Geometric Style: Angular Horses

The geometric style that came into commonality in 900-700 BC during the Greek revival is often quickly identifiable on vases and other painted piece due to their myriad of zig zags, crosshatches triangles and use of broad clearly defined bands. (Brief History of Ancient Greece, Pomeroy, Pg 47) The geometric style as represented in sculpture was equally distinguishable as unique, and yet not every use of geometric shapes and styling is immediately apparent. In the Statuette of a Horse, the angularity and reliance on planes to give form to the piece is highly visible, however there are other geometric details upon closer inspection. The base of the piece is made of a connected plane of bronze with many carefully placed triangle cut outs. This is more than mere decoration of the base but is in fact a geometric representation of the natural surroundings of the horse in the scene. The triangle pattern 'suggests a rocky terrain' (paraphrased from metmuseum.org) showing that the artist did not neglect any part of the scene they were depicting. Care was taken to select geometric forms that most closely felt representative of the anatomy of the horse's body and his environment. Small scale sculptures like this one (standing at just shy of 17 inches) of animals were common throughout Greece during the Revival and were "dedicated in Greek sanctuaries." (Metmuseum.org)
As the geometric period came to a close, other scenes were depicted as well. Here you can see this sculpture of a man and a centaur in combat. The subtle differences between the Statuette of a Horse and the less planular form of the centaur show the scope of the Geometric style as it evolved. Also notable on this second piece is the similarity of the base to the base of the first piece, both have triangular shapes carved out to suggest the terrain. Also, though not visible the underside of the base is carved as well. A careful attention to detail which would become "a fundamental tendency of the finest Greek art in the centuries to come" (paraphrased from Metmuseum.org)