Famous Greek Statues – An Exploration of Ancient Greek Sculpture

The ancient Greeks have earned a place in the history books for their complex mythologies, their revered philosophers, and legendary war heroes. However, they are most remembered for their incredible architecture and Greek sculptures. Ancient Greek artifacts have revealed many details about the times during which these ancient Greek statues were created. Greek sculptors used materials to create many famous Greek statues which still exist for us to admire and study up to the present day.

An Introduction to Greek Sculpture

Ancient Greek statues are generally accepted to have resulted from the influence of a mixture of Syrian, Minoan, Egyptian, Persian, and Mycenaean cultures. These cultures can be traced further back to Indo-European tribes that had migrated from Northern regions of the Black Sea. Techniques such as bronze-casting and stone-carving were passed down to the Greek sculptors by the Syrians and the Egyptians.

Terracotta figurine of semi-naked Aphrodite. From Eretria. 3rd century B.C. Figurine of Aphrodite seated on a rock, holding a folding mirror. Her himation covers her lower body and legs. The goddess of beauty is represented at the moment she had withdrawn her gaze from her image on the gold-plated mirror; George E. Koronaios, CC BY-SA 4.0, via Wikimedia Commons

A Brief History of Ancient Greek Sculpture

The development of ancient Greek statues is usually divided into three chronological periods. From 650 BCE until 500 BCE, Greek sculptors first began developing monumental sculptures made from marble. This period was known as the Archaic Period. From 500 BCE until 323 BCE, Greek sculpture reached its creative pinnacle in what is known as the Classical Period. Many famous Greek statues were sculpted in this period. The next period was known as the Hellenistic period and it lasted from 323 BCE until 27 BCE.

During this period, the Greek sculpture style had spread throughout the Eastern Mediterranean.

Ancient Greek artifacts reveal that most Greek Sculptures were created primarily for religious reasons throughout the Archaic and Classical periods. Many Greek sculptors created the sculptures for use in dedication to a specific religious deity or mythological being for various temples. A Greek man or Greek woman statue was often the human embodiment of a divine being and was sculpted in many various materials and sizes.

Illustration of ancient Greek sculptures from Brockhaus and Efron Encyclopedic Dictionary (1890—1907); painter from Brockhaus and Efron Encyclopedic Dictionary, Public domain, via Wikimedia Commons

The Greek sculptors had a preference for using marble, terracotta, bronze, and wood to create their ancient Greek statues. Although bronze was only used in large capacity during the years of 550 BCE and 500 BCE, around half of ancient Greek statues were made from it. No matter what material was used, the last process was always the same: the addition of a hot wax or oil layer on the outer surface to give it a more life-like appearance, after which they would be colored and then gilded. Most of these statues were then painted in a layer of polychrome.

Ancient Greek statues are easily characterized by their realistic stance and accurate depictions of human anatomy. 

It was during this period that Greek sculptors focused on the concept of the “Ideal Form” which would later be rekindled by artists during the High Renaissance period such as Leonardo, Michelangelo, and Raphael. Greek sculptors also developed the contrapposto stance, in which the figures rest their body weight on one foot, and the other foot is portrayed as bent.

More information about the whole period can be found in our article about greek art.

Our List of Famous Greek Statues

Many names of the sculptors of ancient Greek statues have been lost to time. Yet this is also a period where we start to see named sculptors emerge such as Phidias, Myron, Callimachus, Kalamis, and many others. Let us take a look at some of the most famous Greek statues from the golden era of Greek sculpture.

The Lady of Auxerre (c. 650 – 625 BCE)

The Lady of Auxerre was found in a storage vault in the Museum of Auxerre, which is situated in the town of Auxerre, near Paris. It was discovered by Louvre curator, Maxime Collignon, in 1907, and no one is sure how it got there. Many scholars think that it could represent Persephone, the daughter of the mythological being, Demeter.

Others think that instead of representing the Goddess herself, it could also be a Greek woman statue known as a kore or maiden, which was used as an offering towards Persephone. The male version of a kore is a kouros, and these sculptures were most often used in graveyards as markers.

