Midterm 1 Slide Ids

Front 1

Back 1

Akhenaton, from the Temple of Atan, Karnak (Egypt), ca. 1340 BCE (Egyptian Art, New Kingdom)

Importance:

Canon has been relaxed, takes on androgynous form

Front 2

Back 2

Akkadian Ruler, from Ninevah (Iraq), ca. 2200 BCE (Ancient Near Eastern Art, Akkadian)

Importance:

Gauge out eyes to take away power from old ruler; ribbon around his head portrays that he was a ruler, and the stylistic beard is meant to portray male dominance and power. It is hollow and cast bronze - very sophisticated technology for this time.

Front 3

Back 3

Catal Huyuk, Ancient Anatolia, Asia Minor (Turkey), ca. 6000-5700 BCE (Prehistoric Art and Architecture, Neolithic Period)

Importance:

Largest, most extensive neolithic site that survived. All buildings were constructed of mud brick which is not stable - not many of the buildings survived for this reason but the imprints in ground allow us to understand the layout. No streets, paths, or space in between buildings.

Front 4

Back 4

Catal Huyuk, Ancient Anatolia, Asia Minor (Turkey), ca. 6000-5700 BCE (Prehistoric Art and Architecture, Neolithic Period)

Importance:

Largest, most extensive neolithic site that survived. All buildings were constructed of mud brick which is not stable - not many of the buildings survived for this reason but the imprints in ground allow us to understand the layout. No streets, paths, or space in between buildings.

Front 5

Back 5

Chephren, from Giza, ca. 2500 BCE (Egyptian, Old Kingdom Period)

Importance:

Served as a place for the ka to go in case mummification doesn't work, chephren + insignia = he was the unifier of Egypt, made of diorite to last since he was the king. Symbols on side of his throne: sema (hieroglyphic sign that means unity) tying together the papyrus and lotus portrays Chephren's role in the unification of upper and lower Egypt.

Front 6

Back 6

Chinese Horse, Axial Gallery, Lascaux cave, Dordogne, France, ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

Horse is clearly meant to be represented as pregnant which allow for this to be a symbol of fertility.

Front 7

Back 7

Death Mask of Tutankhamun, from Thebes (Egypt), ca. 1325 BCE (Egyptian Art, New Kingdom)

Importance:

Portraying theteenaged pharaoh with idealized featuresand wearing the traditional false beardand uraeus cobra headdress.

Front 8

Back 8

Death Mask of Tutankhamun, from Thebes (Egypt), ca. 1325 BCE (Egyptian Art, New Kingdom)

Importance:

Portraying the teenaged pharaoh with idealized features and wearing the traditional false beard and uraeus cobra headdress.

Front 9

Back 9

Photograph of the Lamassu Gate in situ at the Citadel of Sargon II, Dur Sharrukin , ca. 720 BCE (Ancient New Eastern Art, Assyrian)

Importance:

Protected the gateway to the citadel. Animal/human/bird figures have elaborate beards which indicates royal power and authority.Extremely stylized - a lot of detail and patterning.

Front 10

Back 10

Female Head, from Uruk/Erech (modern Warka, Iraq), ca. 3500-3000 BCE (Ancient Near Eastern Art, Sumerian)
Importance:
Sumerians lacked a source of stones suitable for carving, therefore this stone must have been brought to Uruk at a high cost. It could be a representation of the goddess Inanna (not known for sure). Original appearance was much more vibrant because some colored shell or stone most likely filled the eyes and eyebrows.

Front 11

Back 11

Female Head, from Uruk/Erech (modern Warka, Iraq), ca. 3500-3000 BCE (Ancient Near Eastern Art, Sumerian)

Importance: Sumerians lacked a source of stones suitable for carving, therefore this stone must have been brought to Uruk at a high cost. It could be a representation of the goddess Inanna (not known for sure). Original appearance was much more vibrant because some colored shell or stone most likely filled the eyes and eyebrows.

Front 12

Back 12

Fowling Scene, Tomb of Nebamun, Thebes (Egypt), ca. 1400-1350 BCE (Egyptian Art, New Kingdom)

Importance:

Example of fresco painting, abundance --> Nebamun's ka will be well provided for in the after life. Conceptual representation - cat floating, pattern in river, etc. Hieratic scale - Nebamun is very large, therefore portraying his power/importance.

