Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
59 Cards in this Set
- Front
- Back
#12 White Temple and its Ziggurat -Uruk (modern Warka), Iran - Sumerian - 3,500 - 3,000 BCE
Content: - only the ziggurat (platform) still remains - temple once on top of platform - dense structure - passageways in ziggurat - not many room or windows
Style: - designed to elevate temple from the rest of the city - constructed from mud brick, mortar, sealed with tar - temple might have been white washed with mineral paint - diagonal stairways
|
Context: This temple is design and built with the mindset of religious meaning. The ziggurat raises the temple high above the rest of the city, putting it closer to the Gods. The Sumerians believed in the God's complete power over their lives, a concept that lived on into later religions. The Sumerian society was the first to believe that the gods resided in a space above the human world, and they used their building's height as a symbol of proximity to the gods. The temple at the top of the ziggurat was thought to be similar to others discovered in other ancient near eastern cities. The temple was a size that housed a select number of religious priests and attendants. It consisted of a small room called the cella and a divinity room behind the cella. Similar layouts were used in later temples. The Sumerian temples were considered halfway points for the gods to descend to and from earth (halfway between earth and the gods). Because of this, the temples held statues of the gods and food sacrifices. |
|
#13 Palette of King Narmer - Predynastic Egypt - 3,000-2,920 BCE
Content: - stone palette - commemorate king Narmer - united upper and lower Egypt to make one nation - depicted as a warrior walking over his dead enemies - gods included - gods depicted as eagles, and bulls - also includes two mythological creatures that are a combination of multiple animals
Style: - subtractive carving technique - low relief - section of the palette is higher relief in order to hold makeup - one of the first to use twisted perspective and horizontal registers
|
Context: This piece serves as a narrative that commemorates the unification of Egypt. Through symbolism the palette depicts the two halves of Egypt coming together under Narmer. On the front of the palette, Narmer is shown wearing the crown of upper Egypt. On the back, he is shown wearing the crown of lower Egypt. The Gods are included in the piece with the king in order to portray the ancient Egyptian belief that pharaohs were gods on earth and everything the kings did was backed by divine purpose. This supported the unification of Egypt under Narmer, saying that it was what the gods wanted. Narmer himself is depicted as a large and fierce warrior, walking over the dead bodies of his enemies. In this case art is used to portray his importance and power. |
|
#14 Statues of votive figures, from the Square Temple at Eshnunna - Modern Tell Asmar, Iraq - Sumerian - 2,700 BCE
Content: - human statuettes - multitudes found in Sumerian temples - inlayed shell and black limestone - figures shown in prayer - some of the statues are of children - some are larger than others
Style: - the eyes are extremely large and stylized - made of carved gypsum - extremely stylized - individual faces and not a generalization of all human characteristics - carved using subtractive technique - no detailing on the backs (meant to be seen from the front)
|
Context: These small figurines were either commissioned or purchased by Sumerian citizens in order to look better in the eyes of the gods. The statues were made to look like the person and then placed in the cella of the temples. The figures would be seen by the gods descending to the temple. The figures were crafted for this purpose. They were given abnormally large eyes and their hands were placed in a prayer position, representing the patron's constant observance and worship of the gods. The sizes of the statues reflects the hierarchal scale in Sumerian society. Patrons of greater wealth and importance could receive larger and more expensive stones to symbolize their importance. This was a step towards recognizing individual features in art. |
|
#15 Seated Scribe - Saqqara, Egypt - Old Kingdom, Fourth Dynasty - 2,620- 2,500 BCE
Content: - carved stone statue - Egyptian scribe - in a seated position - writing on a scroll - sitting on a stone platform
Style: - painted sculpture makes it more realistic - the statue isn't a generalization, but includes the individuals features and physical details like the flabs of his stomach |
Context: This statue was made as a funerary piece to represent a deceased scribe and hold his spirit, or "ka". At this time, scribes were considerably high in status but not as high as royalty. Because of this, the scribe is depicted in a seated position and the sculpture uses naturalism and realism instead of idealism. The pharaohs and other royalty were portrayed as the perfect image of people, with no flaws and a beautiful human physique. The scribe is shown with less-than-perfect facial features as well as a sagging chest and chubby stomach, representing his comfortable life, but also his hierarchal status below that of royalty. |
|
#16 Standard of Ur from the Royal Tombs at Ur - Modern Tell el-Muqayyar, Iraq - Sumerian - 2,600-2,400 BCE
Content: - wooden box inlayed with lapis-lazuli - mosaic covering the box - depicts scenes of royalty, war, and peace in the Sumerian culture - depicts Sumerian celebratory occasions
Style: - mosaic made from lapis-lazuli and shell - figures are stylized and in twisted perspective - introduction of strong horizontal registers - registers organize the piece - one side of the box depicts Ur at Peace - other side depicts Ur at War - uses subtractive technique
|
Context: The city of Ur was a major center of Sumerian culture, economy, wealth, power, and civilization. Ur prospered and in many ways, dominated the near east. Because of this, Sumerians were able to trade with places like India and Afghanistan, gaining access to the rare stone lapis-lazuli, which continues to be a valued stone in Sumerian culture. The stone was used as a symbol of importance, as well as a decorative stone, thus giving the Standard of Ur a status as an important part of Sumerian art. There are two panels of the box: the Panel of War and the Panel of Peace. They symbolize the two different states of Sumerian culture, one a civilization at war, and one at peace. They both utilize horizontal registers to organize and separate the different parts of the events depicted. The top register on both sides depicts the highest level of importance because of the presence of the king. The king is always depicted larger than other figures, portraying the importance of the king. On the middle section of the Panel of War, there are Sumerian soldiers dressed in garb and helmets herding naked prisoners of war. The prisoners were depicted nude in order to symbolize the Mesopotamian idea that nudity is related to death and also to portray the humility faced by the enemies of Ur. On the bottom register, the chariots and the animals pulling them start standing and end running. This was done to create movement through the piece. This movement and outline is similar to the way which Sumerian written language, "cuneiform", was laid out. This piece serves as a transition from story telling through images to story telling through written language. |
|
Ziggurat of Ur - Dhi Qar Province, Iraq - Sumerian - 2,100 BCE
Content: - stone ziggurat - used to have a temple on top - stone-cut squares - diagonal staircases leading up the ziggurat to the temple - frontal staircase
Style: - ziggurat elevates the temple higher than the rest of the city - imitates a "holy mountain" - solid - few windows |
Context: This ziggurat had a similar purpose of raising the temple closer to the gods. This specific ziggurat and temple were part of an administrative center for the city and were meant to house the moon god Nanna (the patron god of Ur). The ziggurat was modeled after mountains where the gods were thought to visit, thus the prominent diagonal staircases leading to the temple. |
|
#17 Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx - Giza, Egypt - Old Kingdom - Fourth Dynasty - 2,550- 2,490 BCE
Content: - part of a large complex that includes the Great Pyramids, Great Sphinx, several cemeteries, a worker's village, and an industrial complex - made from pink sandstone - sculpted and constructed stone blocks - causeways
Style: - massive - the Great Pyramid of Khufu is the largest (450 ft tall, base of 13 acres) - spaced a couple hundred yards apart - accurately and astronomically oriented - base points lined up with the four compass points - a "necropolis", mortuary temple, roofed causeway, and valley temple found near the pyramid of Khafre
|
Context: The complex of the Great Pyramids and the Great Sphinx includes the introduction of new innovations like the causeway that are later essential in Egyptian architecture. The entire complex holds an immense amount of religious symbolism related to the sun god Ra. The pyramids are representative of the rays of the sun (triangular shapes), and the pyramids line up perfectly with the four points of the compass. The pyramids were built as tombs for pharaohs and were meant to give the kings a comfortable transition into and life in the afterlife.