Lady of Auxerre, a female statuette in the Daedalic style. Limestone with incised decoration, formerly painted, ca. 640–630 BC, made in Crete; Louvre Museum, CC BY 2.5, via Wikimedia Commons

All that remains of this and other sculptures of its era is the limestone surface, as any paint that once decorated the sculptures have long since been lost to time. However, it is believed that they were once vividly painted due to fragments of paint that have been found on them. The statue is rather small for that of a woman’s grave, at only 75 cm, as many of them were usually life-size or larger. Minoan influence can be seen in her narrow waist, and an Egyptian influence can be seen in the rigid representation of her hair.

The Sacred Gate Dipylon Kouros (c. 560 BCE)

This famous kouros was discovered in the ancient Kerameikos cemetery at a site known as the Sacred Gate in 2002. Unearthed by the German Archeological Institute, the cemetery was part of the potter’s corner of ancient Athens. The statue is a male figure used for marking graves and was made from Naxian marble. Standing 2.10 meters high, the Greek sculpture was found along with two lions made from marble, pillar fragments, and a sphinx.

Although it cannot be proven with any certainty, some scholars have suggested that it could be the work of a Dipylon sculptor, a painter of vases from Greece, Athens.

The Sacred Gate Kouros, 600-590 BC; Sharon Mollerus, CC BY 2.0, via Wikimedia Commons

Although his name is not known, a similar kouros was previously found 40 meters away from the recent discovery in 1916. Another head of a sculpture that is now housed at the Metropolitan Museum in New York, bears similarities in dimension and design to both heads found in 2002 and 1916. It is known that the first two are the work of the Dipylon sculptor, and so it is highly likely that this new discovery was another of the ancient Greek artifacts created by the resident Sacred Gate sculptor. He was most active a painter around 760 – 750 BC.

Kleobis and Biton (c. 580 BCE)

These ancient Greek statues were found in Delphi in 1893 but originally came from Argos, in the Peloponnese region. The famous Greek statues are nude and identical and are made from Parian marble. Inscribed on the base of the statues is the name of the sculptor Polymedes of Argos. There are actually two different interpretations of who the statues are meant to represent, but both of them are rooted in Greek Mythology.

Besides the name of the sculptor, there was also another word inscribed on the base of these ancient Greek artifacts.

Kleobis and Biton, c. 580 BC; Vicenç Valcárcel Pérez, CC BY-SA 4.0, via Wikimedia Commons

Archeologists were also able to make out the word “Fanakon” on the base, which translates to the word princes. This term was usually used in reference to Pollux and Castor, who were the twin sons of the Greek god Zeus, and who were worshipped widely in Argos at that time. The other mythological story involves the offspring of a priestess who worked for Hera, a goddess of Delphi. This priestess was called Cydippe, and her sons were two human brothers named Kleobis and Biton.

Moschophoros (c. 570 BCE)

This ancient Greek sculpture is also known as The Calf Bearer in English and was created in the Archaic period. It had been discovered in 1864 in the Acropolis of Athens. It was put together from fragments found among the rubble of the Persian invasion, therefore it is not in the best condition and both legs are missing from the knees down. The left thigh and genitals are missing as well as the hands. The bottom part of the face has also chipped off. His eyes are also missing, but the calf and the rest of the statue are in a decent state.

Although found in 1864, the base was only discovered three years later.

The Moschophoros or Calf-bearer (c. 560 BC); Acropolis Museum, CC BY-SA 2.5, via Wikimedia Commons

The statue is made from limestone and stands at 165 cm high. An inscription on the base indicates that the statue was dedicated to the goddess of wisdom, Athena by someone named Rhombas. It has been suggested that the statue was made in the likeness of the patron who had ordered it to be carved and that he was most likely a prominent figure in the Attican region. His devotion and willingness to sacrifice for the goddess are symbolized by the calf on his shoulders.

