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57 Cards in this Set
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Formal Analysis: White Temple and its ziggurat, Uruk (modern Warka, Iraq) / Sumerian, 3,500-3,000 BCE, mud bricks and tar, #12
Content: -ziggurat is the massive platform that raises the temple above ground -made of mud brick -temple and ziggurat are considered different buildings -city states--governed and ruled independently--temples were in the center -temples are dedicated to specific gods -the corners of the ziggurat face NESW -entrance way is a mystery--hard to get to, side stair cases -central room- cella -behind cella is an alter
Style: -mud brick -sealed them with tar to protect from the floods -white wash on the temple--why it is called white temple (probably some sort of chalk mineral) |
Contextual Analysis: Temples such as this were reserved for a select few and were considered waiting rooms to the gods where one would present the gods with offerings. Each temple was dedicated to a specific god and each city state had a temple dedicated to a different god. The purpose of a temple was all about being looked upon favorably by the gods, or the specific god the temple was dedicated to. The temple was the pinnacle of a city, always placed in the center of town. The purpose of the ziggurat structure was to reach the temple upwards to the heavens, it shows that ancient Sumerians believed in the concept of the gods existing above the human world. The temple was the human's attempt to connect the gods world and the human world. |
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Formal Analysis: Palette of King Narmer, Predynastic Egypt, 3,000-2,920 BCE, carved stone slabs, #13
Content: -The bigger figure on the left hand side is sacrificing or killing another smaller being -figures on the bottom are running -animals all over -some sort of authority / power resembled (the large figure dominates other smaller figures) -stele -stone slabs -ancient calligraphy, Narmer's name is at the top.
Style: -subtractive technique -incised work of art--low relief -twisted perspective--struggling to realistically show a human figure--shoulders forward, hips slightly side ways, head sideways, feet sideways
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Contextual Analysis: This document really begins to show the use of art in documenting historic events and the clear line up of a story (narrative art). This piece is dated back to the oldest period of Egyptian history known as predynastic Egypt. The palette documents the unification of Egypt under the hands of King Narmer. Prior to King Narmer, upper and lower Egypt were separate places. Each image has a meaningful purpose behind it adding to the story of unification. The animals in the piece resemble gods and their characteristics. It is known this palette is in commemoration of King Narmer because his name appears at the top of the stone in ancient calligraphy and he is placed in the middle of the stone and depicted larger than the rest of the figures. In Egyptian art it is common to see people of importance get central focus and be larger in scale than other figures. In the palette there are symbols resembling both upper and lower Egypt further showing the importance and unification of the two. Egypt was unified in a violent battle as seen on the palette, the enemy is in a kneeling position underneath the dominance of King Narmer. The presence of the gods in the piece show that the people are doing the work of the gods as they guide in animal form. The palette was clearly intended to be read. There are both ceremonial and functional palettes found from this time period, however, the palette of King Narmer in particular is ceremonial. The functional palettes were used to grind up eye make-up not only used for looks but for sun protection as well.
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Formal Analysis: Statues of votive figures, from the Square Temple at Eshnunna, modern Tell Asmar, Iraq / Sumerian, 2,700 BCE, carved stone, #14
Content: -Sumerian -intended to be seen from the front -figurines of individual citizens
Style: -stylized -subtractive -start with cylindrical form or brick like form then carve away
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Contextual Analysis: Th votive figures are known to be resembled after a human praying of worshiping. Each votive figurine was made to represent one of the indiviuals of Sumar. Those who had the privilege of having a votive figurine model were the wealthy citizens. The purpose of these figurines were to be placed in the temples of Sumar so the citizens would be seen better through the eyes of their gods. Within the different statuettes, a hierarchal scale is present, the larger the figurine the more wealth or importance the person it was modeled after had. Also from votive figures, the idea of patronism arises. Patronism is the act of a wealthy being hiring an artist to make themselves look god-like or better in the eyers of the gods. Baiscally patronism is the paying for art modeled after oneself.
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Formal Analysis: Seated scribe, Saqqara, Egypt / Old Kingdom Fourth Dynasty, 2,620-2,500 BCE, painted limestone, #15
Content: -focus is someone with lesser status -unusual in Egyptian culture art -naturalistic 3" x 3"
Style: -painted limestone -all Egyptian sculptures are painted -skin tone is the raw stone -combination of painted and non-painted surfaces -exception to some of the Egyptian art norms -naturalistic--borderline realism, individualized, defined features -subtractive methods -stiff frontal positioning |
Contextual Analysis: The ultimate purpose of the sitting scribe is unknown by historians. It is thought it could perhaps be a funerary piece put in a important figures tomb to assure comfort in the after life. The main reason this piece is studied is because of its unique focus on a person of lower status and the early development of the human figure. |
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Formal Analysis: Standard of Ur from the Royal Tombs at Ur, modern Tell el-Muqayyar, Iraq / Sumerian, 2,600-2,400 BCE, wood and inlayed precious stone, # 16
Content: -discovered in a tomb -wealthy tomb (found in a royal cemetery) -front is scene of peace -back is the scene of war -two ends are decorated as well -broken into three horizontal registers -king in the middle of the top register--larger
Style: -wood with inlays of lapiz -twisted perspective -hierarchal scale |
Contextual Analysis: The Standard of Ur is made with lapiz luzuli, a precious stone reserved for only the wealthiest citizens. The stone had sacred vaule in the burial of the deseased. It also becomes more prevelant in culture how significant the burial and celebration of the deceased is in Egyptian culture as oppsed to other older cultures. The front and back sides of the piece are reffered to as panels, one depicting war and one depicting a sort of party scene. The panels are broken down into three correlating registers which hint at the beginning of writing a story in chronological order. This piece is one of the earliest depicitions of the Sumerian army. Within the army, many advances are displayed such as the wheel, animals pulling carts, and metal swords. The naked figures are thought of as a metaphor for defeat, not their literal state of being during the battle. In the party scene, everyone facing the king, who happens to be larger than the rest, again showing emphasis on one essential person. |
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Formal Analysis: Ziggurat of Ur, Dhi Quar Province, Iraq / Sumerian, 2,100 BCE, reconstructed brick