|
|
#18 King Menkaura and Queen - Egypt - Old Kingdom- Fourth Dynasty - 2,490-2,472 BCE
Content: - funerary statue of Pharaoh and his queen - diorite (hard, dense stone) - made with block-like structure - polished
Style: - follows the cannon of proportions used in most Egyptian art at the time - figures are rigid and physically idealistic - iconic traits - traditional headdress and beard of the pharaohs - queen with "wet drapery" style of clothing
|
Context: This piece was made as funerary statuary. The amount of funerary art and architecture related to the afterlife represents ancient Egypt's fixation on death and the afterlife. The life of pharaoh's after death was especially important, and statues like this were meant to make their transition into the afterlife as comfortable as possible and their afterlife as lavish as their life on earth. In these statues, pharaohs were depicted using "the cannon of proportions". The cannon was a set of mathematical measurements used to create all royal sculptures. Artists who used this cannon were more respected, leading to little artistic expression in art, and the increased amount of idealism used in images of the pharaohs. |
|
#19 The Code of Hammurabi - Babylon, modern Iraq - Susian - 1,792-1,750
Content: - basalt - stone stele - carved with inscription and a carving of Hammurabi and a "fire-shoulder" god
Style: - writing is low-relief, lightly chiseled - scene with Hammurabi is subtractive technique with high relief - dense, polished stone |
Context: The code of Hammurabi is a stele that includes the 300 laws that king Hammurabi used to govern. Hammurabi was a powerful and successful king of Babylon. Under his rule, Babylon flourished over Mesopotamia, and used the laws written on the stele. The writing on the stele gives evidence that Hammurabi enforced the laws, and there were consequences for breaking them. This provides the first justice system ever recorded. The high relief carving of Hammurabi with a god relates back to the belief that him and his laws were backed by the gods. |
|
#20 Temple of Amun-Re and Hypostyle Hall at Karnak - near Luxor, Egypt - New Kingdom - 18th and 19th Dynasties
Content: - massive (7,270 acres) - pylon (stone wall surrounding the complex) - painted with reliefs - causeway (central pathway) - causeway divides complex into symmetrical sections - Hypostyle Hall - Obelisk
Style: - pylon is higher in the front of the complex near the gate - painted reliefs used for decoration - symmetry created by causeway was common in temples - Hypostyle Hall column covered in low relief carvings and hieroglyphs that were once painted with vibrant colors - columns sculpted so that they look straight when observed from the ground, though they are curved - columns hold pylons with windows to let in natural light - obelisks are free-standing at the back of the complex |
Context: Over time, different pharaohs added on to the original temple at this site. This resulted in a lack of the typical symmetry of the temples at the time, and in an introduction of multiple innovations. Claristory windows were first used in this temple and effected the rest of architectural history. They allowed for a huge increase in natural light, which became an important element in later innovations. The hypostyle hall is symbolic of the Ancient Egyptian focus of honoring the gods with their art and architecture as well as their symbolism used through hieroglyphs and other decorations on the columns.
|
|
#21 Mortuary temple of Hatshepsut - near Luxor, Egypt - New Kingdom - 18th Dynasty - 1,473 - 1,458 BCE
Content: - rock-cut tomb - mostly cut out of the surrounding limestone walls - some stone added on - remnants of a sacred lake, gardens, lines of palm trees, causeway - statues of Hatshepsut within colonnades
Style: - façade of colonnades, statues, and a causeway that divides the tomb into symmetrical halves - statues were painted - three levels - 97 ft tall |
Context: Before Hatshepsut, all pharaohs had been male. Hatshepsut broke this tradition and became the first female ruler, which came with some resistance. In order to reinforce her authority, she placed images of herself all over Egypt. Statues of herself were used as propaganda to display her power and image as a pharaoh. The temple itself used many traditional aspects of Egyptian architecture such as a sacred lake, bilateral causeway, and statues throughout the temple. |
|
Statue of Akhenaton from Karnak - Egypt - The Armana Period - 1,375 BCE
Content: - sculpture of pharaoh with crook, scepter, traditional headdress, and beard - 12-15 ft tall with no legs
Style: - style of the Armana period - deviates from the strict cannon of proportion - stylized, humanistic, naturalistic - elongated features - figure is more rounded - more feminine features (full lips) - humanistic |
Context: This statue of the pharaoh Akhenaton was created during the Armana period. The Armana period only existed during Akhenaton's rule and had a huge influence on Egyptian culture. During this time, Akhenaton decreed that Egypt would switch from a religion worshiping multiple gods to a monotheistic one that worshiped the sun god Aton. He also influenced a new style of art that featured much more elongated and curved figures. There is a theory that Akhenaton had a genetic disorder that made his physical features elongated, thus the change in depiction of people during the Armana period. |
|
Nefertiti - Egypt - Armana Period - 1,360 BCE
Content: - bust of King Akhenaton's wife - limestone - 19 inches - painted - queen's crown - makeup - ornamentation
Style: - Armana period - elongated, naturalistic, a little realism - attention to detail in the face - slightly stylized to be perfect - humanistic elements - paint is vibrant and gives a more realistic feeling
|
Context: This piece was also made during the Armana period. Nefertiti was Akhenaton's wife and the influences of his rule are clearly seen in the style of the bust. The queen's neck and face are elongated and elegant, the features are accurate and soft, and there is the use of vibrant, life-like paint.