Peplos Kore (c. 530 BCE)

This Greek woman statue is one of the most famous of the Archaic period. Based on traces found on the marble, it was originally painted in bright vivid colors and is made from white marble. The 118 cm-high statue was found in an excavation in 1886 near the Athenian Acropolis and was found in three separate pieces. It was named after the fabric she is wearing which is used for making shawls and robes (peplos). It was no longer part of modern fashion when the sculpture was created.

Although it is uncertain who among the Greek sculptors originally created it, some scholars believe that it could be the work of the Rampin Master, who was also meant to be responsible for another famous sculpture from the Archaic period known as “The Rampin Rider”. 

The Peplos Kore (ca 530 BC), now stands in the Akropolis Museum in Athens. Plaster cast and reconstruction; Zde, CC BY-SA 4.0, via Wikimedia Commons

It has been suggested by historians that based on the stance, the statue depicts a goddess and not a mortal human girl. Normal kore posture included having one leg forward, with her left hand holding her skirt and the right hand holding an offering. There are two lines of 35 holes around her head, indicating that the statue might have included a crown of sorts at some stage.

Leda and the Swan (c. 500 – 450 BCE)

The Greek sculpture Leda and the Swan was created by the sculptor Timotheus sometime between 500 and 450 BCE. Today more than 20 Roman replications still exist, attesting to how popular the theme was in the Roman world. It was based on the Greek mythological story of how Zeus tried to seduce the queen of Sparta, Leda, by turning himself into a swan.

The most well-known Roman version of the original Greek sculpture was found in Rome in 1775 and was believed to have been sculpted in the first century.

Leda and Zeus as a swan (2^nd century); Timotheos, CC BY-SA 3.0, via Wikimedia Commons

Just like the original, the clothing both reveals and conceals the naked body of the statue as it was created in a time when full nudity in statues was not yet considered acceptable. The contrasting use of cloth that is both heavily folded in some places, and transparently clinging to the body in other places are characteristics that are said to be hallmarks of the work of Timotheus. After it was discovered it was reworked and restored in the 18th century, with the cloak, swan’s head, and both her arms being a part of that extensive restoration process.

Kritios Boy (c. 480 BCE)

The Kritios Boy is also known as the Ephebe Youth and was discovered in 1866 during an excavation of the Acropolis in Athens. It was headless at the time and the head was only found twenty-three years after the body was unearthed. The Greek sculpture is smaller than life-size and is made from marble. It was named after the sculptor that it has been attributed to, Kritios, a prominent figure of the period.

It has been cited as a prime example of ancient Greek statues that were created during the shift from the Archaic period to the early Classical period, as the posture became more natural and less rigid.

Kritios Boy (c. 480 BC); Louis Magne, CC BY-SA 4.0, via Wikimedia Commons

Whereas earlier ancient Greek artifacts were often found to be stiff and the weight of the statue bore equal weight on both legs, Kritios Boy was sculpted in the contrapposto stance, with the weight bearing down on a single leg and the other bent in a natural manner. It was a very early example of the development of understanding of human anatomy by Greek sculptors, and an attempt to portray the human body accurately and realistically.

The Dying Warrior (c. 480 BCE)

Built as a dedication to the goddess Aphaia, the temple of Aphaia was situated on the island of Aegina within a sanctuary. The current temple was built on the site of two previous temples that had been destroyed through the ages. Ancient Greek statues were removed from the western and eastern pediments of the temple and were shipped overseas. Once there, they were sold to Ludwig I of Hanover. The Greek sculpture is thought to portray Laomedon, a fallen Trojan hero.

It was common to depict figures who had fallen in battle, as the Greeks believed that if one fell in battle, then one became immortal.

Dying Warrior (fallen Trojan warrior, probably Laomedon), figure E-XI of the east pediment of the Temple of Aphaia, ca. 505–500 BC; Glyptothek, CC BY 2.5, via Wikimedia Commons

It was seen as an honor to die in such a way, and Greek sculptors depicted these men as courageous heroes. Even though the back parts of the marble statues were not visible to the human eye, they had been just as exquisitely polished as the rest of the sculpture, as nothing escaped the eyes of the gods. This beautifully crafted sculpture was part of a series from the Archaic period that would end up in the Glyptothek in Munich. They have since been shown to have had a significant influence on the architecture and art of Munich.