Content: - |
Contextual Analysis: Temples such as this were reserved for a select few and were considered waiting rooms to the gods where one would present the gods with offerings. Each temple was dedicated to a specific god and each city state had a temple dedicated to a different god. The purpose of a temple was all about being looked upon favorably by the gods, or the specific god the temple was dedicated to. The temple was the pinnacle of a city, always placed in the center of town. The purpose of the ziggurat structure was to reach the temple upwards to the heavens, it shows that ancient Sumerians believed in the concept of the gods existing above the human world. The temple was the human's attempt to connect the gods world and the human world. |
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Formal Analysis: Great Pyramids (Menkaura, Khafre, Khufu) & Great Sphinx, Giza, Egypt / Old Kingdom Fourth Dynasty, 2,550-2,490 BCE, stone brick and carved stone, #17
Content: -the corners are aligned with NSEW -sphinx is the head of a man and the body of a lion -pharaoh is always depicted as a perfect being -the pyramids are funerary temples for the pharaohs
Style: -white wash--has faded to show stone -subtractive technique -large stone bricks -sloped shape depicts the rays of the sun |
Contextual Analysis: The pyramids were made as a form of coffin or funerary temple in order to hold the mummified pharaoh bodies and all their riches for a comfortable afterlife. The importance of death in Egyptian culture becomes very prevalent. The structure of the pyramids, stacking huge, heavy stone blocks upon one another, shows the Egyptian people's impressive understanding of engineering. The pyramids were built mostly with human labor, thus their techniques of getting the stone blocks stacked on one another were rather advanced for the time. The cause way is the road that leads to the funerary temple and the size of the temple appears to be dependent on success and length of rein. The biggest pyramid being Khufu's appears to mean he was the most successful pharaoh and most long raining of the three. |
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Formal Analysis: King Menkaura and queen, Egypt / Old Kingdom Fourth Dynasty, 2,490-2,472 BCE, diorite, #18
Content: -4' 8" -The one foot stepping forward (symbolic) -funerary piece -modeled after the wealthy -queen is wearing flax linen, but looks almost nude--wet drapery style -king has clenched fists -emphasis on the pubic triangle on the woman, fertility?
Style: -diorite carving -stiff frontal positioning--showing authority and intimidation -stone tools used to carve (iron and copper tools as well) -heavy block like structure |
Contextual Analysis: The one foot forward position resembles the 'ready for action' attitude of a successful pharaoh. The position shows power and significance, it is intimidating and authoritative. The statue is made of hard, dense stone saved for only wealthy citizens, statues made from this stone were intended to last. The detail and obvious time ad effort put into this statue and many other funerary statues show the Egyptians obsession with death and the afterlife and the importance of death. Most pharaohs started having their funerary statues carved at the beginning of their rein to assure their comfort in riches in the afterlife. In these statues individual style was not appreciated or allowed, an artists talent was based upon their ability to copy the traditional, godlike / idealistic image of a pharaoh with no innovation. During ancient Egypt artwork, the cannon of proportions made an appearance, this is the first known rule of proportions. This rule helped artists create idealized size proportions that never varied from piece to piece. Another important aspect of this statue is the wet drapery on the queen figure. It shows her royal status, but is slightly provocative at the same time. |
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Formal Analysis: The Code of Hammurabi, Babylon, modern Iran, Susian, 1,792-1,750 BCE, basalt carving, #19
Content: -stone stele -basalt -the written form of Hammurabi's laws -nearly 3,000 letters -almost 300 laws -the king in the presence of Shimash at the top, the king is raising his hand to show respect for the gods
Style: -subtraction relief technique -the writing is chiseled in
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Contextual Analysis: This piece's purpose is to be a record of and communicate all of Hammurabi's laws to his people. The only reason we have this piece today is because it was stolen from Babylon when it was conquered. Babylon flourished under Hammurabi's laws and dominated mesopotamia. Hammurabi was a powerful Mesopotamian King and the laws cover all aspects of life from stealing and theft to consequences of adultery to destruction of others property. The complexity of these laws show a very developed society. It is also clear Hammurabi's rein was very established. The Mesopotamian society believed in close communication and connection with the gods and believed Hammurabi's laws were the combined work of Hammurabi and the gods, religion and politics mixed greatly. |
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Formal Analysis: Temple of Amun-Re and Hypostyle Hall at Karnak, near Luxor, Egypt / New Kingdom 18th and 19th century Dynasties, temple: 1,550 BCE hall: 1,250 BCE, sandstone, #20
Content: -sacred lake -sanctuary--significant to New Kingdom temples -free standing -pylon is a massive stone wall at the front entrance of the kingdom (facing the west) -the further into the temple the more sacred and the fewer amount of people could get in -cause way: road leading to the main entrance of the temple -hypo-style hall is an architectural wonder--the capitals are the pieces that lay on top of the columns, hypo hall is massive -bilateral symmetry -each pharaoh built on to the temple at Karnak
Style: -bilateral symmetry--precision and mathematical understand is immense -each inner layer of the temple becomes more sacred -columns (134 sandstone columns in the hypo hall) -clerestory--first introduction to windows (allows light into inner sections of the temple) -post and lintel construction -each column carved and painted -very decorated temple (paint) -free standing rock temple |
Contextual Analysis: The advancement of clerestories in this temple is huge in the world of architectural history. Clerestories were the first form of window to let natural light into large structures. This is significant because there were no lights during this time so it allowed people to be within an inclosed structure but not be in the complete dark. Therefore, not only is this temple a huge part of art history, but it is also significant in architectural history. |
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Formal Analysis: Mortuary temple of Hatshepsut, near Luxor, Egypt / New Kingdom 18th dynasty, 1,473-1,458 BCE, rock cut temple, #21
Content: -rock cut tomb -limestone -bilateral symmetry -tiered construction--each more sacred than the others -sacred lake -lush gardens -many statues of Hatshepsut
Style: -tiered construction -mirrors the natural landscape it is in -rows of columns (colonnades) -about 200 statues of Hatshepsut to decorate the temple -every column decorated and painted with a carving of Hatshepsut -granite stone statues inside -granite (statue) |
