Contrapposto Collection (page 2)

Albinus I, Pl. V: Musculature, illustration from Tabulae sceleti et musculorum
HMB306111 Albinus I, Pl. V: Musculature, illustration from Tabulae sceleti et musculorum corporis humani, by Bernhard Siegfried Albinus (1697-1770), published by J.&H. Verbeek, bibliop

Hercules (bronze)
ALI277551 Hercules (bronze) by Italian School; Pinacoteca Capitolina, Palazzo Conservatori, Rome, Italy; Alinari

Elisabeth of Hungary (stone)
BFM281558 Elisabeth of Hungary (stone) by Gunther, Ignaz (Guenther) (1725-75); 52.5x21.5 cm; Liebieghaus Museum, Frankfurt; (add.info)

Rear View of Riace Warrior B (bronze)
ALI322033 Rear View of Riace Warrior B (bronze) by Greek, (5th century BC); Museo Archeologico Nazionale, Reggio Calabria, Italy; (add.info.: were found by Stefano Mariottini)

Riace Warrior B (bronze)
ALI322032 Riace Warrior B (bronze) by Greek, (5th century BC); Museo Archeologico Nazionale, Reggio Calabria, Italy; (add.info.: were found by Stefano Mariottini)

Caryatids, c. 1910 (oil on panel)
BRN194353 Caryatids, c.1910 (oil on panel) by Renoir, Pierre Auguste (1841-1919); 130x45 cm; The Barnes Foundation, Philadelphia, Pennsylvania, USA; eBarnes Foundation; French, out of copyright

Standing Nude, 1875-77 (oil on canvas)
FFA195952 Standing Nude, 1875-77 (oil on canvas) by Cezanne, Paul (1839-1906); 30x17 cm; Private Collection; French, out of copyright

Hermes, called Antinous del Belvedere (marble) (b / w photo)
ALI164864 Hermes, called Antinous del Belvedere (marble) (b/w photo) by Roman, (2nd century AD); Vatican Museums and Galleries, Vatican City; (add.info.: see also without the leaf 113279; ); Alinari

Nude woman standing (coloured chalks on paper)
FIT434398 Nude woman standing (coloured chalks on paper) by Liss, Johann (c.1595-1631) (attr. to); 39.1x25.1 cm; Fitzwilliam Museum, University of Cambridge

Mars restrained by Cupid, 1819-25 (marble)
482179 Mars restrained by Cupid, 1819-25 (marble) by Gibson, John (1790-1866); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; British

Venus, c. 1817-20 (marble) (see also 440366 & 440368)
LMG440367 Venus, c.1817-20 (marble) (see also 440366 & 440368) by Canova, Antonio (1757-1822); 177x52x70 cm; Leeds Museums and Galleries (Leeds Art Gallery)

Study for Diadumene, 1881 (chalk on paper)
PNH368304 Study for Diadumene, 1881 (chalk on paper) by Poynter, Edward John (1836-1919); 37x25.5 cm; Private Collection; (add.info)

Study of a nude II (w / c on paper)
XPG366351 Study of a nude II (w/c on paper) by Bladon, Murray (1864-1940); Private Collection; English, out of copyright

Altar, Montefeltro Chapel (marble)
ALI380332 Altar, Montefeltro Chapel (marble) by Vittoria, Alessandro (1525-1608); San Francesco della Vigna, Venice, Italy; Alinari

St. John the Baptist, 1763 (terracotta, polychromed)
2909441 St. John the Baptist, 1763 (terracotta, polychromed) by Scandellari, Filippo (1717-1802); 62.3x35.6 cm; Minneapolis Institute of Arts, MN, USA; eMinneapolis Institute of Art; The John R

Figure of Antinous, after 130 AD (marble) (detail) (see also 65413)
XIR6822 Figure of Antinous, after 130 AD (marble) (detail) (see also 65413) by Roman, (2nd century AD); Archaeological Museum, Delphi, Greece; out of copyright

St. Mark, 1411 (marble)
BAT152121 St. Mark, 1411 (marble) by Donatello, (c.1386-1466); Orsanmichele Church and Museum, Florence, Tuscany, Italy; (add.info)