The Charioteer of Delphi (c. 470 BCE)

This bronze sculpture was found in the sanctuary of Apollo in Delphi in 1896. It is one of the most well-preserved statues from Delphi and is also known as The Reign Holder. It is widely accepted that it was sculpted in commemoration of the victory of Polyzalus at the Pythian Games. The Charioteer of Delphi was originally part of a group of sculptures, but the others were taken away and melted for resale. It managed to escape the same fate due to being trapped under a rockfall until it was re-discovered.

The other sculptures that were originally part of the group were around four horses, two grooms, and a chariot.

The Charioteer of Delphi is one of the statues surviving from Ancient Greece. It is considered one of the finest examples of an ancient bronze life-size statue; Václav Moravec, CC BY-SA 4.0, via Wikimedia Commons

It is unknown who made the sculptures for sure, but it has been attributed to several Greek sculptors including Pythagoras and Calamis. Despite its Sicilian theme, it is thought that it was not created in Sicily, but that it was most likely cast in Athens, based on stylistic observations. Scholars point out several stylistic similarities with other statues from Athens such as the Piraeus Apollo. It is due to the many years in an indoor environment that the bronze statue attained its distinctive green tinge.

Zeus and Ganymede (c. 470 BCE)

This terracotta Greek sculpture is from the Late Archaic period and depicts carrying Ganymede to Mount Olympus. It was probably originally used as an acroterion for one of the Olympian treasuries. It is rather big for a terracotta sculpture, yet is not life-sized like many others. It has been attributed to a Corinthian workshop and was created in the period of transition between the Archaic period and the Classical period.

The sculpture was found in fragments during different periods of excavation, with the first parts being discovered in 1878 in the western and eastern areas of the Olympic stadium.

Statue of Zeus and Ganymede, c. 470 BC; Joyofmuseums, CC BY-SA 4.0, via Wikimedia Commons

More fragments were discovered at the same site during various excavations up until 1938. It is still far from complete, but has been reconstructed as best as can be done with the fragments available, and has since been housed at the Olympia Archeological Museum in Greece. It is regarded as the earliest example of Greek art in which the subject’s eyes do not just stare forwards but have been sculpted in an expressive and realistic manner.

The Riace Bronzes (c. 460 BCE)

 The Riace Bronzes were discovered by accident in 1972 when an amateur scuba diver named Stefano Mariottini was out snorkeling off the shore of Riace in Calabria when he saw what he thought was a human arm sticking out of the sand of the seabed. Thinking that it might be the work of the mafia, he contacted the police who promptly arrived to investigate. After realizing they were not dealing with human bodies, archeologists were called in to come and have a look and dug up the bronze Greek statues.

The statues have been labeled simply “Statue A” and “Statue B”, and differ in size by a centimeter.

In the year 1972, two bronze statues from Greece dating back to 460 until 430 BC were found on the bottom of the Ionic Sea near Riace Marina in Calabria in Italy; Bronzi_Di_Riace_Statua_A+B.jpg: User:AlMarederivative work: Hic et nunc, CC BY-SA 2.5, via Wikimedia Commons

Based on their posture they once held spears in their hands. Although it is uncertain exactly who created them, it has been suggested that they were created by different Greek sculptors, with Myron being a likely candidate for “Statue A” and Alkamenes being the possible sculptor of “Statue B”. Despite being unearthed in 1972, they were not put on display to the public until 1981 in Rome and Florence, where they drew crowds of over a million people in just a single year.

The Artemision Bronze (c. 460 BCE)

During the excavation of a Roman shipwreck between 1926 and 1928, a bronze statue was lifted from the sea in two pieces just off the Cape of Artemision. It is said to portray one of the Greek gods, possibly Poseidon or Zeus. Whatever he was holding is lost to the oceans and would have helped in discovering who it was meant to represent, as Poseidon would have been holding a trident, and Zeus would have been holding a bolt of lightning.

