Praxiteles is one of the most celebrated of the Attic sculptors, and although very few facts about his life are certain, it is known that he was from Athens and his father, Kephisodotus, was believed to be another renowned Attic sculptor. All of his work is estimated to date from the second half of the 4th century B.C.
Only one of Praxiteles' sculptures still survives, although the authenticity of this piece is doubted by some. However, as a result of his fame and popularity, a great deal of Roman copies of his works were made, many of which have been recovered. His recognition as a great sculptor is clear from the pictures of his sculptures which were engraved on Roman coins, as well as the descriptions given to us by writers such as Pliny the Elder and Pausanias. Praxiteles' school of art was mostly concerned with marble, due to the fine quality of marble from the quarries in Paros at the time. Some of his sculptures were also known to be painted by Nicias, who Praxiteles greatly respected, proclaiming that the best statues were those painted by Nicias.
Praxiteles was highly influential in the development of Greek sculpture, bringing an elegant and sensuous grace to his work. His innovative style was a transformation from the tone set by his predecessors of impressive yet somehow detached sculpture, especially in representations of the gods. Praxiteles overcomes the problem of distancing the viewer by producing a much more humanising view of the gods. Many sculptors from Praxiteles' time chose to use bronze for their sculpture, as it allows greater flexibility in composition due to its tensile strength. However, Praxiteles, although he was skilled in both materials, favoured the use of marble. He points out its advantage over bronze as its ability to resemble the softness and radiance of the skin. The innovations of bronze had allowed sculptors to accurately depict the human anatomy, as well as the responsiveness of the body to various movements or positions. This meant that the sculptures being produced in Praxiteles' time were aiming to create a physically accurate figure. However, Praxiteles was interested in doing more than this; it was his beautiful rendering of surface and texture that made him such a highly praised sculptor.
Only one of Praxiteles' sculptures still survives, although the authenticity of this piece is doubted by some. However, as a result of his fame and popularity, a great deal of Roman copies of his works were made, many of which have been recovered. His recognition as a great sculptor is clear from the pictures of his sculptures which were engraved on Roman coins, as well as the descriptions given to us by writers such as Pliny the Elder and Pausanias. Praxiteles' school of art was mostly concerned with marble, due to the fine quality of marble from the quarries in Paros at the time. Some of his sculptures were also known to be painted by Nicias, who Praxiteles greatly respected, proclaiming that the best statues were those painted by Nicias.
Praxiteles was highly influential in the development of Greek sculpture, bringing an elegant and sensuous grace to his work. His innovative style was a transformation from the tone set by his predecessors of impressive yet somehow detached sculpture, especially in representations of the gods. Praxiteles overcomes the problem of distancing the viewer by producing a much more humanising view of the gods. Many sculptors from Praxiteles' time chose to use bronze for their sculpture, as it allows greater flexibility in composition due to its tensile strength. However, Praxiteles, although he was skilled in both materials, favoured the use of marble. He points out its advantage over bronze as its ability to resemble the softness and radiance of the skin. The innovations of bronze had allowed sculptors to accurately depict the human anatomy, as well as the responsiveness of the body to various movements or positions. This meant that the sculptures being produced in Praxiteles' time were aiming to create a physically accurate figure. However, Praxiteles was interested in doing more than this; it was his beautiful rendering of surface and texture that made him such a highly praised sculptor.