|
|
#22 Akhenaton, Nefertiti, and three daughters - Egypt - New Kingdom - Armana - 18th Dynasty - 1,353 - 1,335 BCE
Content: - limestone - commemoration - Akhenaton and Nefertiti sitting with daughters under the sun god - wearing traditional garb
Style: - Armana Period style - figures elongated but still in twisted perspective - insized sunken relief with subtractive methods - figures are not idealized, naturalistic, and humanistic |
Context: This piece is also from the Armana period. It depicts Akhenaton and his family under the rays of the sun god that Akhenaton worshiped. In the piece, the sun god is represented through the sun and its rays of light. The abnormal shapes and features of the five figures are contributed to the distinct style of the Armana period that led to elongated and curved physicality. |
|
#23 Tutankhamun's tomb, innermost coffin - Egypt - New Kingdom - 18th Dynasty
Content: - most elaborate coffin of King Tut's - held the mummy - traditional pharaoh headdress, crook, and scepter - engraved wings and hieroglyphs
Style: - most decorative part of the coffins - covered in gold, carnelian, lapis-lazuli, and turquoise - detailed decorations and ornamentation |
Context: King Tutankhamun died at the age of 18 and was believed to have ruled Egypt for 10 years. It is also thought that Tut was the son of Akenaton. King Tutankhamun's tomb is so legendary because it had been untouched by tomb raiders when it was discovered. Before it was found, most tombs had been stripped of all artifacts, but King Tut's still contained all of the riches pharaohs were buried with as well as the King's mummy. The tomb was untouched because another pharaoh had built his own tomb in front of it, sealing it behind a limestone plaster wall. This was an example of iconoclasm at the time (destroying the image and memory of a previous ruler). The innermost coffin that contained the mummy of Tutankhamun demonstrates the incredible skill that Egyptians had in crafting gold and creating elaborate decoration and meaning. |
|
#24 Last judgement of Hu-Nefer, From his tomb (page from the Book of the Dead) - Egypt - New Kingdom - 19th Dynasty - 1,275 BCE
Content: - section of a painted papyrus scroll - about 70 ft long - pharaoh Hu-Nefer led by the god Anubis to the scales of judgement - other gods - Osiris, his sisters, and the monster Ammet - gods fulfilling tasks to send people to after-life
Style: - figures in twisted perspective - religious symbols and explanations - horizontal register - hieroglyphs - gods depicted with the heads of animals
|
Context: This piece is from a scroll that depicts what Ancient Egyptians believed happened after death. The god Anubis is leading the deceased persons soul. Anubis was the god of embalming, an important ritual and first step to preserving the body and soul of the dead. The scales of judgment were used to weigh a man's heart and the feather of Mot, the goddess of truth. If the heart weighed less than the feather, then the person could pass into the afterlife. Those will heavy hearts would be eaten by the monster Attin whose name literally means "devourer of the sinful". The god Osiris is at the end of the process with his sisters Isis and Netersis. Osiris is the only god depicted with the head of a human. The story of the last judgment and the scales was used as a warning against a sinful life and represents the Ancient Egyptians value of the afterlife. |
|
Temple of Ramses II, Abu Simbel - Abu Simbel, Egypt - New Kingdom - 1,225 BCE
Content: - rock-cut temple - four seated statues of Ramses II - massive columns on the inside are also statues of Ramses II (32 ft tall) - paintings on the walls and the ceiling
Style: - the temple gets smaller as it goes back - completely carved with the surrounding rock - the columns in the form of Ramses II interchange with the form of Osiris - return to the traditional styles and technical ability in Egypt
|
Context: This temple was made to honor Ramses and his long rule as pharaoh. As the temple goes deeper, the large statues of Ramses begin changing into statues of Osiris. The connection symbolizes the close relation between gods and pharaohs as well as Osiris' prevalent role in the afterlife. The tomb becomes increasingly selective as far as who could enter that farther it recedes into the rock. At one point the flooding of the Nile threatened to reach the tomb so the entire complex was deconstructed and moved 700 feet farther from the bank of the river. |
|
#25 Lamassu from the citadel of Sargon II, DurSharrukin Neo-Assyrian - Modern Khorsabad, Iraq - Neo-Assyrian - 720-705 BCE
Content: - mythological creatures with the body of a bull, face of a man, and wings - limestone carvings - over 13 ft tall - once secured to the gate of the city
Style: - conflicting view points and profiles give the creatures 5 legs - legs from front are shown not moving - from profile view the legs convey movement forward - traditional Assyrian style depiction of people |
Context: These statues were made by the Neo-Assyrians who had a focus on war and a prevalent military presence in the Mediterranean. These statues of mythological creatures were created to stand at the front gate of the city and display power, as well as intimidate intruders. They also served as a warning to the people of the city to obey the authority and laws. The mythical creatures served as protectors of the city in all cases. |
|
The Lion Gate - islands of the Mediterranean, Greece - Proto Greek/ Mycenaean - 1,400 BCE
Content: - post and lintel gate - early arch - sculptures of two lions without heads on either side of a column
Style: - "corralled" arch - away from the simple post and lintel construction - staggered stones to create a triangular space (early arch) - lions fit perfectly into space made by stones - "courses" horizontal rows of stone
|
Context: The Mycenaean culture was similar to the Neo-Assyrian in that they were both war-faring civilizations that used elevated citadels and gates for protection. Also similar to the Neo-Assyrian culture, the creatures (lions) used on the gate communicate power and strength. |
|
Tholos Tombs "Treasure of Atreus" - Proto Greek/ Mycenaean - 1,250 BCE
Content: - earth covered tombs - large domes underground - stone blocks
Style: - introduction of full domes in ancient Mediterranean - corralled arch - used corralled arch techniques to continue to build the arch and make a dome - included hammered gold designs that depicted battles |
Context: The tombs were either for military associated people or a warrior king's. The hammered gold battle representations also speak to the Mycenaean culture's focus on war. |
|
Lady of Auxerre Kore - Archaic Greek - 650 BCE
Content: - "kore" sculpture of a young woman - limestone - 2.5 ft. tall - might be a representation of a goddess - might be a common individual
Style: - rigid pose except for the movement of one arm - standing on a pedestal - stylized and geometric hair representing braids? - figure is extremely geometric - naturalistic elements - wet drapery style on upper body - introduction of the smile in sculpture |