Contextual Analysis: Hatshepsut is the first documented female ruler in history. She gave birth to no sons, but when her husband, the former pharaoh died, the kingdom was given to one of his lesser wives sons. The son was too young to rule, so she took the kingdom and ruled under her terms. As a woman, she had to fight to protect her rights as pharaoh much more than any man had to. She ruled for 2 decades and was a very dedicated pharaoh. The mortuary temple is one of the first temples in which a potential architect is named, Senmut. Senmut is thought of as the creator of this masterpiece, however, it is still unknown if he truly was the architect. The pharaoh after Hatshepsut destroyed much of her commemorations, this particular temple has been reconstructed. |
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Formal Analysis: Kneeling statue of Queen Hatshepsut, inside the mortuary temple near Luxor, Egypt / New Kingdom 18th dynasty, 1,473-1,458 BCE, granite, #21
Content: -kneeling statue--Ka statue -Hatshepsut with pharaoh attire (beard) -offerings to the gods in hands
Style: -granite -subtractive technique |
Contextual Analysis: This statue is seen inside the mortuary temple of Hatshepsut, there are many kneeling and standing statues that fill the halls of the temple, all the statues are of Hatshepsut. The statues are known as Ka statues. Ka statues are believed to hold the "soul" or internal spirit that transcends from the body of a human into the afterlife. The Ka is the so called "soul" or "spirit" that transcends life on Earth to the afterlife. The statue is free standing and holds offerings to the gods, its purpose is not only to hold the Ka, but also give offerings to the gods. These Ka statues were made while Hatshepsut was still alive, as were most funerary statues. The destruction of these statues and many other Hatshepsut commemorations by the following pharaoh is known as iconoclasm. -iconoclasm--images that have meaning about a political or religious idea are intentionally destroyed to wipe out the idea |
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Formal Analysis: Statue of Akhenaton from Karnak, Egypt / the Armana Period, 1,375 BCE, stone
Content: -traditional pharaoh attire -form is very different, feminine -more naturalistic representation -stone
Style: -softer Egyptian style -elongated form -subtractive technique stylization of form -very large (larger than life size)
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Contextual Analysis: King Akhenaton only reined for 10-12 years, however his style of power was so vastly different, he created the Armana Period which only lasted for as long as he reined. Akhenaton tried to switch Egyptian culture from polytheism to monotheism, thus the only god seen in the Armana period is Aten (sun god). The focus on only one god ultimately gave Akhenaton more godlike power. The traditional pharaoh attire is still present, but the form of the figure is much more naturalistic and stylized. The depiction of an idealized pharaoh was still important, but we begin to see more elongated figures and a obviously different style of artwork. |
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Formal Analysis: Neferiti, Egypt / Armana Period, 1,360 BCE, painted limestone
Content: -painted limestone bust -very decorative--paint -represents Egyptian culture -female -humanistic -armana period -royal dignified look -queen -a queens crown -19 inches tall
Style: -very humanistic approach -elongated form -sandstone |
Contextual Analysis: This piece is still showing idealized form, and it is obvious some of the proportions are not exactly correct, but the appearance of individual style really starts to become present. Being the Armana Period still, there is still the very elongated form. The artists of Egypt begin to be judged on their ability to depict the human form with realistic style, no longer on how well they can copy the traditional image of a pharaoh. |
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Formal Analysis: Akhenaton, Neferiti, and three daughters, Egypt / New Kingdom (Armana) 18th Dynasty, 1,353-1,335 BCE, limestone, #22
Content: -limestone -two large figures (the parents) -three small female figures (the daughters) -basking in sun rays of life of the sun god Aten -monotheistic--NEW -kissing children and loving children--humanity--very different than New Kingdom artworks -intimate family depiction
Style: -subtractive technique (incised) -ba relief -sunken relief -limestone -elongated figures -naturalistic--more humanistic |
Contextual Analysis: Because most of ancient Egypt's artifacts were crafted with stone, we today get to see many of the works of art. Stone lasts, thus the artifacts crafted on stone last. Again it is seen that Akhenaton only believed in one god, switching from a polytheistic culture to a monotheistic culture. Being a monotheistic culture allows for Akhenaton to be the only higher power. This is also one of the first pieces to show family intimacy and love. The symbols at the end of the sun rays, called onks, are portraying the giving of life from the one and only god Aten. Having only one god also makes Akhenaton more connected to the higher powers. |
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Formal Analysis: Tutankhamun's tomb, innermost coffin, Egypt / New Kingdom 18th Dynasty, 1,323 BCE, gold and precious / semiprecious stones, #23
Content: -King Tut's tomb -innermost coffin--there are three layers of coffins (all gold) -housed the actual mummy -most elaborate and decorated coffin of all -gold and other precious and semi precious stones -inscribed with hyrogliphics -rock cut tomb
Style: -beaten, modeled gold -inlayed stones -intricate inscribed |
Contextual Analysis: King Tut was in retrospect a fairly mild pharaoh, he died young (age 18), however when his tomb was found completely intact, King Tut became a huge symbol of Egypt. The discovery of the tomb allowed historians to gain more understanding of the burial process and the importance of the afterlife. Before King Tut's tomb, all the funerary temples found had been looted. Because King Tut was less significant, his tomb was places behind a more recent pharaohs tomb, thus why it was protected from looters. The insight the tomb brought to historians about the afterlife in Egypt is huge. |
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Formal Analysis: Last judgement of Hu-Nefer, from his tomb (page from the book of the dead), Egypt / New Kingdom 19th Dynasty, 1,275 BCE, papyrus paper and paint, #24
Content: -painted papyrus scroll -depicting a story -pictures along with hieroglyphics -many gods, with animal heads (still portraying gods as animals -hall of judgement, each god partaking in their individual task of passing a person on in the after-life -green god is the king of the underworld -polytheistic
Style: -papyrus paper--mashed papyrus to smooth into paper -paint on top of the paper -return to traditional Egyptian style (after Armana shift) -twisted perspective |
Contextual Analysis: This piece is very unique because it is on papyrus paper. It is rare to find scrolls such as these because they easily break down. This particular page being of a scene that depicts the afterlife gave insight into the belief of the afterlife. The scroll was found in a scribes tomb, showing that not only pharaohs but other high status citizens had tombs as well. After Akhenaton, Egypt returns to a polytheistic culture, as depicted in this piece. The god Anubus is always seen in scenes of the afterlife among many other gods in this scroll, his job is to be the first god to transition the dead to the afterlife. This scene is called the hall of judgement, it is essentially the stage right after death in which the soul is tested to decipher where it goes exactly. One of the tests illustrated is the scale of ones heart versus the feather and the heart must weigh more than the feather to show the persons dedication to truth. |