Poseidon (or Zeus) of Cape Artemision, c. 460 BC; Ricardo André Frantz (User:Tetraktys), CC BY-SA 3.0, via Wikimedia Commons

The eyes of the sculpture were once probably inset with pupils made of bone but are now empty. The eyebrows would have originally been lined with silver, and the nipples and lips would have been lined with copper. Due to the origins of the found sculpture, it is uncertain who sculpted this masterpiece. There have also been many debates over who it really represents.

The hypothesis that it represents Poseidon has been thrown into doubt, as the trident would have obscured his face, a posture which is not often seen in any other renderings of the god in vase paintings or coins.

Discobolus (c. 460 BCE)

Today there are only Roman copies left of the original bronze statue. It is believed that the original was sculpted by Myron of Eleutherae, a sculptor from Athens who was known for his bronze representations of athletes. Many copies have been found since then, such as the first one unearthed at the property of the Massino family in 1781. Made in the first century, the Palombara Discobolus was discovered at the Villa Palombara which was situated on Esquiline Hill.

After it was restored it was installed at various places such as the Palazzo Lancellotti until it was bought by Hitler in 1938 after it was sold to him by the Minister of Foreign Affairs in Italy, Galeazzo Ciano for five million lire.

Restored version of the Discobolus of Myron made in Munich by combining the Lancelotti head with the Vatican body, 5th century BC; F. Bruckmann (photographer); Myron (original sculptor), Public domain, via Wikimedia Commons

The sculpture was then sent by train to Germany, where it was displayed at the Glyptothek in Munich. In 1948 the sculpture was returned to Italy where it has been on display ever since at the National Museum of Rome. Another copy was found in 1770 at Hadrien’s wall and bought by Thomas Jenkins, an English art dealer in an auction in 1792. In 1805 it was bought for the British Museum for four hundred pounds sterling by Charles Townly.

The Marble Metopes of the Parthenon (c. 447 – 438 BCE)

The marble Metopes of the Parthenon originally were 92 panels that were created to enhance and beautify the Parthenon’s exterior and are well-known examples of Greek high-relief sculptures from the classic period. The metopes portrayed various scenes from Greek mythology and symbolized victory over chaos and passion by reason. On the Eastern and Western walls were fourteen metopes, and on the Southern and Northern walls were thirty-two metopes.

The metopes on the Eastern wall were situated above the Parthenon’s main entrance and depicts the last stages of the battle fought between Olympian gods and the giants.

Marble metope from the Parthenon, Athens (South metope VII), c. 447-438 BC. This metope is from the eastern half of the south side of the temple. The South metopes in the British Museum show the battle between Centaurs and Lapiths at the marriage feast of Peirithoos. Now in Room 18 of the British Museum, London; Peter O’Connor aka anemoneprojectors, CC BY-SA 2.0, via Wikimedia Commons

Images such as Neptune and his trident, Hera riding a chariot, and a depiction of Zeus can be seen. On the Southern wall’s metopes is the depiction of the battle of the Aeolian tribe known as the Lapiths, against the mythical creatures known as Centaurs. The Northern wall’s metopes portray the battle between the Trojans and the Greeks, commonly known as “The Sack of Troy”. Only 14 of the original 32 panels survived after a cannonball hit the Parthenon in 1687. Some of the metopes are displayed at the Acropolis Museum, while others can be viewed at the British Museum in London.

The Parthenon Marbles (c. 447 – 438 BCE)

The Parthenon’s east pediment depicted the birth of Athen, the goddess, from the head of Zeus, her father. The figures which represented that part of the scene are unfortunately lost, as in the original Athena was moving away from him armed and fully grown. Only a few of the figures of the central group still survive. Included in these, seated to the right of the middle are three goddesses.

To accommodate the sloping curve of the architectural moldings, the posture of each figure varied accordingly.

A section of the Parthenon Marbles frieze, c. 447-438 BC; Laika ac from UK, CC BY-SA 2.0, via Wikimedia Commons

The Parthenon Marbles statues are noted for the realistic depiction of human anatomy mixed with the representation of draperies in a complex yet harmonious manner. The figure on the left can be seen on the verge of standing up, with her right leg tucked in to help lever herself up. A figure to the right can be seen reclining in the lap of another figure. A few of the mythological beings that can be made out are Aphrodite, Dione, and Hestia, goddess of the home.