Context: At this time, Greek art was beginning to incorporate naturalism and humanism. This is probably the reason for the kore's naturalistic form and small smile. The small, but noticeable smile becomes very characteristic of archaic greek sculptures. This addition to the sculptures creates a more human expression and overall feeling that contributes to the development of humanistic style. |
|
Temple of Artemis at Corfu - on an island of Greece - Archaic Greek - 600 BCE
Content: - only pediment still exists - cella with colonnade in front - decorated pediment - depicted Artemis, two lions, and other figures - sculpted from marble
Style: - Doric style - simple, large, functional, and non-decorated columns - larger drums than neckings - triglyphs, metopes - high relief sculpture in pedament |
Context: Temples at this time transitioned from mostly for funerary purposes to structures built to appease the gods of ancient Greece and to serve as transitional places for gods moving between heaven and earth. The temples focused on religious purposes rather than decorative and so conveyed the Doric order of architecture. The temple was also elevated off the ground with a stereobate in order to bring the temple closer to the gods. It was reserved for priests, priestesses, and royalty. Kings were allowed in because, although they were not gods on earth in Greece, they were the closest to them. Common people did not enter the temple |
|
|
#26 Athenian Agora - Athens, Greece - Archaic through Hellenistic Greek - 600 BCE -150 CE
Content: - public center for politics and economics - cultural hub of the city - large, open area - surrounded by buildings for business - public fountains and temples for the gods
Style: - area at the convergence of all three major roads of Athens - extremely large to host all the different purposes of the space
|
Context: The Athenian Agora became the cultural center of Athens and included several temples, markets, and other spectacles. Court was often held in the agora so people could watch the system of justice. In later times, the agora also hosted theaters and was used as a burial site. The complex was designed in part by Peilistratus, who had removed private houses from the area to create enough space for the agora. He also created a drainage system for the area and commissioned many of the temples and fountains. The agora was sacked and rebuilt many times throughout the years, lending to it's somewhat jumbled appearance as new walls and buildings took the places of ones that had been destroyed. |
|
#27 Anavysos Kouros - Archaic Greek - 530 BCE
Content: - sculpture of a young boy - greek war hero - marble - 6 ft 4in tall
Style: - pose similar to Egyptian sculpture - rigid upper body with one foot stepping forward - proportions of the body are naturalistic and almost realistic - attention to the curve of the body, face, torso, and features - stylized face and hair - archaic greek smile
|
Context: This statue was commissioned by the family Kroises, the young man sculpted as the Anavysos Kouros, who died nobly in a battle. The statue was placed over his grave with an inscription to remember and mourn him. The sculpture is an example of family patronage of art, funerary statuary for the common people, and the advances made towards naturalistic, individual characteristics. |
|
#28 Peplos Kore from the Acropolis - Archaic Greek - 530 BCE
Content: - sculpture of a goddess - clothing identifies her as a goddess - missing left hand - marble - 4ft high - traces of paint left
Style: - kore (sculpture of a girl) - naturalistic - soft features - attention to feminine figures - archaic greek smile |
Context: This sculpture is preserved so well (still containing traces of paint) because it was buried for 2,000 years after being knocked down at the Acropolis in a Persian raid. The kore was originally thought to be wearing a peplos (long, simple, belted, and woolen garment used by a majority of people at the time), until it was discovered she was wearing four pieces of clothing, one of which was only seen sported by sculptures of goddesses. It was then discovered that this sculpture is of a greek goddess but it still remains a mystery as to which one. |
|
#29 Sarcophagus of the Spouses - Italy - Etruscan - 520 BCE
Content: - funerary statuary - wealthy couple in Etruscan society - honor the couple - house the couples remains - couple laying together on a pedestal or couch - terra cotta - once painted
Style: - cast and fired in four different sections then put together to create the sarcophagus - naturalistic figures - almost like the twisted perspective from Egypt - subjects interacting and natural - polished terra cotta - ornamentation on feet of the sarcophagus
|
Context: The Etruscan culture served as a "stepping-stone" culture between the Greeks and the Romans. It connected the two great powers and expressed shared ideas from both of them. What the Etruscans did not share, however, were their funerary practices. While the Greek buried their dead and marked them with stella and the Egyptians used mummification, the Etruscans cremated them and placed the ashes in sarcophagi like this one before placing the sarcophagi in tombs. Inside the tombs, the remains and their encasements were protected. This practice, along with the ideas behind it, let the Etruscans honor and celebrate the lives of their deceased. Another way they preserved the memory of their loved ones was through painting the terra cotta to give more accurate representations to the sculptures. |
|
#30 Audience Hall (apadana) of Darius and Xerxes - Persepolis, Iran - Persian - 520- 465 BCE
Content: - part of a citadel that sits on a plateau - entrance gate to the citadel, ceremonial stairs, platform for the hall, and a few columns still remain - massive columns to hold up the hall roof
Style: -can hold 10,000 standing guests - platform led to by staircases - had mud-brick walls - paved floors of stone or brick - columns 64ft tall - bases, drums, and capitals - bases surrounded with palm leaves - capitals decorated with volutes - polished, painted, back-to-back animals and hybrid animals - griffins, bulls, lions, and human-headed bulls - ceiling had cedar beams for support
|
Context: The audience hall provides important information about Persian art, architecture, influences, and ceremony. It is seen in ruins because the complex was razed by Alexander the Great, possibly as revenge for the Persian sack of the Acropolis. The Persian Empire in the Achaemenid period spanned across the land and created the largest empire before Rome. The outer gateway for the complex was actually referred to as the "Gate of All Lands", referring to the harmonious way in which all the conquered lands of the Persian Empire lived. The inclusion of the column decoration was influenced by Assyrian, Egyptian, and Mesopotamic traditions and art. The man-headed bulls themselves are similar to the Neo-Assyrian lamassu in Iraq. The persepolis architecture of the hall included the strange beasts as decoration in order to convey the idea that the Persian king had enough power to captures those fierce animals and imprison them in his palace and have them serve him by holding the roof up. |
