Apollo Belvedere facts for kids

The Apollo Belvedere (also called the Belvedere Apollo, Apollo of the Belvedere, or Pythian Apollo) is a celebrated marble sculpture from classical antiquity.

The work has been dated to mid-way through the 2nd century A.D. and is considered to be a Roman copy of an original bronze statue created between 330 and 320 B.C. by the Greek sculptor Leochares. It was rediscovered in central Italy in the late 15th century during the Italian Renaissance and was placed on semi-public display in the Vatican Palace in 1511, where it remains. It is now in the Cortile del Belvedere of the Pio-Clementine Museum of the Vatican Museums complex.

From the mid-18th century it was considered the greatest ancient sculpture by ardent neoclassicists, and for centuries it epitomized the ideals of aesthetic perfection for Europeans and westernized parts of the world.

Description

The Greek god Apollo is depicted as a standing archer having just shot an arrow. Although there is no agreement as to the precise narrative detail being depicted, the conventional view has been that he has just slain the serpent Python, the chthonic serpent guarding Delphi—making the sculpture a Pythian Apollo. Alternatively, it may be the slaying of the giant Tityos, who threatened his mother Leto, or the episode of the Niobids.

The large white marble sculpture is 2.24 m (7.3 feet) high. Its complex contrapposto has been much admired, appearing to position the figure both frontally and in profile. The arrow has just left Apollo's bow and the effort impressed on his musculature still lingers. His hair, lightly curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with the strophium, a band symbolic of gods and kings. His quiver is suspended across his right shoulder. .....

The lower part of the right arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli (1507–1563), a sculptor and pupil of Michelangelo.

Influence

• Dürer, Albrecht, Adam and Eve (1504 engraving)
• Copies of the Apollo Belvedere appear as cultural props in Joshua Reynolds's Commodore Augustus Keppel (1752-3, oil on canvas) and Jane Fleming, later Countess of Harrington (1778–79, oil on canvas).
• Canova, Antonio, Perseus (1801, Vatican Museums, 180x, Metropolitan Museum of Art)
• In Childe Harold's Pilgrimage (1812–18), Byron describes how the statue requites humanity's debt to Prometheus: "And if it be Prometheus stole from Heaven / The fire which we endure, it was repaid / By him to whom the energy was given / Which this poetic marble hath array'd / With an eternal glory—which, if made / By human hands, is not of human thought; / And Time himself hath hallowed it, nor laid / One ringlet in the dust—nor hath it caught / A tinge of years, but breathes the flame with which 'twas wrought." (IV, CLXIII, 161–163; 1459–67).
• Crawford, Thomas, Orpheus and Cerberus (1838–43; Boston Athenaeum, later Museum of Fine Arts, Boston)
• Apollo tended by the Nymphs of Thetis
• The head of the Apollo Belvedere is featured prominently in The Song of Love, a 1914 painting by Giorgio de Chirico
• The Sower by Jean-François Millet (1850) is influenced by the Apollo Belvedere in the treatment and pose of the figure in the piece. The pose of the figure is linked to the sculpture as Millet was attempting to heroise the peasant that he was depicting.
• The Minute Man by Daniel Chester French, 1874 at the Old North Bridge in Concord, Massachusetts
• In Robert Musil's 1943 novel The Man Without Qualities, the character Ulrich comments "Who still needed the Apollo Belvedere when he had the new forms of a turbodynamo or the rhythmic movements of a steam engine's pistons before his eyes!"
• In her poem "In the Days of Prismatic Color", Marianne Moore writes that "Truth is no Apollo/ Belvedere, no formal thing."
• Arthur Schopenhauer in the third book of The World as Will and Representation (1859) refers to the head of the Apollo Belvedere, admiring it for the way it exhibits human superiority: "The head of the god of the Muses, with eyes far afield, stands so freely on the shoulders that it seems to be wholly delivered from the body, and no longer subjects to its cares."
• Alexander Pushkin refers to Apollo Belvedere in his 1829 poem The Poet and the Crowd ("Поэт и толпа").
• Varden, a character in Dorothy L. Sayers' The Abominable History of the Man with Copper Fingers recounts how he portrayed Apollo in a movie as "a statue that's brought to life. . . . You couldn't find an atom of offence from beginning to end, it was all so tasteful, though in the first part one didn't have anything to wear except a sort of scarf—taken from the classical statue, you know." One of his audience, a man with a classical education, guesses from the scarf that the actor was speaking of Apollo Belvedere.
• A bust of Apollo Belvedere is a prominent feature of Charles Bird King's 1835 still life The Vanity of the Artist's Dream, which depicts the struggle of classically trained artists to be relevant in the 19th century.