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or Pol·y·clei·tus  (pŏl′ĭ-klī′təs) fl. fifth century bc.
Greek sculptor and architect known for his bronze statues of athletes.


(ˌpɒlɪˈklaɪtəs) or




(Biography) 5th-century bc Greek sculptor, noted particularly for his idealized bronze sculptures of the male nude, such as the Doryphoros


or Pol•y•clei•tus

(ˌpɒl ɪˈklaɪ təs)

also Pol•y•cle•tus


fl. c450–c420 B.C., Greek sculptor.
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References in periodicals archive ?
To Mariaki (Little Mary) is an early portrait by Polykleitos Regos (1903-1984), who was one of the best Greek artists that largely focused on landscape and portraiture.
The lost Greek prototypes, by masters such as Praxiteles, Polykleitos (Fig.
He also explored Eleusis, the site of Demeter's ancient mystery cult; Corinth with its half-ruined temple picturesquely silhouetted against the monolithic rock that once housed the city's acropolis; and Sikyon, celebrated for producing some of the greatest artists, including Polykleitos, Lysippos and Pamphilos, the master of Apelles.
The art historian Kenneth Clark (1956:35) comments on the manner in which Polykleitos accentuated the system of rendering the male torso, as exemplified by the Kritios Boy and other earlier works: "Polycletus' control of muscle-architecture was evidently far more rigorous, and from that derives that standard schematisation of the torso known in French as the cuirasse esthetique (Fig.
In Trecento and Quattrocento Italy, Phidias, Polykleitos, and Praxiteles were recognized, by way of sources like Pliny the Elder, as legendary-historical sculptors of the highest rank.
From Adolf Fuztwangler, Walter Amelung, and Georg Lippold to Walter-Herwig Schuchhardt, the method was refined, and, over the past few years, has led to a series of monographs devoted to several famous originals transmitted by large series of replicas: aside from those of Polykleitos, of which an important exhibition in Frankfurt recalled their high favor throughout Antiquity,(9) we shall cite the Cassel Apollo, the Leda of Timotheos, the Satyrs of Praxiteles, the Eros of Lysippos, and the Farnese Hercules,(10) alongside countless detailed articles.
Pollitt is honest enough to admit that Roman copies of Polykleitos' Doryphoros have been shown to owe more to Augustan ideology of ideal youth than whatever may have been laid down in the (lost) fifth-century `Canon' of Polykleitos.
This leads to the room's main event, a trio of sculptures that invite visitors to compare the sculptural styles of Polykleitos, Myron and Pheidias in the 5th century BC.
To argue for this Haselberger relates the use of entasis in a column to the human figure, specifically to the use of contrapposto as seen in the Doryphoros of Polykleitos.