|
|
#31 Temple of Minerva and sculpture of Apollo - Veii, near Rome, Italy - Etruscan - Artist: master sculptor, Vulca - 510-500 BCE
Content: - Etruscan temple - goddess Minerva - reconstructed - statue of Apollo - three cellas (rooms) - raised floor - colonnade
Style: - greek influences (colonnade, etc.) - temple more square - different building materials - wooden colonnades - walls were sun-dried mud brick - tiled roof - columns weren't fluted and were spaced father apart - mainly Doric influences |
Context: This temple, although Etruscan, holds traces of the Roman ideals of propaganda through the building of public art and architecture. Not much is known about this temple and whether it was meant to convey such ideals because of the shattered state it was found in. The temple was reconstructed and the floor plans made from the notes of the Roman architect Vitruvius. The statuary of the temple was all terracotta (including the sculpture of Apollo) and was traditionally placed on the roof of the temple in the classic Etruscan fashion. |
|
#32 Tomb of the Triclinium - Tarquinia, Italy - Etruscan - 480 - 470 BCE
Content: - subterraneal - multi-chambered - family tomb - cut from a limestone called tufa - paintings depicting feasting couples
Style: - tombs arranged in complexes and along streets like cities - paintings inside with Etruscan characteristics - exaggerated expressions and gestures - large hands |
Context: This tomb, along with others like it, would be built together in a sort of "necropolis" of honorary sites. This tomb was that of a wealthy family and was a common practice for the people of the time. The painted banquet scenes depict happy couples with men painted darker than women to possibly establish gender roles or the differences between men and women in personality. The banqueters also encompass the famously Etruscan style of exaggerated gestures and big hands. All this was to create a joyful tone to the paintings and help them convey the Etruscan belief that death was a celebration of life. |
|
Kritios Boy - Classical Greek - 480 BCE
Content: - marble statue - young man - 2 ft 10in tall
Style: - first accurate artist representation - introduction of the S curve that eventually leads to controposto - realistic representation of how a human stands - S curve in figures back - more observance of the human shape - reminiscent of the Anavysos Kouros - Greek archaic smile |
Context: This piece is representational of the transition between Archaic Greek and Classical Greek statuary. The Kritios Boy stands freely, with shifted weight that represents the ways humans stand in real life instead of following the stance of the stone and using supports. This stance becomes essential in classical greek statuary. |
|
Temple of Hera II at Paestum - classical Greek - 460 BCE
Content: - marble temple - 2nd temple built for Hera
Style: - Doric style - raised on a stereobate - perastyle colonnade encircling the temple - symmetrical - expanded colonnade for a more spacious cella |
Context: This temple follows the Doric order, and thus represents the focus on basic purpose rather than on decoration. The strong columns and heavy pediment kept the formation of post and lintel construction. The more spacious cella and surrounding colonnade allowed the temple to be entered from any point and displayed the public accessibility that temples like this one held for the Greek citizens. |
|
#33 Niobides Krater - Classical Greek - Artist: Anonymous vase painter known as the "Niobid Painter" - 460- 450 BCE
Content: - ceramic piece - originally red clay with black glaze - figures with negative effect - patterns surrounding the ceramic - depicts the story of the massacre of a goddess' children
Style: - wheel thrown - red clay behind the black glaze (under-glaze) - glazed decoration of a schematic illustration - uses a landscape to tell the story - uses hills, ground, and background |
Context: The initials found on this vase identify it as one of the Niobid Painter's works. It is unclear, however, whether the initials pertained to a single artist, a group, or a collective studio. Still, the Niobid Painter's work was popular and there are many Classical Greek pieces that bear his initials. Vases like this one served no other purpose except to be on display to the public in areas like markets, temples, cemeteries, etc. This one is particular illustrates the myth of the goddess Niobid. Niobid was a goddess of beauty and had many children. She challenged the goddess Lido (mother of Artemis and Apollo) and Lido punished Niobid for the challenge by killing one of Niobid's children. The moral of the myth and the painted vase was: don't challenge the gods. The placement of vases like this and their morals in public places ensured that people would follow the morals and never challenge the gods. Ideas like this helped strengthen Greek religion and ideology. |
|
#34 Doryphoros (Spear Bearer) - "Man of Opposites" - Classical Greek - Artist: Polykleitos - Original: 450 - 440 BCE
Content: - embodies classical Greek style - naturalism - close to realism - contraposto posture - relaxed, twisted stance - arms and legs free from the body - additional support needed
|
Context: The sculptor of this piece, Polykleitos, created the Doryphoros to give evidence to a book Polykleitos had written entitled "Cannon". The book was all about the precise, mathematical measurements and proportions that could be used in sculpture to create the most realistic rendering of a human figure. This was similar to the "Cannon of Proportions" back in ancient Egypt but still held the Greek ideals of naturalism and humanism. The book of Polykleitos also explored the beauty that could be achieved when statues were carved using the harmonious, numerical ratios the "Cannon" described. When Polykleitos sculpted the Doryphotos, his ideas and book were accepted and utilized in Greece. |
|
Diskobolos (Discus Thrower) - Myron, Athens, Greece - Classical Greek - 450 BCE
Content: - sculpted representation of an athlete - Greek discus thrower - marble
Style: - dynamic and twisted figure - close to life-size - sculpted support for the statue |
Context: The twisting and unique movement and posture of this piece encompasses the Greek's hope to truly represent the capabilities and possibilities of the human body. Athletes, because of this humanistic belief, were held in high regard. The athlete captured in the Diskobolos lives up the humanistic expectations, with strong features and a stance that suggests strength. |
|
#35 Acropolis - Athens, Greece - Artists: Iktinos and Kallikrates - 447- 424 BCE
Content: - complex in Athens - built on a hill - Greek temples, amphitheater, statuary, fountains, etc.