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Formal Analysis: Temple of Ramses II, Abu Simbel, Egypt / New Kingdom, 1,225 BCE, rock cut temple
Content: -the human statues are over 60 feet tall--massive -inside the tomb there are series of columns of Ramses II and Osiris, 32 feet tall
Style: -rock cut temple -returning to traditional Egyptian techniques (stiff, frontal orientation)
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Contextual Analysis: This piece is clearly significant in art history because it was completely moved and reconstructed to avoid it from flooding. In the 1960's the Egyptians tried to control the Nile with constructed damns and this temple was in danger of being flooded, so the entire temple was disassembled and relocated just off the bank of the Nile. Not only does this speak to Egyptian value of this temple, but it speaks to the worlds value of this temple. |
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Formal Analysis: Lamassu from the citadel of Sargon II, DurSharrukin, modern Khorsabad, Iraq / Neo-Assyrian, 720-705 BCE, limestone, #25
Content: -ancient Sirian King's -lamassu is the name of the mythological creature depicted--combines the head of a person with the body of a bull and also winged -lay at the entrance gate of the citadel -represent power and authority -five legs--to show movement -limestone -over 13 feet tall
Style: -dual perspective -use an extra limb to show movement |
Contextual Analysis: The Assyrians were a war faring society. These pieces were placed at the gates of the citadel as a form of intimidation. The lamassu figures were intended to scare invaders away. The mythical creatures present the power of the King to his people and those of other cities. These creatures are completely made up, but resemble authority and power, thus preventing other places from invading for fear of being dominated. |
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Formal Analysis: The Lion Gate, Proto Greece / Mycenaean, 1,400 BCE, stone
Content: -from a citadel--slightly elevated from the rest of the town -very protected entrance -corbelled arch--the triangle above the doorway -ornamentation
Style: -corbelled arch -staggering of stones to create a triangular shape to ornamentate
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Contextual Analysis: The Mycenaean's were also a war faring society. The lion gate was the entrance to the citadel which was slightly elevated from the rest of the town. This arch way shows a major innovation from the post and lintel technique that will be seen throughout history. This style is called the corbelled arch. The corbelled arch is the thr stacking of stone to create a triangular shape above a doorway and is later developed into domes. |
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Formal Analysis: Tholos Tombs "Treasure of Atreus", Proto Greece / Mycenaean, 1,400 BCE, stone bricks
Content: -Tholos = warrior king -corbelled arch -hammered gold on inside -dome like structure -tomb
Style: -hammered gold details on the inside--royal tomb -corbelled arch to the beginning of a dome -precise--no holes in stone bricks |
Contextual Analysis: The significance of Tholos tombs is that it creates a whole new structure of space. The piece is underground and inside it has a dome like structure to it. The more advanced use of the corbelled arch in the development to the dome shows a complete change of engineering. The innovation is not seen at all in ancient Greece, only proto Greece and is not seen again until ancient Rome. |
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Formal Analysis: Lady of Auxerre Kore, Archaic Greek, 650 BCE, limestone
Content: -human figure -simple pose -limestone -2 1/2 feet tall -depicting a goddess or person of importance -Kore--greek for young woman -smile (characteristic of archaic greek sculpture--humanistic depiction
Style: -stiff -carving--subtractive technique -stylized texture (hair) -not realistic -modeled soft form (advancement in manipulating the material) -combined geometric decoration and naturalistic form -wet drapery style |
Contextual Analysis: It is unknown if this work is actually a goddess or rather just a person of importance. The purpose of the statue is to depict an idea, not portraying a realistic human figure. The introduction of emotion into art appears with the infamous greek smile depicted in many earlier Greek pieces. The incorporation of emotion becomes a huge innovation in Greek art. Greek art is also known for celebrating humanity. It takes a step away from the absolute importance of gods and starts to look at the ability of the human body and mind. |
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Formal Analysis: Temple of Artemis at Corfu, Archaic Greek, 600 BCE, marble
Content: -in ruins -majority of what is left is the pediment -first temple that has style of Greek temples -on island of Korfu -pediments have scenes on them--depicting the gods
Style: -painted -doric -pediments were filled with high relief |
Contextual Analysis: The temple of Artemis at Corfu borrows many ideas from Egyptian temples and places of worship. The temple was not for everyone, it was only for higher and religious powers much like in Egypt. Greek culture was also built on royalty, however the kings (unlike pharaohs) were not gods on Earth, but rather humans that were in close communication with the gods. Greek gods became known as deity figures, apart of the Greek polytheistic religion. Temples were made to appease the gods and were a transitional place between the gods and earth (humans). The temples were not funerary tombs and were more about the worship and celebration of their gods and goddesses. |
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Formal Analysis: Athenian agora, Archaic through Hellenistic Greek, 600-150 BCE, blueprint plan, #26
Content: -an open space or square used for the congregation of a city -center of the city -becomes heart of ancient Athens -built on top of a hill
Style: -at the convergent place of the three roads to and through Athens |
Contextual Analysis: The Athenian agora was the first known plan of a local meeting place amongst a city that is specifically designed for politics and town hub. The agora was known as the economic hub of Athens. The term agora is not special to Athens, however it appears that Athens had the first intentionally planned and constructed agora. Within the agora market places flourished and it was an area where all classes could meet. The Athenian agora was sacked and rebuilt many times and sets the stage for the layout of cities for many years to come. The thought behind the agora and having a town meeting place builds the trend for modern Western civilization. The Athenian agora still today is an important part of the city, however it has been modernized. The agora is placed on the hill in the center of Athens showing it is a place of importance and power. |
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Formal Analysis: Anavysos Kouros, Archaic Greek, 530 BCE, marble, #27
Content: -kouros--male statue -larger than life (6'4" tall) -inscription around the base--invites visitors to stay and morn Krousos -textured hair
Style: -stylized hair--geometric pattern-- the "geometric style" -subtractive technique -more humanistic--looking at accurate proportions -fleshy and rounded -Greek smile |
