ὅ παῖς καλός – Richard Armitage and the Boxer at Rest: Unique Beauty

In addition to daydreaming and blogging about Richard Armitage, I’m teaching an aesthetics class this summer.  One of the challenges with a class of this type is empowering students to realize that art, in all of its forms is an exceptionally subjective thing.  Discussions early in the term often start out with “X is beautiful, Y is not.” By the end of the class though, many students are able to make a critical adjustment to that statement and say, “X is beautiful to me because….”  or “Y is not to my taste, but the artistry of the work is clear.”  That recognition is a win for me in the classroom.  One thing that has always bothered me about some veins of art history is the persistent tendency to criticize the art of one period in comparison to that of the previous or subsequent period.  The art of the Hellenistic (~330-30 BCE) period has often been maligned as overblown and theatrical in comparison to the more serene stylings of the fifth century.  There is no question that Hellenistic art is much more emotionally evocative and dramatic in its impact, but that is the reason that I love it.  While I can appreciate its artistry,  fifth century sculpture, with its rigid adherence to canon and almost cookie cutter similarity of faces, leaves me largely unmoved.  By contrast,  the dynamic motion and emotion captured by Hellenistic artists has always struck a cord with me.  Looking at these works, the viewer can see unique individuals rather than canonized perfection.

The Boxer at Rest discussed here also, is a perfect example of what I’m talking about.  This is not a sculpture of a perfect model, but one who shows the wear and tear of his profession, a nose that’s been broken, the characteristic “cauliflower” ear.   The tilt of his head and the angle of his brow make him appear to be looking up in questioning response to something.  There is a weariness about him that suggests he’s just finished a bout (he is also still wearing his gloves).  When I assess the look on his face, I’ve thought he looks as if someone has just asked him to fight again…”What?  You want me to fight now?  *sigh*.”  It is the sum of all his imperfections and the emotion conveyed by his face that I find so compelling.  He is unique.

  (His eyes would have been filled in with paste…see here for an example)

Detail of Head (image is flipped for comparison) "Boxer at Rest" Museo Nazionale Romano - Palazzo Massimo alle Terme, inv. 1055.  Lent to the Metropolitan Museum of Art by the Republic of Italy, 2013

Detail of Head (image is flipped for comparison)
“Boxer at Rest”
Museo Nazionale Romano – Palazzo Massimo alle Terme, inv. 1055.
Lent to the Metropolitan Museum of Art by the Republic of Italy, 2013

I think this particular aesthetic of mine may be a part of the reason that I find Richard Armitage so physically appealing.  There is nothing cookie cutter about him.   Like the boxer, his nose and his ears are characteristic features…individual, unique.   The moment of portrait is quite similar as he looks up, his forehead creased, brows raised as if to ask, “What next? *sigh*.”  Of course it’s impossible to tell if this look was deliberately crafted for what is a decidedly artistic shoot, aimed at a particular result, but that is how it spoke to me.  There is also a certain weariness around his eyes and the slightly opened mouth that reminds me of the Boxer too.  It’s an evocative image that would fit well within the Hellenistic aesthetic.    ὅ παῖς καλός!

Richard Armitage at work...looking up a bit askance. Fault Magazine 2012 Source:  richardarmitagenet.com

Richard Armitage at work…looking up a bit askance.
Fault Magazine 2012
Source: richardarmitagenet.com