Style: - built on the highest possible central point - surrounded by a "propyla" - a main gate - built using mathematical precision - Doric styles |
Context: As the cultural, economic, artistic, and technological height of the entire Greek civilization, the city of Athens sought ways of expressing and celebrating their dominance over the Mediterranean. The Acropolis was a way to accomplish all of the above while simultaneously creating public spaces and honoring the gods, especially the patron god of the city, Athena. The complex also spoke to Athenian pride. Works like the Parthenon, its pediment statuary, the Temple of Athena Nike, Victory adjusting her sandal, and the Plaque of the Ergastines were all made as a tribute to everything Athenian. |
|
#35 The Parthenon - Acropolis, Athens, Greece - 447-424 BCE
Content: - main temple of Athens - dedicated to Athena - at one point housed the Athena Parthenos - marble temple - large central cella - two rows of columns - decorated pediment
Style: - built using mathematical equation (x=2y+1) - length of one side of the temple is twice the other side plus 1 - same for the number of columns on each side - mainly Doric style - had multiple innovations like the roomy cella and double colonnade |
Context: According to mythology, Athena was chosen as the patron god of Athens when she won against the god Poseidon by creating the olive tree for the first king of Athens. The king chose her gift over Poseidon's salt-water spring and she became the symbol and patron goddess of the city of Athens. The Parthenon, along with many other temples, was built in her honor. The Parthenon once housed a massive statue of Athena called the Athena Parthenos which was supposedly decorated with ivory and gold. It was probably taken and/or destroyed in one of the many sack of Athens by the Persians and other empires. |
|
#35 Helios, horses, and Dionysus (Heracles?) - Artist: Phidias - Acropolis, Parthenon, Athens, Greece - 447-424 BCE
Content: - sections that decorate the east pediment of the Parthenon - depicts the chariot that brings the sun, gods, and regular people watching the birth of Athena
Style: - modeled in segments that fit together into the triangular pediment - high relief - high technical and artistic ability - classical grease |
Context: These sculptures were part of the full pediment and its other sculptures interpreting the birth of Athena. It starts with the god Helios riding in his chariot, followed by a reclining Dionysus (or Heracles), and some spectators to Athena's birth that was supposed to be placed to the right. Those sections, however, are missing. During the rise of Christendom across Europe and elsewhere, crusades and other christian movements torn down the "pagan" representations and sculptures left by the Greek culture, including the rest of the east pediment. The pediment itself was still an elaborate praise to Athena, and a solidification of her mythological birth story. |
|
#35 Temple of Athena Nike - Acropolis, Athens, Greece - Artist: Kallikrates - 447-424 BCE
Content: - temple to Athena and Nike in Athens - Nike (goddess of victory - very small - overlooking city of Athens - small cella - rows of columns in front and back
Style: - built in an Amphipro style - later seen in Roman temples - ionic capitals on columns - flat undecorated walls on north and south sides |
Context: The temple was built to commemorate an Athenian victory over the Persians. But to continue to show respect to the gods, the temple was dedicated to two goddesses that were attributed to the Persian defeat: Athena, goddess of wisdom and battle strategy and Nike, the goddess of victory. But despite the dedications to the goddesses, the temple was one of the first to celebrate human events rather than those of the gods. The need to recognize the event spoke to the Athenian pride that the citizens of the city had and the need they felt to commemorate their achievements right along side those of the gods. |
|
#35 Victory adjusting her sandal - Acropolis, Athens, Greece - 447-424 BCE
Content: - marble carving - section of a frieze - 3ft tall
Style: - carved in high reliec - elaborate - folds and movements of the clothing convey high technical ability - unique position (adjusting sandal) - classical greek |
Context: This portrayal of a goddess is particularly humanistic. Normally gods were depicted in strong, divine stances so this carving is unique in the fact that the goddess Victory is depicted in the act of something very normal that can be related to any Athenian or other greek citizen. |
|
#35 Plaque of the Ergastines - Acropolis, Athens, Greece - 447-424 BCE
Content: - section of the frieze that decorated the parthenon - group of people in a panaphanaic festival parade - yearly event on an Athenian holiday
Style: - advanced proportional techniques used to make viewable from the ground - proportional illusion with lower relief at the bottom and higher at the top - was vibrantly painted |
Context: The friezes of the parthenon were meant to convey stories and messages to the public of Athens. The effort that was put into the optical illusion in the Plaque of the Ergastines displayed the importance that all the decoration of the Parthenon could be viewed by anyone looking at it. The festival depicted in the frieze portrays the increasing amount of art depicting human events alongside those of the gods. |
|
#36 Grave stele of Hegeso - Artist: Kallimachos - 410 BCE
Content: - carved marble - woman and her slave - woman looking at jewlry box
Style: - low relief - seated woman is depicted larger than the slave - representing power - once painted - intimate scene between the two women - humanistic ideals of Greek culture - honors the woman |
Context: The Greeks buried their dead and marked the ground with carved stella like this one, similar to gravestones. Since this grave stella is for a woman, the scene on it is domestic. Women were expected to stay inside and fulfill roles in the home. This speaks to the gender roles of Greek civilization and the inferior place of women. But, the wealthy women still had people below them, like their slaves. This is why Hegeso is carved larger than her slave, in order to show the the hierarchal scale between master and slave. The two figures are also shown passing a family relic between them. The intimacy of the scene creates a humanistic element in the stella and is a look into the lives of an Athenian woman. |
|
#37 Winged Victory of Samothrace - Hellenistic Greek - 190 BCE
Content: - statue of the goddess victory - originally the top of a public fountain - statue on top of the prow of a Greek warship - celebratory fountain
Style: - exemplifies Hellenistic style - dramatic - elaborate portrayal of folds and movement of clothing - dynamic posture - conveys idea that the goddess is moving against the wind - marble statue - once painted - 8ft tall - rejection of the rational cannon used in Classical art - expresses emotion and drama rather focusing on perfection of the human form |
Context: With the Greek empire at its peak, conquest overseas and in neighboring lands was crucial to the expansion of Greek culture. The Winged Victory of Samothrace was sculpted to represent Greek military power and conquest abroad. The goddess victory was sculpted with wings and standing on the prow of a Greek warship, symbolic of the Greek's belief that their military conquests were led by divine power. |
|
#38 Great Altar of Zeus and Athena at Pergamon - Asia Minor (present day Turkey) - Hellenistic Greek - 175 BCE
Content: - built on a mountain in Turkey - marble - temple for Zeus and Athena
Style: - Hellenistic - much different from previous temples - multiple stairs leading to temple - two arms on either side of the temple jutting forward from the main cella - massive frieze - frieze along the bottom - high relief sculptures depicting battles (dramatic) - colonnades |
Context: This temple was built near the end of the Greek empire, explaining the differences from the classical Greek architecture. The unique frieze was also a new development in the temple's construction. It was too large and too low to be compared to the friezes on the Parthenon or other Greek structures. The figures sculpted on it are very Hellenistic and the size and location of the frieze may have been made for the intention of displaying the figures easier than in the placement of friezes in earlier temples. |
|
Venus de Milo - Hellenistic Greek - 150 BCE
Content: - marble sculpture - goddess Aphrodite - missing both arms - partially nude
Style: - humanistic elements - soft features - folds of the clothing |