Front 13

Back 13

Funerary Temple of Hatshepsut, Deir el-Bahri (Egypt), ca. 1490-1460 BCE (Egyptian Architecture, New Kingdom)

Importance:
Its architecture well-suited it's natural setting - the long horizontals and verticals of the colonnades match the pattern of the surrounding limestone cliffs. This temple was once apart of an even larger complex. Statues and reliefs glorifying her throughout the complex were the first great tribute to a woman's achievements in history (**** yeah)

Front 14

Back 14

Funerary Temple of Hatshepsut, Deir el-Bahri (Egypt), ca. 1490-1460 BCE (Egyptian Architecture, New Kingdom)
Importance:

Its architecture well-suited it's natural setting - the long horizontals and verticals of the colonnades match the pattern of the surrounding limestone cliffs. This temple was once apart of an even larger complex. Statues and reliefs glorifying her throughout the complex were the first great tribute to a woman's achievements in history (**** yeah)

Front 15

Back 15

Great Sphinx, Giza, ca. 2500 BCE (Egyptian, Old Kingdom Period)

Importance:

Combo of subtractive and additive sculpture, head of the sphinx is the king and body of the lion, protective guardian of Chepren's pyramid.

Front 16

Back 16

Gudea, from Telloh (Iraq), ca. 2000 BCE (Ancient Near Eastern Art, Neo-Sumerian)

Importance:

Acted as a worshiper statue, cap signified the king, made of diorite

Front 17

Back 17

Gudea, from Telloh (Iraq), ca. 2000 BCE (Ancient Near Eastern Art, Neo-Sumerian)

Importance:

Acted as a worshiper statue, cap signified the king, made of diorite

Front 18

Back 18

Hall of the Bulls, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

Shifted emphasis from females to animals, twisted perspective, chiaroscuro, sympathetic magic, animals were painted at different times => random composition

Front 19

Back 19

Hall of the Bulls, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

Shifted emphasis from females to animals, twisted perspective, chiaroscuro, sympathetic magic, animals were painted at different times => random composition

Front 20

Back 20

Hall of the Bulls, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

Shifted emphasis from females to animals, twisted perspective, chiaroscuro, sympathetic magic, animals were painted at different times => random composition

Front 21

Back 21

Head of a Lamassu, Dur Sharrukin (modern Khorsabab, Iraq), ca. 720 BCE (Ancient Near Eastern Art, Assyrian)

Front 22

Back 22

Imhotep, Stepped Pyramid of King Zoser, from Saqqara, ca. 2675-2625 BCE (Egyptian, Early Dynastic Period)

Importance:

The first artist whose name isrecorded, built the first pyramid during theThird Dynasty for King Djoser. The pharaoh’spyramid resembles a series of stackedmastabas of diminishing size.

Front 23

Back 23

Imhotep, Stepped Pyramid of King Zoser, from Saqqara, ca. 2675-2625 BCE (Egyptian, Early Dynastic Period)

Importance:

The first artist whose name isrecorded, built the first pyramid during theThird Dynasty for King Djoser. The pharaoh’spyramid resembles a series of stackedmastabas of diminishing size.

Front 24

Back 24

Innermost Solid Gold Coffin, form the Tomb of Tutankhamun, Thebes (Egypt), ca. 1325 (Egyptian Art, New Kingdom)

Importance:

Made of beatengold (about a quarter ton of it) and inlaid with semiprecious stonessuch as lapis lazuli, turquoise, and carnelian, it is a supreme monu-ment to the sculptor’s and goldsmith’s crafts.

Front 25

Back 25

Innermost Solid Gold Coffin, form the Tomb of Tutankhamun, Thebes (Egypt), ca. 1325 (Egyptian Art, New Kingdom)

Importance:

Made of beatengold (about a quarter ton of it) and inlaid with semiprecious stonessuch as lapis lazuli, turquoise, and carnelian, it is a supreme monu-ment to the sculptor’s and goldsmith’s crafts.