Dawn, c. 1883 (bronze)
955440 Dawn, c.1883 (bronze) by Cheret, Jules (1836-1932); height: 221.4 cm; Cleveland Museum of Art, OH, USA; The Thomas L. Fawick Memorial Collection; French, out of copyright

Hellenic Prince (bronze)
704448 Hellenic Prince (bronze) by Greek, (2nd century BC); Palazzo Massimo Lancellotti, Rome, Italy; (add.info.: Some sources identify the subject as Heracles)

Venus, c. 1817-20 (marble) (see also 440367-68)
LMG440366 Venus, c.1817-20 (marble) (see also 440367-68) by Canova, Antonio (1757-1822); 177x52x70 cm; Leeds Museums and Galleries (Leeds Art Gallery) U.K.; eLeeds Museums and Galleries; Italian

Mars restrained by Cupid, 1819-25 (marble)
482180 Mars restrained by Cupid, 1819-25 (marble) by Gibson, John (1790-1866); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; British

Riace Warrior A (bronze)
ALI322027 Riace Warrior A (bronze) by Greek, (5th century BC); Museo Archeologico Nazionale, Reggio Calabria, Italy; (add.info.: were found by Stefano Mariottini)

Virgin Mary (wood)
BFM281557 Virgin Mary (wood) by Gunther, Ignaz (Guenther) (1725-75); Deutsches Museum, Berlin; Bildarchiv Foto Marburg

Prophet (marble)
BAT192568 Prophet (marble) by Nanni di Banco (c.1384-1421); Museo dell Opera del Duomo, Florence, Tuscany, Italy; Photo eNicol Orsi Battaglini; Italian, out of copyright

Taste (limestone)
2560074 Taste (limestone) by Cibber, Caius Gabriel (1630-1700); Belvoir Castle, Leicestershire, UK; Danish, out of copyright

The Good Shepherd (marble)
1775083 The Good Shepherd (marble) by Roman; Museo Gregoriano Profano, Vatican Museums, Vatican City; Alinari

Venus and Cupid, c. 1624 (ivory)
1216882 Venus and Cupid, c.1624 (ivory) by Petel, Georg (c.1601-c.1634); Ashmolean Museum, University of Oxford, UK; eAshmolean Museum; German, out of copyright

Standing Youth, known as Narcissus, c. 1650 (copper & bronze)
822631 Standing Youth, known as Narcissus, c.1650 (copper & bronze) by Prieur, Barthelemy (1540-1611); Fitzwilliam Museum, University of Cambridge, UK; eFitzwilliam Museum; Leonard D

Standing Youth, known as Narcissus, c. 1650 (copper & bronze)
822630 Standing Youth, known as Narcissus, c.1650 (copper & bronze) by Prieur, Barthelemy (1540-1611); Fitzwilliam Museum, University of Cambridge, UK; eFitzwilliam Museum; Leonard D

Pannello, Carro della Zecca (fresco)
875172 Pannello, Carro della Zecca (fresco) by Pontormo, Jacopo (1494-1557); Palazzo Vecchio (Palazzo della Signoria) Florence, Italy; eGiuliano Valsecchi; Italian, out of copyright

Adam and Eve, 1504 (engraving)
877243 Adam and Eve, 1504 (engraving) by DAorer or Duerer, Albrecht (1471-1528); 24.9x19.2 cm; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA; German, out of copyright

Bronze statue of a man, c. 100 BC (bronze)
3526115 Bronze statue of a man, c.100 BC (bronze) by Greek, (2nd-1st century BC); 185.4 high cm; Metropolitan Museum of Art, New York, USA; Greek, out of copyright

Fortitude, 1884 (stained glass)
3475616 Fortitude, 1884 (stained glass) by Almquist, Carl (1849-1924); St Paul Church, Bedford, Bedfordshire, UK; (add.info.: Shrigley & Hunt (1873-1982)); eAlastair Carew-Cox; out of copyright

Idle Fears, oil sketch, 1893-1913 (oil on panel)
PNH368308 Idle Fears, oil sketch, 1893-1913 (oil on panel) by Poynter, Edward John (1836-1919); 32.5x23.5 cm; Private Collection; (add.info.: dated 1893 and 1913; see also 368301)