Contextual Analysis: The frontal position with one foot forward is seen in Egyptian art as well and shows the power and authority of the figure. This is a funeral piece and further introduces the idea of patrons. Patrons commissioned art for their personal purposes, such as this statue. The statue was erected over Anavyous' grave, thus why it is believed to be a funeral piece. The greek smile in the piece is extremely characteristic of early greek art and shows artists beginning to include emotion into their pieces, however the emotion at this stage is not very developed. |
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Formal Analysis: Peplos Kore from the Acropolis in Athens, Archaic Greek, 530 BCE, marble, #28
Content: -kore--female statue -missing left arm -stylized hair -goddess
Style: -subtractive technique -painted -stylized hair -becoming more naturalistic and realistic -wet drapery -Greek smile -simple stylized |
Contextual Analysis: This piece has been so well preserved essentially because the Persians sacked the acropolis and thus the piece was buried under the ruble and preserved. In this piece the understanding of sculpture and the natural positions of a human body clearly develops as seen in the freed arm. This is one of the first times we see a freed limb from the rest of the figure, making it a major innovation in art. The Acropolis, where the sculpture was found, is unique to Athens and is the part of the city that holds all the important buildings and temples. Peplos is the word for the traditional garmet worn by the ancient greeks, it is also commonly known as a toga. Historians have identified four different layers of garmets on this statue. The more clothing, the higher the status, therefore it is believed this is a statue of a goddess, not a commoner. It is also thought that the missing hand was holding and offering or something of the sort that would help us to identify who she is exactly. The wet drapery style is still used by artists during this time to show that they can depict the human body correctly, without depicting a goddess completely nude because that was still not acceptable during this time. The artists also shows slight advancement in the depiction of the face, in areas such as the eyes, chin, and iris of the eyes. The eyes were depicted as being opened and are still stylized but they give the viewer much more information about what they truly looked like. |
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Formal Analysis: Sarcophagus of the Spouses, Etruscan, 520 BCE, terra cotta, #29
Content: -funerary statuary -a couple on top (the couple put in the tomb) -well to do Etruscan couple -ashes in the tomb, not bodies -terra cotta -split into 4 sections put together
Style: -hard baked clay -sculpted the clay -painted, brightly colored -cast and fired in separate sections -naturalistic (on the border of ideal) -heavy simplification of facial features |
Contextual Analysis: Etruscan culture was apart of Archaic Italy. Some believe is the culture link between Ancient Greece and the development of the Roman Empire, however the Romans believe their is no connection between the Etruscans and the rise of the Roman Empire. The Etruscans were sacked by the Romans because the Romans wanted to take over everything and Romanize it all. The Etruscan style is a completely separate section in art history, it is different from both Greek and early Roman styles. Much of Etruscan artwork was made with wood and terra cotta, so much of it has deteriorated over time. Because this is obviously a burial piece, it is clear the Etruscans believed in honoring the deceased through a burial process, however they did cremate the bodies before placing them into the sarcophagus to be buried which is very unique to their culture. It is also known that the elaborate burial process was not designated for just kings and queens, but for other wealthy citizens as well. It is unknown exactly who this sarcophagus was made for, all that is known is that it was for a well to do Etruscan couple. The figures are not as advanced as Archaic Greek work, there is still a lot of twisted perspective. |
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Formal Analysis: Audience Hall (apadana) of Darius and Xerxes, Persepolis, Iran / Persian, 520-465 BCE, marble, #30
Content: -ziggurat present -columns -capitals of columns are significant -mythical creatures make the capitals
Style: -floor is also made of marble -similar structure as hypo style hall |
Contextual Analysis: The audience hall was the main gathering place for governing people and royalty. It survived the siege of Alexander the Great, there was strong bad blood between the Persians and the Ancient Greeks. It is rare to see marble in Iran because it was a rare stone for Persians. Darius and Xerxes are the sons/successors of Cyrus the Great who took the throne of the Persian empire. This building represents the perfect combination of Greek style and Egyptian floor plan, thus it is significant because of its mix of ideas. The columns are very Greek, and at the top are animals back to back which held the beams of the roof. The use of symbols such as animals is characteristic of the Egyptian culture. |
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Formal Analysis: Temple of Minerva, Veii near Rome, Italy / Master sculptor Vulca, 510-500 BCE, #31
Content: -simple floor plan -columns -Greek element--pediment -minimize entrance to the front -temples made of wood--not much left -columns didn't have flutes--very smooth -temples were restricted--staircase is very important and unique -3 cellas -portico--open covered area--first time it is introduced
Style: -more simplified decoration -painted -etruscan |
Contextual Analysis: This temple was built when Italy still had Etruscan societies. Along with this temple comes the name Vitruvius. Vitruvius is the first known Roman architect/art historian. He wrote the first records of architectural styles and he is why we have a deeper understanding of Etruscan temples today. |
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Formal Analysis: Sculpture of Apollo of the Temple of Minerva, Veii near Rome, Italy / Master sculptor Vulca, 510-500 BCE, marble, #31
Content: -Roman god -limbs extended out from main body -in a position of movement -didn't understand how to make free standing legs -found from the roof of the Temple of Minerva
Style: -naturalized -terra cotta sculpture |
Contextual Analysis: The temple of Minerva was a temple to the gods, thus why there is this statue of Apollo. Apollo is a Roman god. The advancement of human and sculptural understanding allowed for the limbs to be extended from the main body and the sculpture shows movement. These are both huge innovations in art history. |
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Formal Analysis: Tomb of the Triclinium, Tarquinia, Italy / Etruscan, 480-470 BCE, plaster and paint, #32
Content: -plastered surfaces to be painted -gorgeous decorations -130" in diameter, 150" tall--massive -banqueting couples -celebratory couple -men have dark skin, women have light skin
Style: -fresco- -fresco secco is the dry plaster and then applied imagery (older technique)--tended to fall apart more quickly -buon fresco the latter technique, painting on wet plaster, unified the two layers (this piece is buon fresco) -underground -twisted perspective -idealized/stylized imagery |
Contextual Analysis: The tombs are sunken into the earth, however they are built up with mud brick underground. This tomb is a part of a huge complex strictly restricted for the burial of the dead. The reason these tombs survived was because the were really and truly sealed by being semi underground and using the new painting technique called buon fresco. The buon technique allowed for the plaster and paint layer to combine together and create one stong layer. In the paintings it is clear it is a celebration, showing the Etruscans believed in the celebration of passing rather than the mourning. The tombs and sarcouphaguses were decorated, but not filled with as much stuff as in Egypt royal tombs. These tombs were reserved for wealthy citizens. In the paintings there is a first hint at depth on a 2D surface, but the idea is not resolved, this is a start to a major innovation. |
