\paperw19995 \margr0\margl0 \plain \fs20 \f1 The expansion of colonies in the seventh and eighth century introduced new elements into Greek art.\par
Greek art, which is
characterized by the vivacity of its approach to representation, adopted the rules that governed its expression, or style, from Eastern art. During the Archaic period, the imposing Doric and Ionic works of architecture were erected, along with statues,
on a grand scale. While the emergence of the Daedalic style is dated around 670, the first large Archaic sculptures did not appear until 610. The most common of these sculptures was the type known as the ôkouros,ö an upright statue of a naked man who was
not engaged in any particular activity and for this reason was seen purely as a work of art that was free from any reference to the individual and contingent. All the sculptors of the fifth and sixth centuries devoted themselves to perfecting form; the
definitive solution was found by Polyclitus in the middle of the fifth century. The corresponding female type, the ôkore,ö remained secondary in importance to the kouros.\par
It was once the practice to distinguish three separate schools of sculpture in
the Archaic period: the Doric, Ionic and Attic. This distinction is no longer accepted today, as mutual exchanges and influences between the artists have been demonstrated from the most ancient times. This does not mean that the more important cities d
id not have artistic workshops with recognizable stylistic features. A strong link with Crete is evident in the Peloponnesian schools. The statue is carved in clearly-defined blocks, with special cuts made in the plane. The Ionic schools are characterize
d by a greater attention to outline, which is rendered sinuous and elegant, and is used to define compact sculptural groups. The Attic school, due to the dominant role played by Athens, produced works of the highest quality and made a greater contributio
n to superseding the Archaic language than the others did.