The Risen Christ, three-quarter length nude looking down to the right (chalk
CH469002 The Risen Christ, three-quarter length nude looking down to the right (chalk, pen & ink on paper) (verso of 469003) by Buonarroti

Humani Corporis Ossium, illustration from De Humani Corporis Fabrica Libri
CH469001 Humani Corporis Ossium, illustration from De Humani Corporis Fabrica Libri Septem by Andreas Vesalius (1514-64), published by Johannes Oporinus, Basel

General Louis-Etienne Dulong de Rosnay, 1818 (black lead on paper)
CH385598 General Louis-Etienne Dulong de Rosnay, 1818 (black lead on paper) by Ingres, Jean Auguste Dominique (1780-1867); 45x34.7 cm; Private Collection; (add.info)

Venus with the golden apple, 1819-21 (marble)
482184 Venus with the golden apple, 1819-21 (marble) by Thorvaldsen, Bertel (1770-1844); eThe Devonshire Collections, Chatsworth; Reproduced by permission of Chatsworth Settlement Trustees; Danish

Riace Warrior A (bronze)
ALI322031 Riace Warrior A (bronze) by Greek, (5th century BC); Museo Archeologico Nazionale, Reggio Calabria, Italy; (add.info.: they were discovered by Stefano Mariottini)

The Bather, 1898 (painted plaster) (see also 440215 & 440217)
LMG440216 The Bather, 1898 (painted plaster) (see also 440215 & 440217) by Thornycroft, William Hamo (1850-1925); 56.5x15.5x13.5 cm; Leeds Museums and Galleries (Leeds Art Gallery)

The Bather, 1898 (painted plaster) (see also 440216-17)
LMG440215 The Bather, 1898 (painted plaster) (see also 440216-17) by Thornycroft, William Hamo (1850-1925); 56.5x15.5x13.5 cm; Leeds Museums and Galleries (Leeds Art Gallery)

Venus, c. 1817-20 (marble) (see also 440367-68)
LMG440368 Venus, c.1817-20 (marble) (see also 440367-68) by Canova, Antonio (1757-1822); 177x52x70 cm; Leeds Museums and Galleries (Leeds Art Gallery) U.K.; eLeeds Museums and Galleries; Italian

Male Nude Study (black & white chalk on brown paper)
Ma288044 Male Nude Study (black & white chalk on brown paper) by Morgan, Evelyn De (1855-1919); 68.6x45.7 cm; Private Collection; Photo eThe Ms Gallery, London; English, out of copyright

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Contrapposto: The Art of Graceful Balance In the world of art, a technique that has captivated artists and viewers alike for centuries, and is a pose that exudes elegance, balance, and naturalism. Let's explore some notable this captivating technique. One such masterpiece showcasing contrapposto is "Bacchus" by an unknown artist in 1867. This watercolor and bodycolour on paper painting depicts the Roman god of wine in a relaxed stance, with his weight shifted onto one leg while the other leg remains slightly bent. The subtle twist in his torso adds to the sense of movement and grace. Another example is found in "Study of a nude Man, " created using red chalk on brownish paper. This artwork showcases the careful observation and study of human anatomy through its depiction of a male figure standing confidently with one hip thrust outwards. Moving beyond drawings, we encounter Hiram Power's renowned sculpture "The Greek Slave. " Carved from marble between 1842-43, this piece portrays a female figure captured as she awaits her fate as a slave. Her gentle contrapposto pose conveys vulnerability yet also strength amidst adversity. Photography also embraces this artistic technique; an intriguing example being "A nude woman standing near a table with leaves and flowers painted around her waist. " This hand-coloured stereoscopic daguerreotype from 1850 captures both beauty and nature harmoniously intertwined within the composition, and are be seen not only in individual figures but also within narrative scenes like "Study of Figures for a Narrative Scene. " Executed using black chalk on paper, these sketches reveal dynamic interactions between characters engaged in various actions or conversations while maintaining their balanced poses. Even self-reflection finds expression through contrapposto; take for instance another hand-coloured stereoscopic daguerreotype titled "A nude woman standing in front of a mirror wearing shoes, stockings, and a hairband.