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Related to Lysippus: Lysippus of Sicyon


4th century bc, Greek sculptor. He introduced a new naturalism into Greek sculpture
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



Born probably in the first decade of the fourth century B.C., in Sicyon; died in the last decade of the same century. Ancient Greek sculptor; outstanding representative of late classical art.

Lysippus was the court sculptor of Alexander the Great. His works, which were executed primarily in bronze, have not survived, but an idea of them is given by classical authors and Roman copies. Anticipating Hellenistic art, Lysippus revised the canon of Polyclitus. He depicted small-headed, lean figures moving in three-dimensional space. He portrayed people not “as they are” but “as they seem” (Pliny, Natural History, XXXIV, 8). Lysippus did numerous statues of athletes, including Agias and Apoxyomenos (The Scraper—an athlete cleaning himself after competition). The sculptor’s depictions of gods and heroes are characterized by an intense emotional message that was unusual for classical art.

In antiquity, Lysippus’ most celebrated works were a colossal statue of Zeus at Tarentum, a statue of Helios seated in a chariot at Rhodes, an allegorical figure of Cyrus at Olympia, and numerous depictions of Heracles and his exploits. The Heracles Farnese is the most notable of the statues and statuettes modeled after Lysippus’ originals. Lysippus also executed large sculptural groups, such as the group depicting Alexander’s companions on horseback who had fallen in battle on the Granicus. He did a number of portraits of Alexander the Great, in which he succeeded in rendering both Alexander’s earthly, human nature and the image of a deified ruler (the Istanbul copy is close to the original).


Waldhauer, O. F. Lisipp. Berlin, 1923.
Johnson, F. P. Lysippos. Durham, 1927.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
When Alexander had commanded none should paint him but Appelles, none should carve him but Lysippus, none engrave him but Pirgotales, Parrhasius framed a Table squared everye way twoo hundred foote, which in the borders he trimmed with fresh colours, and limmed with fine golde, leaving all the other roume with-out knotte or lyne, which table he presented to Alexander who no less mervailing at the bignes, than at the barenes, demaunded to what ende he gave him a frame without a face, being so naked, and with-out fashion being so great.
1.1.84-7, which asserts the superiority of the equestrian statue of Domitian as Hercules in the forum over a statue of Alexander by Lysippus. For comparison of Domitian with Alexander see further K.
Roman copy of a bronze original by the Greek master sculptor Lysippus. The bottom half is displayed in the main lobby of the Antalya museum in southern Turkey.
On one level, the denunciation of the King expressed by his brother, Lysippus, condemning intemperance in monarchs, suggests an indictment of the King that makes Evadne sympathetic as a victim of a lustful and abusive tyrant.
It differs acutely from Elyot's earlier rehearsal of the example in describing Lysippus's bronze of the fight with the lion, in which Alexander is supposed to have been portrayed "fighting and struggling with a terrible lion of incomprehensible magnitude and fierceness" (G, 25), while his attendant lords surround him in a hierarchy of dutiful valor: "Among whom the prowess of Alexander appeared, excelling all others; the residue of his lords after the value and estimation of their courage, every man set out in such forwardness, as they then seemed more prompt to the helping of their master, that is to say, one less afeard than the other" (G, 25).
Thanks to the long Peloponnesian war (431-404 BC), a hiatus of a generation intervened between the classical age of Phidias and Polyclitus, from 465, and the appearance of Praxiteles, Scopas and Lysippus. Active between 375 and 330, Praxiteles was most probably a son of the sculptor Cephisodotos.
The King's brother, Lysippus, takes the throne and Melantius is allowed, awkwardly, to live.
In the Circus Maximus in Rome a statue of Hercules Invictus, Hercules the Unconquered, stood near the starting gates while Constantine brought a famous statue of Hercules by Alexander's favourite sculptor, Lysippus, from Rome to place in the hippodrome in Constantinople.
Having got to the point of imagining the lady disrobing to reveal a "radiance as of lightning," Philostratus leaps to "O Phidias and Lysippus and Polyclitus, how much too soon you ceased to be!
Scher, "An Introduction to 'Perspectives on the Renaissance Medal'"; Raymond Waddington, "Pisanello's Paragoni"; Joanna Woods-Maraden, "Visual Constructions of the Art of War: Images for Machiavelli's Prince"; Kristen Lippincott, "'Un Gran pelago': The Impresa and the Medieval reverse in Fifteenth Century Italy"; Louis Alexander Waldman, "'The Modern Lysippus': A Roman Quattrocenro Medalist in Context"; John Cunnally, "Changing Patterns of Antiquarianism in the Imagery of the Italian Renaissance Medal"; Alan Stahl, "Medal in the Renaissance"; J.
Thoenias of Sicyon was already known as a later representative of the school of Lysippus; that Dionysodorus was a fellow-citizen of his has not emerged so far, but he is mentioned by Polybius as an admiral and an emissary of Attalus.(4) `Frisky' is known to us from an epigram by Dioscorides, where he guards the tomb of Sositheus, and from a passage of Nonnus;(5) Cornutus, N.D.
Given the Hellenistic Emperor's high regard for the work of Apelles and Lysippus, who alon e were permitted to paint and sculpt the Imperial features, the assimilation of Leonello to Alexander is an extremely attractive hypothesis.