However, there are Roman copies that are in marble, although the original must have far surpassed these. The original statue of Discoblus was actually done in bronze, and no longer survives. Giovanni Becatti, The Art of Ancient Greece and Rome (New York, Harry N, Abrams, Inc., 1967) 142 exception Quintilian, (a Roman rhetorician), admires the novelty of Myron’s work, in which Myron attempted successfully to create a complex and difficult pose with Discobolus. He sculpts his figure with a daring curve, tense and with a controlled rhythm.
However, Discobolus defies this as Myron makes the statue bend forward at its last phase of a throw. Depictions of discus throwers were almost always caught in this moment of near-standing, with the discus clutched in both hands. Usually, paintings, and more particularly, statues of discus throwers were created in a standing pose. Myron was “completely absorbedīy the study of the body showing no interest in the problems ofĮxpressing feelings.” This is seen explicitly in the fact that the particular figure of Discobolus holds such a calm expression despite the vigorous movement of the body. Typically an athlete would be portrayed in a poised stasis, but Myron pushed the boundaries of sculpting in his quest to display the athlete dynamically and fluently. Myron, when sculpting, was more interested in showing action than anything else.
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