Athena Parthenos (c. 447 BCE)

This ancient Greek sculpture depicted the Greek goddess Athena and was made of ivory and gold by Phidias and was originally located in the Parthenon in Athens. This massive statue was created to be the focal point of the Parthenon, and although greatly admired in its time, it has since been lost to history. Many replicas have been created from ancient until modern times, as well as other works that were inspired by the description of this statue of Athena, Goddess of War and wisdom.

It was considered an artwork that epitomizes the image of Athena and is regarded as the pinnacle of Phidias’s achievements.

Athena Parthenos, 5th century BC. Marble from Paros (body) and Pentelic (head), Roman copy from the 1st-2nd century AD. AD from the original by Phidias; Jean-Pol GRANDMONT, CC BY 4.0, via Wikimedia Commons

It would experience a series of events that would cause great damage to the statue, such as when the tyrant Lachares took the sheets of gold off from the sculpture to pay his soldiers in 296 BCE. It was further damaged in 165 BCE in a huge fire but was later repaired. There were accounts of its appearance in the 10th century in Constantinople. Today there are ancient replicas that can be viewed which are themselves masterpieces, such as the 3rd Century “Varvakeion Athena” which is housed in the National Archeological Museum of Athens.

Doryphoros (c. 440 BCE)

This is considered to be one of the most well-known sculptures from Greece from the period of classic antiquity. It is also known as the “Spear-Bearer” and originally had a spear positioned over the left shoulder of the sculpture. Known today only due to later marble copies made by Roman sculptures, the original was made sometime around 440 BCE and was made from bronze. As with much ancient Greek sculpture, it is largely due to these Roman replications that we know of the originals and their existence remains of equal importance to the lost originals.

Polykleitos sculpted the work to help demonstrate his written treatise on what he considered the rules and measures for the perfectly proportioned human frame on which to create a sculpture.

Doryphoros from Pompeii (1st century BC); After Polykleitos, CC BY 2.5, via Wikimedia Commons

The copy that exists today dates to around 120 BCE and was made from marble and discovered in Pompeii. The original sculpture as well as the treatise have been lost to time. Polykleitos was very interested in idealized proportions and had worked out mathematical equations to help map out the ideal representation of human anatomy. His sculptures were said to achieve a delicate balance of looking both relaxed in their stance while maintaining the correct muscular tension.

Hermes of Praxiteles (c. 400 BCE)

Hermes of Praxiteles was rediscovered in 1877 during excavations at the Temple of Hera in Olympia. The sculpture is huge at 2.12 meters high and was sculpted from Parian marble. It has been controversially attributed to Praxiteles based on the remarks of Pausanias, a Greek traveler, and historian from the 2nd century. Despite the uncertainty of its attribution, it is often cited as a definitive example of the Praxitelean style.

Most of the doubt around this attribution to Praxiteles is based on the fact that most of his famous Greek statues were replicated by other Greek sculptors, whereas no replicas have been found dating from that period.

Hermes of Praxiteles (c. 400 BC); Laitue, CC BY-SA 3.0, via Wikimedia Commons

Towards the end of the 3rd century CE, during the reign of Diocletian, a huge earthquake hit the site in Olympia, and the sculpture was buried under tons of rubble when the roof collapsed. Various archeological expeditions were undertaken at the Olympia site, such as the French expedition in 1829. However, it wasn’t until the German expedition led by Ernst Curtius in 1877, that the statue was unearthed once again. On the 8th of May, the torso, head, left arm, and legs were uncovered in the temple of Hera. Due to the layers of clay that have covered it, it was in a particularly decent state of preservation. The rest of what is displayed today was found over the course of six further discoveries.

