The Discobolus of Myron ("discus thrower") is a Greek sculpture that was finished towards the end of the Serious interval, circa 460-450 BC. The original Greek bronze is lost but the work is known both, through numerous Roman copies, full scale ones in marble, which was not more expensive than bronze, the Palombara Discobolus, such as the first to be regained, or smaller scaled variants in bronze.
A discus thrower is depicted about to release his throw: "by absolute intellect", Kenneth Clark noted in The Nude, "Myron has created the bearing pattern of fit energy. He's taken a minute of activity so transitory that pupils of sport still argument if it's possible, and he's given it the completeness of a cameo." The second so captured in the statue is an instance of balance, harmony and rhythmos. Myron is frequently credited with being the first sculptor to master this fashion. As constantly in Greek sports, the Discobolus is totally naked. His pose is said to not be natural to a person, and now considered a fairly ineffective method to throw the discus. Additionally there's almost no emotion revealed in the discus thrower's face, and "to a modern eye, it might appear that Myron's desire for perfection has made him suppress overly rigorously the awareness of tension in the individual muscles," Clark notes. The other hallmark of Myron embodied in this sculpture is the body is proportioned, the symmetria.
The potential energy expressed in this sculpture's tightly-wound pose, expressing the second of stasis only before the launch, is an instance of the progress of Classical sculpture from Archaic. No muscle pull is shown by the torso, yet, although the limbs are outflung.
After the discovery of the Discobolus Palombara a second notableDiscobolus was bought by the English antiquary and art dealer created in Rome, Thomas Jenkins, at public auction in 1792, and was excavated, at Hadrian's Villa in 1790. (Another example, also found at Tivoli at this date, was obtained by the Vatican Museums.) The English connoisseur Charles Townley paid Jenkins £400 for the statue, which arrived at the semipublic gallery Townley commissioned in 1794, in Park Street, London. The head was incorrectly restored, as Richard Payne Knight shortly pointed out, but Townley was convinced his was the better and authentic copy.
This marble statue is one of several copies of a disoriented bronze original of the fifth century BC which was credited to the sculptor Myron (boomed about 470-440 BC). The head on this figure should be turned to look towards the discus, and has been restored. The popularity of the sculpture in antiquity was no doubt due to its portrayal of the fit ideal. Discus-throwing while pentathletes were in some ways considered subordinate to those athletes who excelled at a specific sport, and was the first component in the pentathlon, their physical appearance was much respected. This was because no one specific set of muscles was overdeveloped, with the consequence which their proportions were harmonious.
Numerous early discuses of metal or marble, and of various weights, survive. Little is known of the spaces attained in antiquity, though an epigram observing a throw of 30 metres (95 feet) comes as a surprise in the modern world, where the present world record is only over 70 metres. On the other hand, the early technique of discus-throwing may have been quite different: there isn't any representational signs for anything more than a three quarter turn, instead of the two and a half turns now used, and this may be one factor making an immediate comparison hard.
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