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Formal Analysis: Kritios Boy, Classical Greek, 480 BCE, marble
Content: -2'10" -relaxed human pose--contrapposto pose -natural muscle definition
Style: -classical greek moves into realism |
Contextual Analysis: The more relaxed pose of the Kritios boy, called the contrapposto pose, is what separates Ancient Greek art from Classical Greek art. The Greeks take a huge leap in documenting the understanding of the human figure, it is extremely realistic when it comes to muscle definition and small details. The statue used to have feet and was intended to stand on its own as well as be viewed in the round. Art historians have not been able to identify who is being depicted in the statue. It is significant because it starts the shift to true realism in art. |
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Formal Analysis: Temple of Hera II at Paestuem, classical greek, 460 BCE, marble
Content: -establishes the guidelines for classical Greek architecture -is next to two other temples similar in style -split colonnade opens up the cella--approachable from all sides -elevated on stereobate, three steps above ground
-classical greek temple -symmetrical -doric columns -large entablature -triglyph and mettos show power of Hera |
Contextual Analysis: This temple is in honor of Hera, the goddess of women and marriage, also the Queen of Olympus. The temple also tells Hera's story. |
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Formal Analysis: Niobides Krater, Anonymous vase painter of Classical Greece known as Niobid Painter, 460-450 BCE, red clay with black glaze, #33
Content: -Krater is the name of the form of ceramic -wheel thrown -depiction of a natural landscape to tell a story
Style: -underglaze -defining space for story telling -schematic -red clay with black glaze |
Contextual Analysis: Vases such as this were placed in both religious and other buildings, depicting myths and stories. The myth of Niobides is that she was a woman with many children and she challenged the goddess Leto, who in turn killed all her children as a punishment. On the vase is a massacre depicting this myth. The message was to not challenge the gods, the vase was in a way teaching the ways of religion and morals. |
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Formal Analysis: Doryphoros (Spear Bearer), Polykleitos, Original 450-440 BCE, marble, #34
Content: -movement to realism -relaxed pose -everything is accurate -man of opposites -male statue--nude
Style: -realism
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Contextual Analysis: The representation of balance and a true relaxed human pose is huge in this piece. The relaxed half of the body versus the rigid side of the body shows a true understanding of the balance of a standing human. |
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Formal Analysis: Diskobolos (Discus thrower), Myron / Athens Greece / Classical Greek, 450 BCE, marble
-very dynamic -truly freed (from block of stone)
-realism -much more complexity in the human form |
Contextual Analysis: This piece truly celebrates the beauty of the human form. It shows perfection in an athletic human body and advanced muscle definition. This statue also shows tremendous movement and a unique position. |
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Formal Analysis: Acropolis/Parthenon, Athens, Greece Iktinos and Kallikrates, 447-424 BCE, marble, #35
Content: -on top of a stone made hill -build on high point to be closer to the gods parthenon=main temple dedicated to Athena -complete city
Style: -classical style -doric temple -most of the surrounding temples are ionic style -doric fascade -inside cella is ionic |
Contextual Analysis: The acropolis flourished in Classical Greece. The Parthenon is the main temple in the acropolis. It is completely constructed off mathematics and the equation x=2y+1. The temple is dedicated to Athena and was built on top of a hill to be closer to the gods themselves. This is a doric style temple, most of the buildings surrounding it are younger and thus in the iconic style. |
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Formal Analysis: Acropolis/Helios, horses, and Dionysus (Hercules?), Athens, Greece Iktinos and Kalikrates, 447-424 BCE, marble, #35
Content: -on the east pediment -depicts the birth of the goddess Athena -Christians removed most of the statues of greek gods when it was turned to a christian church -head and arms of helios with his chariot rising from the sun -almost full figure of Dinoysos (some question if it is hercules) -the rest are known as spectators of Athena's birth
Style: -ionic |
Contextual Analysis: Phidias is though of a the sculptor of these sculptures. He cleverly sculpted them to be attached to the building in an attempt to make them last "forever" and fit into the tapered triangle of the pediment. The realistic sagging of fabric is a big innovation in realism. Within this piece, there is mathematics, engineering, celebration of the human figure, and celebration of gods and goddesses, showing the complexity of the statues and scene. |
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Formal Analysis: Acropolis/Temple of Athena Nike, Athens, Greece Iktinos and Kallikrates, 447-424 BCE, marble, #35
Content: -human events celebrated alongside the events of the gods and goddesses--humanism -in commemoration of victory over the Persians
-introduces new style--the amphipro style--four columns on both east and west and flat walls on other sides -ionic |
Contextual Analysis: This temple is supposedly designed by the architect Kallikrates. In his time, Kallikrates was one of the most renouned architects and he was brought to Athens just to construct this temple. A new style is introduced with this temple, closing of the cella more solidly than other temples, but still using columns for structural purposes. |
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Formal Analysis: Acropolis/Victory adjusting her sandal, Athens, Greece Iktinos and Kallikrates, 447-424 BCE, marble, #35
Content: -marble -section of the frieze -represents transition into nearly hellenistic greece--natural depiction of fabric -3 1/2 feet high
Style: -almost Hellenistic -realistic |
Contextual Analysis: The sagging and rippling of cloth shows a much deeper understanding of sculpture. It represents a transition into the beginning phases of Hellenistic Greece. |
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Formal Analysis: Acropolis/Plaque of Ergastines, Athens, Greece Iktinos and Kallikrates, 447-424 BCE, marble, #35
Content: -low relief--shallow subtraction but as you move up the become high relief--optical illusion -depicts panathenaic festival procession of citizens--high sense of self worth--human event -frieze of the parthenon -marble
Style: -ionic |
Contextual Analysis: The use of low relief progressing into high relief and more detail at the top of the plaque creates an optical illusion, showing the artists clear understanding of carving and their ability to manipulate the marble the way they wanted to. The scene is of a human event, again showing the importance and beauty of human life in Greek culture, it also shows the depiction of human events on the same building as scenes depicting the gods and religion.