Aphrodite of Knidos (350 BCE)

This Greek woman statue depicted the goddess Aphrodite and was created in the 4th century BCE by Praxiteles. It is highly significant in the Greek history of sculpture as it was one of the first to portray the naked feminine form in a life-sized representation. Before this moment, the sculpture of Greece was largely dominated by male figures. In this sculpture, Aphrodite was portrayed nude and reaching for a towel, while covering her pubis, thereby exposing her breasts.

Based on the written texts of Pliny, Praxiteles was commissioned by the inhabitants of the Kos island to create a cult status for a temple dedicated to Aphrodite.

Aphrodite of Knidos, 4th century BC. A Roman copy from the end of 1st century BC of a 4th century BC Greek original by Praxiteles, Glyptothek Munich; Carole Raddato from FRANKFURT, Germany, CC BY-SA 2.0, via Wikimedia Commons

He created two versions, one without clothing and one that was clothed. The people instantly rejected the naked statue and took the clothed version. The naked version was bought by the people of the ancient city of Knidos. The original statue unfortunately no longer exists, but there are several Roman replicas that still exist. The replica that has been considered to be the most faithful replication of the original, is the Colonna Venus, which is a Roman copy that is now housed at Museo Pio-Clementino.

Farnese Hercules (c. 350 – 300 BCE)

This ancient Greek sculpture depicts Hercules and is most likely a larger replica of the bronze sculpture originally created by Lysippos. It is the most well-known copy and was sculpted by a Greek sculptor by the name of Glykon. It is made of marble and stands 317 cm tall. The original sculpture by Lysippos had survived for one and a half centuries before the Crusaders melted it down during the Sack of Constantinople in 1205.

The reproduction by Glykon was found in 1546 and was sculpted for the Baths of Caracalla in Rome. This sculpture of the hero Hercules is one of the most well-known sculptures of antiquity.

Farnese Hercules (c. 350-300 BCE); Miguel Hermoso Cuesta, CC BY-SA 4.0, via Wikimedia Commons

There are also other copies known to be in existence, one of which now resides at the Louvre Museum and is a bronze Late Classical Greek period rendition of the famous Greek statue. A smaller marble copy has also been found and is currently housed at the Museum of the Ancient Agora in Athens. All versions depict a weary and muscular Hercules leaning against his club. The pelt of a lion is draped over the club, suggesting that this represents the myth about Hercules having to kill a Nemean lion as his first task.

Diana of Versailles (c. 325 BCE)

This sculpture is a Roman marble copy of the lost bronze original which depicted the Greek goddess Artemis with a deer and was attributed to Leochares from around 325 BCE. Diana is the Roman name for the goddess. She is portrayed as being in the middle of a hunt, drawing an arrow with which to pursue her prey. The sculpture was given to Henry II of France by Pope Paul IV in 1556.

The replica is thought to have been discovered in Italy, with suggestions of the original site being Hadrian’s Villa at Tibur or at the ancient sanctuary, the Temple of Diana.

Diana of Versailles (1st-2nd century CE); Louvre Museum, Public domain, via Wikimedia Commons

Although sometimes confused with the other Artemis statue which is situated at the temple of Ephesus, the Diana of Versailles is considered a masterpiece among other sculptures to be exported from Italy. The original bronze sculpture by Leochares was commonly known as Artemis with a Hind. Other replicas of the Greek original have been discovered in Algeria, Turkey, and Libya.

The Winged Nike of Samothrace (c. 200 BCE)

Also known as Nike of Samothrace, This celebrated marble sculpture from the Hellenistic period is a depiction of the Greek goddess of victory. It has been displayed at the Louvre Museum since 1884 and has been hailed as one of the greatest sculptures around the world. Created in the 2nd century BCE, this Hellenistic masterpiece is one of the very few examples of famous Greek statues that are not Roman copies, but the original sculpture itself. The right-wing of the statue, however, is not the original wing and was added later by mirroring the left-wing. The statue is 2.44 meters tall and is made from Thasian marble and Parian marble.

The statue is said to represent the victory of a battle, although which battle is a bone of contention among historians.