Context: There was much controversy over this sculpture because a goddess had never been depicted in such a erotic pose. Goddess's and gods were always represented as being structured, put-together, and divine. In this statue, however, the goddess of Aphrodite was displayed in a very naturalistic and humanistic way. |
|
Old Market Woman - Hellenistic Greek - 100 BCE
Content: - marble sculpture - elderly woman
Style: - attention to detail and accuracy - Hellenistic drama - expression of emotion - depicting a non-perfect human - old woman instead of a god or a young athlete |
Context: This piece is very representative of the humanistic movement in Greece during the Hellenistic period that changed the subjects of sculpture from gods and beautiful athletes, to ordinary people. Since this woman is not divine, powerful, or youthful she would not normally be chosen for a sculpted piece. But the humanistic and hellenistic characteristics of her cloths, body, and expression create a new definition to beauty that speaks to the value of the human body itself, even in aging, rather than the traditional idealizations of beauty. |
|
Laocoon (and his sons) - Hellenistic Greek - 100 BCE
Content: - depiction the myth of Laocoon and his sons being killed by sea serpents sent by Poseidon (god of the sea) - intense facial expressions - Laocoon depicted on a much larger scale than his sons
Style: - Hellenistic drama and expression - figures connected by the serpents - introduced intertwining figures to create movement and unity - triangular/ pyramidal composition - lines lead to Laocoon's expression |
Context: The myth that inspired this piece came from around the time of the Trojan War. When the Trojan horse was delivered to Troy with Greek soldiers inside, Laocoon (a priest of Apollo) protested the acceptance of the horse and even stabbed a spear through the side, piercing a Greek solider. But despite this, the Trojans accepted the horse and the Greeks one. The god Poseidon punished Laocoon and his two sons by sending sea serpents to kill them because Poseidon had wanted the Greeks to win and Laocoon's advice to reject the horse might have cost the Greek's their victory. The statue is meant to depict the exact moment the serpents descended on Laocoon and his family. The distressed and fearful facial expressions and movements of Laocoon and his innocent sons are what most contribute to the drama and Hellenistic element of this piece. |
|
#39 House of Vettii - Pompeii, Italy - Imperial Roman - original: second century BCE - rebuilt: 62- 79 CE
Content: - Private house (dolmus) - complex with rented markets, atrium, impluvium (basin for collection water), and multiple cubicula (small bedrooms)
Style: - architectural advancements - atrium included opening in ceiling for natural light and source of water for entire house - floor plan organized for the areas of the house - markets and businesses separated from the living area - centered around the atrium - decorated with elaborate frescos - painting techniques used to make rooms seem bigger - one-point perspective with decorative borders - painted architectural elements like stone and columns |
Context: A house like this was meant for display rather than the needs of its inhabitants. It centered around the Atrium, a semi-public greeting space and the largest and most central part of the house. Important guests were received there, so it could be seen by everyone that was visiting the owner of the house. The inclusive markets and businesses were always an economical decision of the house owner. Shops would pay the owner of the house to put up their business and the owner would also patronize and support certain artisans and clients. House owners would also entertain and involve themselves in political debates in their atriums. The Ixion room in House of Vettii is the room with the most extensive frescos. The frescos were painted to reflect and even exaggerate the wealth and importance of the family. |
|
Temple of "Fortuna Virilius" - Republican Rome - 100 BCE
Content: - marble temple - early Roman - honoring a river god
Style: - influenced by Etruscan and Greek culture - marble instead of wood and clay - elevated off the ground - closed side walls - front entrance with stairs leading to the temple - six ionic columns - free standing columns near entrance - engaged columns on the sides (part of the walls) |
Context: The stylistic elements of this temple speak to the Romans' habits of using elements of other culture's architecture and art. This temple in particular took from Etruscan designs but modified them to fit Roman standards. It also uses elements of greek ionic architecture. Since the Temple was dedicated to a river god, it signified the Roman's continued dependance on their religious beliefs and the fact that they honored gods for what they had (a profitable river port). |
|
#40 Alexander Mosaic from the House of Faun, Pompeii - Pompeii, Italy - Republican Rome - 100 BCE
Content: - mosaic - Battle of Issus - between Alexander the Great and the king of Persia, Darius - decorated a wall in a dolmus (private house) in Pompeii - parts have fallen away - depicts Alexander riding in from the right and Darius fleeing to the left in a chariot - overlapping scenes from the battle with multiple figures - fighting soldiers, horses, and weapons (spears)
Style: - tiny tile of stone a glass (tessaria) - in-depth scene of a 2 dimensional surface - naturalistic depth - twisted perspective and proportions - movement leading the eye to Alexander - overlapping figures creates depth and chaos of the battle - eye contact between Darius and Alexander keeps the viewer focused on the focal point of the piece |
Context: This mosaic was used as a form of propaganda that was used in order to better publicize and worship the achievements of Rome's emperor, Alexander the Great, and also give credit to Rome's military power and conquest over its enemies. Alexander is depicted with perfect, attractive features and hair and is heroically riding on his own horse like any other man, unlike Darius who depends on his chariot. This scene is one from the Battle of Issus which was the first time Alexander directly fought on the battle field with Darius. The conflicts between the Persians and the Greeks had carried over to the Persians and the Romans, lending to the tensed eye contact that the two empirical leaders hold in the mosaic. Alexander is also spearing a man as he looks at Darius, creating a meaningful and fearless message to the enemies of Rome. Lastly, the movement of the piece from left to right suggests that Darius's forces are in a full fledged retreat, moving away from the attacks of Alexander the Great and his men. Although the mosaic is still of a battle, it suggests that victory is already in the hands of the Romans, contributing to the message that Rome and it's emperor were undeniably powerful. |
|
#41 Seated Boxer - Hellenistic Greek - 100 BCE
Content: - bronze statue - man sitting after a boxing match - Roman - boxer for the entertainment of Romans
Style: - Hellenistic - accurate portrayal of the human form - conveys emotion - shows knowledge of metal working and bronze - focus on detail - broken nose, swollen ears, torn gloves, blood, and expression - once smeared with real blood to add effect |
Context: This sculpture is another that represents the Hellenistic movement away from the idealistic standards of beauty. The subject, in this case, is someone who doesn't compare with the traditional ideals of beauty. As a boxer, he has a wounded and slightly disfigured face. In Greece, boxing was known as "Pyx", a form of the fighting style where victory was achieved through submission or a knockout. The matches were mainly fought with punches and with no other clothing except for the gloves, explaining the injuries displayed on this sculpture, as well as the use of real blood to gain the appropriate effect. It also explains the boxer's worried expression as his life's work was neither easy nor kind. Still, the fact that a lowly, beaten entertainer was selected to be the subject of this sculpture speaks to the Greek's want to celebrate the life of the common man. |
|
#42 Head of a Roman Patrician - Republican Roman - 75-50 BCE
Content: - marble bust - elderly, and wealthy patron of the arts - bust made to honor him after his death
Style: - incredible realism - wrinkles and flabs of the face - no use of idealism - patrician is depicted as he was - depicted accurately instead of made to look better - eyes might have been painted |