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Formal Analysis: Grave Stele of Hegeso, attributed to Kallimachos, 410 BCE, marble, #36
Content: -woman pictured with a servant -grave stone/stele -intimate scene of Athenian life -Hegeso is larger than the servant figure -glimpse into everyday life
Style: -low relief -painted marble |
Contextual Analysis: This stele is interesting because it not only shows the woman of the household, who is usually not made public, but it shows an intimate scene between a lady and her servant. During this time art is not all about the gods and goddesses, as in this piece it shows humans and celebrates humanity. This stele in particular is of the upperclass, but there are some during this time that depict common people's everyday life. Art shifts to a thing used to document all classes. |
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Formal Analysis: Winged Victory of Samothrace, Hellenistic Greek, 190 BCE, marble, #37
Content: -highly ornimentated fabric -movement and action within the fabric -8 feet 1 inch tall -meant to be on front of a ship fountain
Style: -probably painted -hellenistic: achives emotional/theatrical presence (expressionism) |
Contextual Analysis: This sculpture is significant because it departs from pure rationalism and goes into expressionism and the introduction of feeling and emotion into art. Ultimately, expressionism is what the Hellenistic period is about. The extreme movement shown in the clothing also shows a developed understanding of sculpture and of the surrounding world. |
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Formal Analysis: Great Altar of Zeus and Athena at Pergamon, Asia Minor(present day Turkey) / Hellenistic Greek, 175 BCE, marble, #38
Content: -massive relief-lower than a frieze (over 7 feet tall) -columns -movement within the depicted scenes -strife and grief on faces of figures -war
Style: -over the top Hellenistic--theatrical -columns--iconic |
Contextual Analysis: The structure of this building is unique, the altar was built towards the end of the Greek empire. The friezes are very elaborate stories of war, victory, and domination. The altar symbolizes power and depicts godly events, especially surrounding Zeus and Athena.
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Formal Analysis: Venus de Milo, Hellenistic Greek, 150 BCE, marble
Content: -draping fabric -goddess Venus -depicted human-like
Style: -hellenistic -relaxed stance |
Contextual Analysis: This sculpture was criticized for the erotic depiction of a goddess, it was risky. It does, however signify the Hellenistic period in the way that it is very realistic and a humanistic depiction of a goddess, not idealized. |
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Formal Analysis: Old Market Woman, Hellenistic Greek, 100 BCE, marble
Content: -lower class elderly woman -draping fabric -generational conflict
Style: -Hellenistic -depicts commoners--shows the not so beautiful |
Contextual Analysis: The depiction of the ordinary, everyday commoners becomes a big aspect of art during the Hellenistic period. The fascination with the lower class and other commoners is prevalent. |
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Formal Analysis: Laocoon (and his sons), Hellenistic Greek, 100 BCE, marble
Content: -regular person -priest -family life -agony/pain in face--realistic emotions--over the top
Style: -Hellenistic -expressionism -emotional/theatrical |
Contextual Analysis: This piece depicts the emotion agony, a complex human emotion. Incorporating these complex emotions raises the complexity of the art. |
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Formal Analysis: House of Vettii, Imperial Roman / Pompeii, Italy, second century BCE rebuilt 62-79 CE,--, #39
Content: -had possibility of shops -foyer starts (entrance) -attrium innovation, large central reception area in a large house--designed to catch water--large open space based upon natural light--basin that catches water is the pluvium, catches rain water to be used in the house -cubicula- start of cubicles -elaborate frescos painted through out the house
Style: -four styles of fresco paintings |
Contextual Analysis: The house of Vettii was a family home, but it is large because it also housed the family artists/ clients, extended family, and servants. The house was big for social gatherings and the front of the house had the possibility of multiple store fronts. Patrons were very prevalent during this time so the patron would house the client and then the client would work the shops out infront of the house. This house is so well preserved because of the ash. Within the house there are many new structures not seen before in architecture such as the cubicula, the start of cubicles, the pluvium which catched water, and the attrium which is the large central reception area of the house. |
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Formal Analysis: Temple of "Fortuna Virilius", Republican Roman, 100 BCE, marble
Content: -one of the earliest Roman temples
Style: -frontal staircase -closed of sides -portico--porch -one large open cella -frontal elevation and side elevation |
Contextual Analysis: The Roman style is an appropriation of Greek ideals into Etruscan style. The closed off sides are typical of Etruscan, however the columns are typical of Greek style as well as the one room cella. Being one of the first Roman temples, it is important to see the mesh of styles which eventually formulated the Roman Empire's own unique style. |
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Formal Analysis: Alexander Mosaic from the House of Faun, Pompeii, Republican Roman, 100 BCE, mosaic, #40
Content: -mosaic--one of the first -tesserae--tiny pieces to make the mosaic -Alexander the Great and the Persian ruler Darius -famous battle, Alexander the Great defeated Darius
Style: -realistic depth -mosaic
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Contextual Analysis: This mosaic was so well preserved because of the ash in Pompeii as well. The subject matter is of the defeat of Darius by Alexander the Great. The piece is celebrating Roman authority and the ego of Alexander the Great. Rome was a culture that was very proud of their power. Artistically, the advancement of realistic depth is gigantic and impressive considering it is resolved in a mosaic. |
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Formal Analysis: Seated boxer, Hellenistic Greek, 100 BCE, bronze, #41
Content: -bronze -seen better days, defeated--imperfections -patina--surface finish on a bronze -boxing gloves torn -emotion--defeat
Style: -move away from idealistic -into expressionism |
