Noticing contrapposto in Classical art and beyond 

Contrapposto is an Italian visual arts term that describes a human figure in a natural pose with most of their weight concentrated on one leg. With both feet on the ground, the body forms an asymmetrical shape—the shoulders and hips tilt in opposite directions, while the torso and pelvis do the same. One leg is teso, or tense, and the other is rilassato, or relaxed. The posture is reminiscent of the letter S, with its nonchalance aiding in bringing the subject to life.

Several works in SLAM’s permanent collection employ this technique. Harriet Goodhue Hosmer’s Zenobia in Chains (c.1859), which is currently on view at the Missouri History Museum, stands with her head high. On view in the Shoenberg Gallery 236, the bronze figure of Saint John the Baptist forms a grand arc with his body, from his tilted head through his relaxed left foot. One of the three female figures depicted in Max Beckmann’s Three Women in the Studio (1908) also stands in contrapposto. Three Women in the Studio is on view in Grigg Gallery.

Contrapposto offered a different view of the human form, compared to the Greek archaic period’s kouros stance, in which the robust sculpture’s weight was equally distributed between both feet. Artists in ancient Greece started to depict human figures in the more naturalistic contrapposto pose shortly after Greece’s victory in the Persian wars (492–449 BC). During this time, known as the Greek Classical period, Grecian art, entertainment, and philosophy flourished without the restrictions or hardships of war.

Master Greek sculptor Polykleitos created a now well-known example of contrapposto around 440 BC. Polykleitos developed the mathematical theory to create contrapposto and used it to sculpt Doryphoros. Doryphoros, a sculpture cast in bronze, depicted a strong young male with one leg bearing the weight of his body. The other leg was in stride, as if the sculpture could come alive at any moment. One arm was bent, holding a spear used by athletes; the other arm was down by his side.

The original bronze Doryphoros has unfortunately never been found, but several recreations were sculpted from marble in later years, ensuring that Polykleitos and his influence would remain relevant across time and culture.

Nearing the end of the 14th century, Florence, then a city-state, was becoming a hub for the fine arts. A rediscovery of the classical world occurred as Florence’s average wealth increased exponentially, allowing wealthy patrons to support professional artists. This flourishing of innovations in sculpture and painting sparked the beginning of a new era of arts and culture: the Renaissance. Many of the artists associated with the Italian Renaissance, including Michelangelo, Donatello, da Vinci, and Botticelli, were interested in using contrapposto in their art. Benedetto da Maiano, an important Florentine artist, showcased the pose in his sculpture of Saint John the Evangelist, featured in the above image. The imprint of his knee indicates the natural stance, placing his relaxed foot slightly in front of his weight-bearing foot. The work is on view in Gallery 222.   

While viewing these, you may find yourself mirroring the stance, with your weight concentrated on one foot, or see others doing so. Contrapposto can be seen everywhere at SLAM—in the art, in the visitors, or even in mementos at the Museum store. Next time you visit the Museum, consider how often you notice it.