Historically, contrapposto is a recently coined word (about 1903) but an ancient practice. It is defined partly as: multiple figures which are in counter-pose (or opposite pose) to each other. A fuller definition is suggested by a dictionary entry for counterpoint: combination of two or more melodies into a single harmonic texture in which each retains its linear character. Substitute "figures" for "melodies."
Many fine compositions have been crafted with a judicious use of contrapposto. My first example is a Greek sculpture from about 510 BC. Luckily, hostile invaders from some other tribe only did a mediocre job of breaking up the sculpture. A man has snatched a woman he wants off her feet and is getting ready to put her in his chariot. She's not putting up a fight.
This Imperial Roman wall painting, preserved under a 75 foot layer of volcanic ash, is a copy of a Greek original.
About 1400 years after the eruption of Vesuvius, artists in Florence began to put contrapposto to use again. This is by Leonardo da Vinci:
This is another very compact sketch - hand to hand combat this time. Michelangelo, about 1520:
A stable and harmonious group by Rembrandt from about 1635. Note the slight foreshortening of the seated man's right leg.
The last two are more recent examples - Degas, 1895, and N. C. Wyeth, 1916.
Many fine compositions have been crafted with a judicious use of contrapposto. My first example is a Greek sculpture from about 510 BC. Luckily, hostile invaders from some other tribe only did a mediocre job of breaking up the sculpture. A man has snatched a woman he wants off her feet and is getting ready to put her in his chariot. She's not putting up a fight.
Here is an example of too much contrapposto. Each figure is nicely posed, alive and articulated; there is no stiffness or inertness about any of them. But together, they don't read. What is the cause for all this dramatic gesturing? Ranieri del Pace:
