(artist(s) unknown, discovered in the sea off Riace, Italy) (460 to 450 bc). Warrior A or Riace Warrior A [bronze]. Museo Archeològico Nazionale, Reggio Calabria, Italy.

Warrior A is somewhat grounded in reality due to its absolute adherence to Naturalism. However, it’s hard to imagine a man with the wisdom evident in his face and expression possessing such a muscular, youthful body. In addition, the dramatic size of this work (6'8"), especially considering the time period it was created, place it further into the realm of idealized fantasy and away from the observer. I believe the creator(s) involved were foremost attempting to communicate a vision, more than building emotional impact in the observer and arranging forms with perfect balance to each other (design), though these last two goals are certainly accomplished.

Formally, Warrior A, as a mature classic work, contrasts against Pergemene works such as Gallic Chieftain Killing His Wife and Himself in at least three ways, though they overlap perfectly in abstraction and literal representation. Warrior A is dominated by fleshy, muscular textures, while Gallic Chieftain generates interest through the interplay of blended and soft against sharp and rougher textures. Formal balances contrasts sharply. One has balanced, fluid motion that is pleasing and graceful. The other displays moments of charged, deadly energy while simultaneously expressing downward directional weight due to the life once animating forms having dissipated.

Most importantly, they contrast most sharply in their emotional impact. Warrior A is calm, balanced and detached. Gallic Chieftain is emotionally chaotic, complicated by intermingling edges and twisting directional thrusts and does not invite but forces the observer to engage in and feel pity for the interaction. Warrior A takes his place along with Diskobolos and Doryphoros in the roster of proportionally idealized in-the-round male models.