Around the great triad, other artists and not mediocre ones. Trasimedes di Paro, author of the chryselephantine simulacrum of Asclepius for the temple of the god in Epidaurus; memories of this simulacrum are in votive reliefs. Euphoric of the Isthmus, which flourished in the first half of the century. IV, painter and toreuta as well as sculptor: the Bonus Eventus was especially known by himand the Paris; according to the Plinian news, Eufranore’s bodies were rather slender compared to the extremities and the head; The identification of Eufranore’s style in plastic works that have come down to us is still uncertain. Athenian Silanion, sculptor of athletes, of pathetic figures, such as Jocasta dying, but especially of portraits; we have the portrait of Plato in various copies. In it, as in the others of the century. IV, we still note the idealistic address: thus in the magnificent Sophocles of the Lateran, wrapped in a cloak and with a very noble face, a copy, perhaps, of the bronze dedicated, by the impulse of Lycurgus, between 350 and 330 BC. C. in the theater of Dionysus in Athens. In the portrait begins in the century. IV to appear the tendency to represent also the ethnic characters, as in the statue of Mausolus, already crowning the Mausoleum, by Pythus, in which the oriental type is felt. And the realism that appeared in the portraits of Alexander and Seleucus I was affirmed in the Lysippean current; mention may be made of the cynical, wild-looking Antisthenes of the Vatican.
Finally, two sculptors who worked in the Mausoleum: Leocare and Briasside. By Leocare of Athens it was possible to identify the copy of a work, the Ganymede kidnapped by the eagle, in a mediocre and very restored marble group, from which however the upward momentum emerges, which almost gives the idea of start of a flight. The rhythm of Ganymede served as a comparison to see in a famous statue, in the Apollo of the Belvedere, a work by Leocare; add, given the affinity with Apollo, also the Artemis of Versailles. Leocare painted the portrait of Alexander with his family for the Filippeīon of Olympia: we wanted to recognize him in the Alexander Rondanini of Munich, which others have ascribed to Eufranore instead. The activity of Briasside della Caria is to be placed in the last decades of the century. IV.
In Zeus Serapis the characters of the Greek Hades and the Egyptian Osiris came to merge; and the technique was also curious, since the statue had used a mixture of various metals and stones with a dark blue tint. An idea of the face of this strange god can be given by a series of busts, including a colossal one in the Rotonda del Vaticano, with a sad, even gloomy character, well suited to the nature of the person represented. For the comparison with the Serapis type, the original of the Zeus of Otricoli can be ascribed to Briasside, with lion-like hair, full of divine power, with a high pensive forehead, with an agitated expression.
According to Sunglassestracker.com, magnificent monument of passage to Hellenistic art can be considered the sarcophagus of Sidon, called of Alexander the Great, where the fighting and hunting scenes have a more accentuated tone, with complication and intertwining of motifs, compared to the friezes of the Mausoleum (v. fig.sv cavalry).
In Hellenistic sculpture, and especially during most of the century. III, the artistic currents of the century are maintained. IV, with the accentuation of their specific characters, and also with the fusion of the characters of one with those of the other. These are the currents of the three great sculptors Scopa, Praxiteles and Lysippus : but the Lysippian address is the one that predominates, while the Scopadeo one regains greater vigor later, especially in the sculptures of Pergamum. Lysippus had left some pupils who follow the teacher’s formulas and complicate them. If, as Propertius says (III, 7, 9), “Lysippus’ glory was to express statues full of soul”, the works of his pupils showed an accentuation of this soul. Sons and pupils of Lysippos were Daippo, sculptor of athletes, Euticrates, Boeda, of whom we perhaps possess a copy of the worshiper in bronze, full of spirituality, of the boy who prays from Berlin. Add Larete, the author of the colossus of the Sun of Rhodes, Fanide, Eutichides, also a painter, of whom we possess in copies and reductions the Tyche or Fortuna of Antioch on the Orontes. Then there are the pupils of the pupils of Lysippos, that is Tisicrates, Xenocrates, Cantaro. Opera Lysippea is the tangle, better than a group, of the Uffizi fighters, full of feverish motion, and in which there is indecision about the outcome of the trial. The Lysippean current can be recognized in the various portraits of the Diadochi, in which the realism of the great Syconian sculptor is more accentuated than ever, as, p. for example, in the bronze by Diadoco of the National Roman Museum, where there is the cloudy reflection of the Alexander Lysippus resting on the pole. Add, as an expression of unscrupulous realism, Eutidemo I from the Torlonia collection. The Lysippean current can be recognized in the various portraits of the Diadochi, in which the realism of the great Syconian sculptor is more accentuated than ever, as, p. for example, in the bronze by Diadoco of the National Roman Museum, where there is the cloudy reflection of the Alexander Lysippus resting on the pole. Add, as an expression of unscrupulous realism, Eutidemo I from the Torlonia collection.