Abstract This paper discusses The Kroisos, from Anavysos, Greece whose composition is dated before or around 530 BCE. This dating locates the Kroisos period of composition far before the more commonly known classical period of ancient Greek sculpture. It examines the style, form and the creative intention of the sculptor and compares them to early Egyptian and Roman sculpture. It argues how, at first glances, the plainess of the Kroisos is disappointing, but if the gazer is willing to look beyond initial impressions, he or she may very well see the beginnings of what would become one of the most influential and moving periods in the depiction of the human frame.
From the Paper "The Kroisos is a young man, with long hair. His hair is curled in texture, and almost seems like a string of stone beads rather than an actual individuated head of hair. His nose is rather flat. He appears to be smiling about something. However, rather than a depiction of joy, his smile has a uniform, generic quality to it. He smiles but unlike the ?Mona Lisa,? his smile does not seem directed at the gazer, nor about something in his line of vision, much less an important thought perplexing his mind. The sculpture's tone of commonality of representation rather than individuation of representation, is further emphasized by the smooth, almost lidded expression to the Kroisos? eyes."