Winged Nike of Samothrace, ca. 190 BC; Louvre Museum, Public domain, via Wikimedia Commons

Some believe that it was created to commemorate the Battle of Salamis which occurred in 306 BCE. Others believe that it was made in commemoration of the Battle of Actium which occurred in 31 BCE. Attempts at trying to date the statue based on stylistic characteristics have also been full of issues, with various guesses ranging across a 300 year period. The prevailing theory for much of the 20th century was that it was a Rhodian monument and was most likely sculpted by Pyhtocritus. Recent studies have thrown doubt over this proposed date though, as the surrounding debris of where the sculpture was found dated to a different period.

Laocoön and His Sons (c. 200 BCE)

Displayed at the Vatican Museum since it was excavated in Rome in 1506, Laocoön and His Sons is one of the most well-known ancient sculptures in the world. It depicts the priest and his sons Thymbraeus and Antiphates in the act of being viciously attacked by serpents from the sea. It has been described as the prototypical representation of human suffering in Western art and does not feature any of the redemptive qualities of the religious sculptures.

The agony can be seen in the agonized facial expressions and contorted limbs of Laocoön and his sons.

Laocoön and his sons, also known as the Laocoön Group, c. 200 BC; Vatican Museums, CC BY-SA 4.0, via Wikimedia Commons

It is not known whether this marble sculpture is the original or perhaps another Roman copy of an earlier bronze version. The patron and exact date of creation are also not known, however, Pliny the Elder had attributed the work to three Greek sculptors named Polydorus, Athenodoros, and Alexander, who were all from the island of Rhodes. Despite being in very good condition for such an ancient sculpture that had been excavated, it is still missing several pieces and analysis has revealed several restoration attempts through the ages.

Venus de Milo (c. 130 – 100 BCE)

This ancient Greek sculpture was created during the Hellenistic period and it depicts the Greek Goddess Aphrodite or Venus. It was discovered in 1820 on the Greek island of Milos and has since been on display in the Louvre Museum in Paris. It was created sometime between 130 and 100 BCE and is considered one of the most recognizable Greek statues of all time. It stands 204 cm tall and is made from Parian marble.

Originally this famous sculpture was attributed to Praxiteles but is now widely believed to have been sculpted by Alexandros of Antioch due to an inscription on the plinth of the statue.

Front right views of the Venus de Milo (c. 130 – 100 BCE); avocadogirlfriend from San Diego, United States, CC BY 2.0, via Wikimedia Commons

The statue is said to depict the Greek goddess of beauty and love known as Aphrodite. The inscription bears the Roman counterpart name for Aphrodite which is Venus, but the names are ultimately interchangeable. However, there is still debate as to who it actually represents as there are scholars who believe it is actually a depiction of Poseidon’s wife Amphitrite, who was revered in the island of Milos. Due to the misleading title, some people prefer to refer to the sculpture as the Aphrodite de Milos.

There are so many examples of famous Greek sculptures for us to explore! As we have learned today, however, very few of these sculptures are the original versions that were sculpted in Greece itself, but many that still exist today are Roman replicas that were made by other sculptors. Luckily for us, the sculptors were very talented at capturing the style and dimensions of the originals, allowing us to still appreciate very ancient Greek artifacts until this very day. Despite not being the originals, they are also fine works of art in their own right.

Frequently Asked Questions

Why Were Greek Sculptures Originally Made?

Most Greek sculptures were primarily created for religious reasons throughout the Archaic and Classical periods. They were also created to celebrate certain victory battles and retell Greek mythological tales. Many Greek sculptors created the sculptures for use in dedication to a specific religious deity or mythological being for various temples. A Greek man or Greek woman statue was often the human embodiment of a divine being and was sculpted in many various materials and sizes.

Why Do the Originals No Longer Exist?

Today, most of the versions we have of classic sculptures were made by Roman sculptors. This is due to many factors. In some places, natural factors such as earthquakes destroyed them. In other cases, they were ravaged by war. Sometimes they were melted down and sold for their raw material value. Luckily, there are a few examples of Greek sculptures that still exist from that period, as well as many fine replicas that do a good job of portraying the sculptures of classic antiquity.