Front 26

Back 26

Ka-aper, from Saqqara (Egypt), ca. 2500-2400 BCE (Egyptian, Old Kingdom Period)

Importance:

Priest of god Ptah, possess Egypt canon, made of wood

Front 27

Back 27

Lamassu

Front 28

Back 28

Landscape Painting, Asia Minor (Turkey), ca. 6000-5700 BCE (Prehistoric Art and Architecture, Neolithic Period)

Importance:

First landscape painting, first painting of historical event, Bird's Eye + Profile view

Front 29

Back 29

Lion Hunt reliefs of Ashurbanipal, North Palace, Nineveh (modern Kuyunjik, Iraq), ca. 647 BCE (Ancient Near Eastern Art, Assyrian)

Importance:

Lion hunting was king's sport => showed he could protect his people, depicted the straining muscles, the swelling veins, the muzzles’ wrinkled skin, and the flattened ears of the powerful and defiant beasts

Front 30

Back 30

Lion Hunt reliefs of Ashurbanipal, North Palace, Nineveh (modern Kuyunjik, Iraq), ca. 647 BCE (Ancient Near Eastern Art, Assyrian)

Importance:

Lion hunting was king's sport => showed he could protect his people, depicted the straining muscles, the swelling veins, the muzzles’ wrinkled skin, and the flattened ears of the powerful and defiant beasts

Front 31

Back 31

Lion Hunt reliefs of Ashurbanipal, North Palace, Nineveh (modern Kuyunjik, Iraq), ca. 647 BCE (Ancient Near Eastern Art, Assyrian)

Importance:

Lion hunting was king's sport => showed he could protect his people, depicted the straining muscles,the swelling veins, the muzzles’ wrinkled skin, and the flattenedears of the powerful and defiant beasts

Front 32

Back 32

Lion Hunt reliefs of Ashurbanipal, North Palace, Nineveh (modern Kuyunjik, Iraq), ca. 647 BCE (Ancient Near Eastern Art, Assyrian)

Importance:

Lion hunting was king's sport => showed he could protect his people, depicted the straining muscles,the swelling veins, the muzzles’ wrinkled skin, and the flattenedears of the powerful and defiant beasts

Front 33

Back 33

Lion Hunt reliefs of Ashurbanipal, North Palace, Nineveh (modern Kuyunjik, Iraq), ca. 647 BCE (Ancient Near Eastern Art, Assyrian)

Importance:

Lion hunting was king's sport => showed he could protect his people, depicted the straining muscles, the swelling veins, the muzzles’ wrinkled skin, and the flattened ears of the powerful and defiant beasts

Front 34

Back 34

Model of the Pyramid Complex, Giza (Egypt). Cambridge, Massachusetts, Harvard University Semitic Museum. 1. Pyramid of Mycerinus; 2. Pyramid of Chepren; 3. Mortuary temple of Chephren; 4. Causeway; 5. Great Sphinx; 6. Valley temple of Chephren; 7. Pyramid of Cheops; 8. Pyramids of the total family and mastabas of nobles

Front 35

Back 35

Nave, Lascaux cave, Dordogne, France, ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Front 36

Back 36

Painted Chest, from the Tomb of Tutankhamun, Thebes (Egypt), ca. 1325 BCE (Egyptian Art, New Kingdom)

Importance:

Tutankhamen prob-ably was too young to fight, his position as king required that artists represent him as a conqueror, and he appears as a victoriousgeneral in the panels of a painted chest; in this representation of Tutankhamentriumphing over Asian enemies, theartist contrasted the orderly registers ofEgyptian chariots with the chaotic pileof foreign soldiers who fall before theking.