Contextual Analysis: Expressionism is huge in this statue, this piece is essentially what the Hellenistic period is all about. The Greeks develop a fascination with the common person of society. In the Hellenistic period they focus on all aspects of life, not solely the beautiful parts. This statue in particular shows this aspect of Hellenistic art as it is communicating defeat and trouble, a scared body and gloves with imperfections. Using art to show the common people is a huge leap in art history. |
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Formal Analysis: Head of a Roman patrician, Republican Roman, 75-50 BCE, marble, #42
Content: -bust to honor deceased family -wealthy or successful person -old man -detail in wrinkles of skin -very common in ancient Rome
Style: -very realistic--not idealistic -expressionism--showing the not as beautiful |
Contextual Analysis: Busts such as this one were very common in Rome as a way to honor the deceased members of a family. The bust was placed in the family house as a reminder of their person. The busts were extremely realistic and focused on the imperfections, such as wrinkles, on the face. Most busts were of the shoulders and head, however some such as this one were just of the head. A patrician is a well to do patron. |
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Formal Analysis: Augustus of Prima Porta, Imperial Roman, Early first century CE, marble, #43
Content: -propaganda -ceasaer -all powerful
Style: -idealized figure (step back to idealism) |
Contextual Analysis: The statues of Roman caesars were made with the intention of propaganda. The statues would spread the political and military ideas of a specific caesar to the commoners in hopes of gaining their interest and support. These statues communicate power through the position of the model. They also take a step backwards to idealism, making the caesars look like the perfect human being to increase propaganda results. This statue was created when Republican Rome was shifting and going against the introduction of Imperial Rome. In Republican Rome there was more power in the senate. |
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Formal Analysis: Colosseum (Flavian Amphitheater), Rome, Italy / Imperial Roman, 70-80 CE, concrete and stone, #44
Content: -arches -introduction of concrete -combination of concrete and stone -fascade is a series of arches -wooden platform over the center arena--now decayed
Style: -all three orders of architecture--doric, iconic, corinthian -each layer reveals a different order of architecture -inside are lower tunnels that were originally under the stage/platform |
Contextual Analysis: Historians attribute the creation of the arch to the Romans, they are very characteristic of Roman buildings, such as the Colosseum. To create the arch each stone was carefully and precisely cut for each position. Each individually cut stone is called a voussoir. To build the arch, base stones, called springers were places at the bottom of the curve and the stone at the top of the arch is called the keystone. Once Romans developed the arch, the quickly transformed it into a sort of tunnel by lining up multiple arches to create a closed in space called a barrel vault. The Colosseum was constructed under Flavian as a way of propaganda. The Colosseum's purpose was to entertain the general public and appease them, thus in return favoring Flavian. This shows Flavian's utilitarian intention of maximizing the use of the Colosseum to all citizens. The Colosseum is unique in the way that is combines all three orders of architecture. The first layer of arches is doric, the second layer is iconic, and the third layer is corinthian, this creates an optical illusion of lightness. The circle design of the Colosseum was intended to alleviate traffic flow of mass crowds. Since the Roman empire stretched to much of Africa, they would bring back exotic animals and native Africans to show off to the other Romans and put into the Colosseum to battle for entertainment. |
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Formal Analysis: Forum of Trajan Reconstruction drawing, Basilica Ulpia (reconstruction drawing), Trajan Markets, Column of Trajan, Rome, Italy / Apollodorus of Damascus, forum and market: 106-112 CE, column completed: 113 CE, concrete and marble, #45
Content: -main entrance is a huge Triumphal arch--signify the gateway into something monumental -large courtyard, surrounded by colunades (still Greek influence) -in the middle of courtyard is an equestrian statue of the emperor -basilica is the centeral meeting area for politics--covered, governing hub -temple at the back of the forum--religion and politics -trajans column--main column in the middle--honors Trajan's defeats, whole thing is carved telling his story -library
Style: -new layout--eventually becomes the ideal Christian church layout -Greek structural influences such as columns |
Contextual Analysis: Trajan was another emperor who built this for both himself and the public. The layout is completely different than earlier historical structures, but later becomes very popular for Christian churches. The large courtyard was a significant part of this structure because it allowed for a central place for all people to meet and congregate. The basilica is another huge aspect, it gives Roman society a central meeting place for politics and houses the governing hub of the town. In ancient Rome, markets surrounded this forum because it was the central hub of society. |
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Formal Analysis: Pantheon, Imperial Roman, 118-125 CE, concrete, #46
Content: -traditional Roman temple on the front -innovative Roman structure on the back -coiffers--inovation -temple for all the gods -oculus--innovation -dome is the cap, sits on the drum
Style: -traditional Roman structure (with Greek influences) in the front and a completely new structure attached on the back -dome
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Contextual Analysis: Hadrian was the emperor that the Pantheon was built under, after Hadrian Rome got to large to govern and the decline of the Roman empire started. The Pantheon is one of the most influential designs in architecture, the engineering is extremely precise and it is one of the first major domes seen in history. The Pantheon also shows the full potential of concrete and how it can be used to create elaborate structures while withstanding time. The portico is again the traditional element of the structure that is borrowed from the Greeks. Inside the Pantheon there are coiffers, which are the squares on the ceiling, they not only serve decorative purpose but they also made the concrete ceiling lighter, thus why it is able to stay as a dome. The circle in the middle of the dome, called the oculus also eliminated much of the weight on the top of the dome, as well as allowed for light to fill the space. |
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Formal Analysis: Ludovisi Battle Sarcophagus, Late Imperial Rome, c. 250, marble, #47 |
Contextual Analysis: |
