicionais da cidade de Cuiaba-MT, localizada na regiao central da cidade, num espaco de 850 [m.
En 1838, dans son texte sur Phidias, Gustave Planche precise bien que "le Thesee n'est beau que parce qu'il est vrai" (20) et ce sont les termes constamment employes pour signifier le chef-d'oeuvre: "beau comme l'antique, vrai comme la nature
Phidias fue autor de las estatuas de Atenas en el Partenon y de Zeus en Olimpia.
So for artists over the centuries, painted or sculpted drapery has been a way to express feelings--certainly since Phidias.
The fact that we admire a statue by Phidias does not mean that we admire Phidias himself.
The fabulous marbles, sculpted during the age of Pericles under the guiding hand of Phidias out of fine white Pentelic marble quarried ten miles from Athens and hauled by oxcart to the Acropolis, remained on the high walls of the Parthenon until the first decade of the nineteenth century.
This thought-provoking publication pays little heed to Phidias, Michelangelo, or even Rodin as it begins with Dada and Duchamp and moves directly into the last decade of the twentieth century in an effort to analyze post-Modernism, a term that doesn't describe a movement as much as an attempt to distance itself from the previous era of thought and art.
Plato informs us in the Meno that Protagoras was so successful in his art that he earned more from his teaching than the great Greek sculptor Phidias and ten other sculptors put together.
The Phidias project represents a partnership among Materialise, Belgium; Siemens Medical Systems, Germany; Zeneca Specialties, United Kingdom; and The Laboratory for Medical Imaging Research of the KU-Leuven, Belgium.
Athena appeared with her aegis and the beauty and magnitude and the whole form of the Athena of Phidias in Athens.
In Olympicus, the sculptor Phidias explains the principles he followed in his famous statue of Zeus, one passage being supposed by some to have suggested the German dramatist Gotthold Lessing's Laokoon.
And then, why should it be less proper for us, and less permitted, than for Phidias the most noble statuary, who having examined a few lines of Homer imagined the body of Zeus, itself invisible, and built the Olympian Jupiter.