Front 37

Back 37

Palette of King Narmor, ca. 3100-3000 BCE (Egyptian, Early Dynastic Period)

Importance:

Unification of the 2 Egypt (King Narmor overtook lower Egypt so the two are united under his leadership), use of hieratic scale

Front 38

Back 38

Palette of King Narmor, ca. 3100-3000 BCE (Egyptian, Early Dynastic Period)

Importance:

Unification of the 2 Egypt (King Narmor overtook lower Egypt so the two are united under his leadership), use of hieratic scale

Front 39

Back 39

Pregnant Cow, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Front 40

Back 40

Pregnant Cow, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Front 41

Back 41

Pyramids and Sphinx, Giza, ca. 2500 BCE (Egyptian, Old Kingdom Period)

Importance:

Symbolized the sun; sun rays that the Pharaoh would use as a leader to get to the heavens

Front 42

Back 42

Queen Nefertiti, from Tell el-Amarna (Egypt), ca. 1355-1335 BCE (Egyptian Art, New Kingdom)

Importance:

portraysAkhenaton’s influential wife as an elegant beauty with a pensive expressionand a long, delicately curved neck, meet the era’s standard of spiritual beauty

Front 43

Back 43

Site of Funerary Temple of Hatshepsut, Deir el-Bahri (Egypt)

Front 44

Back 44

Standard of Ur, from Iraq, ca. 2700 BCE (Ancient Near Eastern Art, Sumerian)

Importance:

Register, hieratic scale, twisted perspective

Front 45

Back 45

Standard of Ur Side A, from Iraq, ca. 2700 BCE (Ancient Near Eastern Art, Sumerian)

Importance:

Register, hieratic scale, twisted perspective

Front 46

Back 46

Standard of Ur Side B, from Iraq, ca. 2700 BCE (Ancient Near Eastern Art, Sumerian)

Importance:

Register, hieratic scale, twisted perspective

Front 47

Back 47

Stele of Hammurabi, Susa (modern Shush, Iran), ca. 1792-1750 BCE (Ancient Near Eastern Art, Babylonian)

Importance:

Oldest law code, transfer of power, profile face + profile eye = directly looking at one another, crowning the stele recording Hammurabi’s laws is a representation ofthe flame-shouldered sun god Shamash extending to the Babylonianking the symbols of his authority to govern and judge.

Front 48

Back 48

Stele of Hammurabi, Susa (modern Shush, Iran), ca. 1792-1750 BCE (Ancient Near Eastern Art, Babylonian)

Importance:

Oldest law code, transfer of power, profile face + profile eye = directly looking at one another, crowning the stele recording Hammurabi’s laws is a representation of the flame-shouldered sun god Shamash extending to the Babylonian king the symbols of his authority to govern and judge.

Front 49

Back 49

Stonehenge, England, ca. 2000 BCE (Prehistoric Art, Neolithic Period)

Importance:

Created resolution between neolithic tribes, shows an advanced civilization aka understanding geometry, relationship to worship of the dead

Front 50

Back 50

Stonehenge, England, ca. 2000 BCE (Prehistoric Art, Neolithic Period)

Importance:

Created resolution between neolithic tribes, shows an advanced civilization aka understanding geometry, relationship to worship of the dead

Front 51

Back 51

Victory Stele of Naram-Sin, from Susa (Iran), ca. 2200 BCE (Ancient Near Eastern Art, Akkadian)

Importance:

Carved in low-relief, Story of Naram-Sin's army winning, composition unfolds in loose strips of narrative

Front 52

Back 52

Well Scene, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

First example of narrative art

Front 53

Back 53

Well Scene, Lascaux cave (Dordogne, France), ca. 15,000-13,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

First example of narrative art

Front 54

Back 54

Worshipper Statuettes, from the Abu Temple, ca. 2700-2600 BCE (Ancient Near Eastern Art, Sumerian)

Importance:

Allowed spirit of the worshipper to always be worshipping even though the person couldn't always be, stylized (fringe on skirt)

Front 55

Back 55

Ziggurat of King Urnammu, Ur (Iraq), ca. 2100 BCE (Ancient Near Eastern Architecture, Neo-Sumerian)

Importance:

Allowed Gods to ascend to heaven and descend to earth

Front 56

Back 56

Ziggurat of King Urnammu, Ur (Iraq), ca. 2100 BCE (Ancient Near Eastern Architecture, Neo-Sumerian)

Importance:

Allowed Gods to ascend to heaven and descend to earth

Front 57

Back 57

Ziggurat of King Urnammu, Ur (Iraq), ca. 2100 BCE (Ancient Near Eastern Architecture, Neo-Sumerian)

Importance:

Allowed Gods to ascend to heaven and descend to earth

Front 58

Back 58

"Venus" of Willendorf, southern Austria, ca. 28,000-23,000 BCE (Prehistoric Art, Paleolithic Period)

Importance:

Sculpture in the round, example of sympathetic magic, emphasis on body parts related to fertility, subtractive sculpture

Front 59

Paleolithic Period

Back 59

ca. 35,000-7,000 BCE

Front 60

Mesolithic Period

Back 60

ca. 7,000-6,000/3,000

Front 61

Neolithic Period

Back 61

ca. 6,000/3,000-3,000/1,500 BCE

Front 62

Sumerian

Back 62

ca. 3000-2350 BCE

Front 63

Akkadian

Back 63

ca. 2350-2200 BCE

Front 64

Neo-Sumerian

Back 64

ca. 2150-2000 BCE

Front 65

Babylonian

Back 65

ca. 2000-1600 BCE

Front 66

Assyrian

Back 66

ca. 1350-612 BCE

Front 67

Early Dynasty

Back 67

ca. 4000-2700 BCE

Front 68

Old Kingdom

Back 68

ca. 2700-2550 BCE

Front 69

New Kingdom

Back 69

ca. 1550-1070

Front 70

Back 70

Antechamber to "Throne Room", Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Importance:

Front 71

Back 71

Harvester Vase, from Greece, ca. 1500 BCE (Minoan)

Importance:

The relief sculptor of the singingharvesters on this small stonevase was one of the first artistsin history to represent theunderlying muscular and skeletalstructure of the human body.

Front 72

Back 72

Light well with typical Minoan-style columns, Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Front 73

Back 73

Octopus Jar, Marine Style, from Greece. ca. 1500 BCE (Minoan)

Importance:

The sea and the creatures that inhabit it also inspired the LateMinoan Marine Style octopus flask from Palaikastro.The tentacles of the octopus reach out over the curving surfacesof the vessel, embracing the piece and emphasizing its volume.The flask is a masterful realization of the relationship between thevessel’s decoration and its shape, always a problem for the vasepainter.

Front 74

Back 74

Cycladic Figurine, ca. 2500-2300 BCE (Aegean Bronze Age Art, Cycladic)

Importance:

Most Cycladic statuettes depict nude women. This one comes from a grave,but whether it represents the deceased is uncertain. The sculptor renderedthe female body schematically as a series of triangles.

Front 75

Back 75

Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Importance:

The Knossos palace, the largest on Crete,was the legendary home of King Minos.Its layout features a large central courtsurrounded by scores of residential andadministrative units.

Front 76

Back 76

Plan, Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Front 77

Back 77

"Queen's Megaron", Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Front 78

Back 78

Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan) Importance:

Front 79

Back 79

South Propylon, Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Importance:

Front 80

Back 80

Springtime Fresco, Akrotiri, Thera before ca. 1650 BCE (Minoan)

Importance:

Aegean muralists painted in wetfresco, which required rapidexecution. In this wraparoundlandscape, the painter used vividcolors and undulating lines tocapture the essence of nature; the largest and most complete prehistoric example of a pure landscape painting; captures the essence of spring

Front 81

Back 81

Stairway/Lightwell with typical Minoan-style columns, Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Importance:

The Knossos palace was complex in elevation as well as plan. It had atleast three stories on all sides of the court. Minoan columns taper fromtop to bottom, the opposite of Egyptian and Greek columns.

Front 82

Back 82

Storage Magazines, Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Front 83

Back 83

"Throne Room", Palace of Knossos, Crete. ca. 1700-1400 BCE (Aegean Bronze Age Architecture, Minoan)

Importance:

Front 84

Back 84

Toreador Fresco (Bull Jumping), Knossos, Crete, ca. 1450-1400 BCE (Aegean Bronze Age, Minoan)

Importance:

The subjects of the Knossos frescoes are often ceremonial scenes, such as this one of bull-leaping. The women have fair skin and the man has dark skin,a common convention in ancient painting; example of a fresco painting

Front 85

Cycladic (Aegean Islands)

Back 85

ca. 3000-1100 BCE

Front 86

Minoan (Crete)

Back 86

ca. 2000-1400 BCE