Met Trip Paper

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Upon entering the Metropolitan Museum of Art, one can become overwhelmed by the immense amount of sections that hold artwork. I did not know where to start, so I decided to start on the first floor and work my way up. All the walls are a neutral color, whether in stone or painted, so that they do not take away from the sculptures and paintings. I knew that I wanted to look at sculptures so I went straight to the Greek and Roman section; however, most of the sculptures did not have artists. I had asked an employee why this was and she said that it was because most of them are so old that they could not figure out the artist. The second section that I visited, Italian Renaissance, was also mostly sculptures; however, this time most sculptures had artists labeled. The third section was the European Paintings and Sculpture from the 19th Century. This section also had most artists labeled and for the first time out of these three sections, I saw that not all sculptures were carved in marble but some were carved in bronze and other materials as well. However, although it is evident that in any piece of artwork, all will differ from another in multiple ways, all three sculptures that I chose show the importance of the stance and pose of an artwork. I found Fragments of a marble statue of the Diadoumenos in the Greek and Roman Art section. The walls of this section were made out of marble just like most of the sculptures. Most The room was colored in white and grey. This sculpture was a copy of a Greek bronze statue carved in marble by Polykleitos on ca. 430 B.C. It is of a youth who is tying a fillet around his head after a victory in an athletic contest. Polykleitos carefully designed his figures paying distinct attention to the bodily proportions and stance, so that the effect of the whole sculpture is exceptionally harmonious. The pelvis and thorax of Diadoumenos tilt

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