Context: Deceased family members or wealthy members of society were always honored in Roman culture with a bust of their likeness that was placed in a room and sometimes held up and paraded about in ceremonial processions. The ideas of blood lines and family ancestry were very important in Rome, which might have led to the unyielding accuracy that Roman funerary busts required. If the busts were made accurately, families could look and see the exact look of their ancestors, even after generations had passed and no one could remember the actual person who had died. Still, the carving techniques of the busts depended on the assimilation of Greek ideas, including the close attention to naturalism and expression to create realism. |
|
#43 Augustus of Prima Porta - Imperial Roman Early first century CE
Content: - statue of one of the Caesars - Imperial Rome - Augustus - man in elaborate and expensive clothing - cupid/cherub at man's feet
Style: - idealism - depicting Augustus with perfect features and form - ceremonial clothing - convey position of power - powerful stance and posture |
Context: This sculpture was also a form of Roman Propaganda, mostly to support the ruling family of the Caesars. Statues of rulers like this once would be made in abundance and placed around the ruler's territory to elevate their status and popularity among their people. The iconic and idealistic features of Augustus, the powerful placement of his stance, and fine clothes helped in the propaganda effect of this sculpture. The little cupid represented the divine purposes which backed Augustus's and the entire Caesar family's actions in ruling. |
|
#44 Colosseum (Flavian Amphitheater) - Rome, Italy - Imperial Roman - 70-80 CE
Content: - concrete and stone - contains walkways, passages, seating stands, a giant platform, and below level dungeons and tunnels - massive - held Roman citizens who gathered to watch fights for entertainment
Style: - three tiers - three orders of architecture - 1st level has Doric elements - 2nd level is Ionic - 3rd level is Corinthian - façade includes columns and distinctly Roman arches - arches include engaged columns and entablature - used to have statues of the gods in each arch on 2nd and 3rd levels - flags lining the top of the structure - based on post and lintel construction - arches extended to create tunnels as entrances and exits - arches create illusion of light and space - was once a cloth and a wooden roof that could be put up - platform over the dungeons and cages - built round to be accessible from every point |
Context: Roman emperors often built some architectural wonder to honor their reign and keep them remembered after it ended. For emperor Flavian, it was the Colosseum. With it's grand appearance and purpose for providing entertainment to the Roman people, the Colosseum served both propaganda and utilitarianism purposes for Flavian. The Colosseum pleased the public of Imperial Rome and in doing so, promoted Flavian. The building also represented Roman assimilation of Greek culture because of the way it was constructed using Greek orders of architecture. The events that took place in the Colosseum further testified to the greatness of Rome through the importation and display of people and animals from faraway lands like Africa, that the Romans had conquered. |
|
#45 Forum of Trajan Reconstruction drawing - Rome, Italy - Apollodorus of Damascus - 106-112 CE
Content: - complex constructed as a commemoration of Emperor Trajan - commissioned by Trajan - center area, main gate, statues, markets, a basilica, and a massive column depicting the life of Trajan
Style: - new style of layout - format followed by many late Christian churches - Roman arch for the gateway - open area surrounded by a colonnade - equestrian statue with Trajan in the center of the area - basilica behind open area - temple of Trajan with markets and libraries behind basilica - column of Trajan at the back of the complex
|
Context: Like what Flavian did with the Colosseum, The Forum of Trajan was Trajan's attempt to permanently establish himself in history as the greatest emperor of Rome. The entrance arch of Trajan's forum symbolized the entrance into something monumental. The equestrian statue was a mark of power since being depicted on a horse conveyed military power and authority. The rest of the complex spoke to different propaganda techniques that the Forum of Trajan employed and how they reflected positively on his rule. |
|
#45 Basilica Ulpia (reconstruction drawing) - Forum of Trajan - 106 - 112 CE
Content: - can only really be seen through reconstructions - elaborate part of the Forum of Trajan - reserved space for hosting politics
Style: - covered area surrounded by a colonnade - elaborate decorations - Basilica (large open space) later used in many Christian churches |
Context: This part of the forum mostly served a utilitarianism purpose for Trajan and the public. It was a place for politics and since Trajan had gifted the public a place for their political debates and appeals to the emperor, they were inclined to respect Trajan and his accomplishments. Trajan built this section in the form of a basilica, drawing from classical greek architecture as well as contributing to Trajan's image as a respected and powerful emperor. |
|
#45 Trajan Markets - Forum of Trajan - 106 - 112 CE
Content: - spaces that weren't large and open were filled with markets and libraries
Style: - small spaces dedicated to markets etc. - less open, large and decorated - less impressive |
Context: Unlike the basilica, which was off-limits to the majority of the public, the markets of Trajan were focused on the involvement of the public. This gave the public the opportunity to be involved in the propaganda and appeal of the forum. The libraries too, also represented the Roman's advances in teaching and knowledge that was available to almost anyone. |
|
#45 Column of Trajan - Forum of Trajan - 106 - 113 CE
Content: - carved column - at the back of the complex - inscriptions of Trajan's life story - commemorates his life and death
Style: - low relief carvings - massive column |
Context: Just like it is Roman tradition for emperors to leave an architectural monument to themselves, it was also common for them to have a column that told their life story and how they died. It was yet another way that they solidified the memory of their rule, power, and authority in a form of art and propaganda. |
|
#46 Pantheon - Imperial Roman - 118 - 125 CE
Content: - temple dedicated to all gods - front of a traditional Greek temple - back with a massive roman dome
Style: - uses two separate styles - front uses Greek influences - colonnade and a pediment - back uses Roman techniques and innovations (dome) - stone and concrete - represents the "full potential of concrete" - combines Greek and Roman architecture - base of the dome (the drum) is both a greek and roman concept - inside of the dome is elaborately designed and impressive - coffered squares eliminate weight of the ceiling allowing more height - an oculus (opening) at top of the dome provides natural light and eliminates pressure of the point of the dome - interior decorated with stone veneer (stones put up against the concrete walls) |
Context: This temple was built by emperor Hadrian as his contribution to Roman society and to preserve his image as ruler of Rome. The Pantheon also represents the assimilation of Greek ideas and the addition of new Roman ones. The front half of the temple keeps with Greek themes while the back is new, innovative Roman techniques. The coffered ceiling and decorated interior also speaks to the Roman's supreme engineering and design. The Pantheon also introduces the use of concrete in architecture, which later becomes an essential material. |
|
#47 Ludovisi Battle Sarcophagus - Late Imperial Roman - 250 CE
Content: - sarcophagus - depicting a battle - intricate, writhing images - part of a series of sarcophagi - marble - central figure depicts the diseased in a serene manor
Style: - high relief - some figures completely separate from the background - overlapping figures give no area to display a background -only slight differences in scale between higher ranking figures and lower |
Context: This sarcophagus depicts a roman battle towards the end of the empire. Like many portrayals of battle, the opposing side to the romans are shown as barbarians that are obviously loosing to the military might of Rome. Though this is similar to many Roman depictions, this piece portrays a slightly different theme. Instead of focusing on the power of Roman military, this piece focuses on the general and his men overcoming death. The central figure is shown calmly separate from the battle raising his hand in a farewell gesture, symbolizing his power and encounter with death.
|
