Andrew Stewart’s multipart article on the problem of the classical revolution—the so-called Severe Style— continues with a reexamination of finds in Part 2 and a summary of current theories on the origins and significance of the style in the final Part 3.
He concludes that the totality of the evidence from the stratigraphy, architecture, sculpture, pottery, coins, and small finds seems to support the contention that the Tyrannicides of Kritios and Nesiotes, dedicated in 477/6, did indeed inaugurate the Severe Style and that the Greek victories of 480–479 B.C.E. somehow did inspire it, at least in part. He notes that the style appeared suddenly and in revealing circumstances, was confined to the representational arts, and, once it took root, was remarkably uniform across the Greek world. Its subjects are paragons of simplicity, strength, vigor, rationality, self-discipline, and intelligent thought. This characterization is manifested by clear-cut proportions; the lifelike compositional device of contrapposto; dynamic poses and robust modeling; simple, unornamented clothing; and sober facial expressions, either focused on some target or averted from the viewer.
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