This art work illustrates Roman tradition that honor and self-sacrifice prevailed. You can see the figures wearing
This art work illustrates Roman tradition that honor and self-sacrifice prevailed. You can see the figures wearing
My vase is made in approximately 520-510 BC, a crucial transitional period in Greek art when black-figure technique reaches its pinnacle and begins to be replaced by the red-figure technique. The overall high quality of black-figure painting of the period is visible in my vase through the vividly depicted figures and details such as the folds in clothes and the additional use of white and red colors for female skin and decorations. Specifically, my vase exemplifies the styles of the Antimenes Painter and that of the Leogros group, both are active in the last two decades of the sixth century. The Antimenes painter is the most prolific Attic artist who specializes in painting hydriae and neck amphorae at his time. His vases are identified by stylistic traits such as the primary picture on the front of the body, a subordinate one on the shoulder, the linear pattern at the bottom of the neck, the ivy pattern framing the body and the ray pattern at the predella. The artist has a special fondness for chariot processions and Herakles as subjects. One of his other hydriae closely resembles my object in terms of subject matter and…
Chapter 5 Greek Art (1) Name:___________________________ Matching a. main chamber of a temple holding a cult statue b. fifth century Athenian statesman c. half man half horse d. god of wine e. grooved member of Doric Frieze alternating with metopes f. black figure vase painter g. triangular space formed by roof and cornice h. warrior goddess, protectress of Athens i. slight convex curve of a column j. lowest division of the entablature of a temple k. architects of the Parthenon l. entrance gateway m. sculptor of the Discobolos n. female figure used as column o. storage jar with and egg shaped body p. sculptor of Hermes and Dionysus q. ornament from Ionic capital resembling a rolled scroll r. painting method using melted wax 1. ______ triglyph 2. ______ Polykleitos 3.…
Walking through LACMA there was a section that caught my eye and found it to be of interest to me. That section was the Greek, Roman, and Etruscan Art which was located on the Ahmanson Building, Level 3. There were various unique pieces such as vases, jewelry and sculptures. I chose the sculpture of Hope Athena to do my visual analysis because I found it to be beautiful. Athena was a Greek goddess of wisdom and war. The sculpture at LACMA is a Roman, 2nd century copy after a Greek original of the late 5th century BC School of Pheidias. The sculpture was made out of marble with neutral colors. In parts the color was dull with hues of ivory and golden brown. The shape of the body was rectangular with broad shoulders. The sculpture had her arms missing. Her head was round with hair coming down in vertical waves. She was wearing a warrior helmet from my view point I could not tell what the helmet had on it. The helmet gave her a powerful look. Her facial expression seemed reflective with facial features being symmetrical and smooth. The eye sockets were hollow and dark. Her nose was chipped and her upper and lower lips were thin. One of the focal points for me was how her robe or drapery had such detail throughout the sculpture. It wrapped around her body with great detail with vertical creases and folds giving the sculpture a realistic look. The vertical lines toward the bottom of robe had great detail and were distributed equally and her feet and toes…
This sculpture is at the Vatican museum in Rome, Italy. It is also known as Laocoon Group. It is of Laocoon and his sons being attacked by…
The structure is detail oriented, deeply ornamented, where the arch Titus's portrait appears at the center of the relief. At both ends of the ornaments there is a passage of two panels reliefs. The first passage commemorates the victory celebrated by Titus and his father Vespasian; describing the scene of conquest. On the carved image, Titus is attended by Roman servants who carry axes. A helmeted soldier leads the army which carries Titus and his father side to side.…
The artwork I chose for the Greeks is called the Hydria. This vase contains the artwork of Hercules and Athena. The vase art relates with Athena coming from Mount Olympus to bring Hercules to live among the other gods. In the myth it is hard to show who is who, because the Greeks see their gods as walking among humans. In the vase we can tell Athena by her armor, because she is the warrior goddess. We can see Hercules by the messenger god Hermes. We see the chariot and helpers, helping harness the horses for Athena and Hercules to ride to Mount Hercules. The vase reflects the story of how the Greeks view the gods and the heroes.…
The change in artistic style from the Archaic to the Classical seems to have coincided with the Greek repulse of the Persians after their sack of the Athenian Acropolis in 480 BCE. The Early Classical style (ca. 480-450 BCE)…
In 1794 Jacques-Louis David barely escapes death, due to his connections in the revolutionary war. He stood trial and went to prison. After his release he worked hard to reconstitute his career. The highlight of his career is when Napoleon asked Jacques-Louis David to work for him. Of course David accepted. Napoleon knew that David was a very accomplished artist, whom style was Neoclassical-Idealist painter. Napoleon favored painting of the classical times and of the Roman renaissance masters (Kleiner 2006). In reading, we will compare paintings by David, The Oath of Horatti and the Coronation of Napoleon. He also conquered enlightenment, so each subject matter to be of a moral, noble standing and conflict.…
symbolized the gods at the top, the soldiers underneath and the slain at the bottom (Benton & DiYanni , p.11) Although the sculpture may be true to an event, the representation of the human figure has no facial identity and it portrays almost everyone looking alike, therefore representing humanism as the art form. In comparison, to the Victory Stele of Narim-Sin this stone carved slab is much like the the Palette of the Egyptian pharaoh Narmer slate due to again an war event that may have happened symbolizing an event of…
The piece of art I will look at of the Neoclassical style is The Death of Socrates as painted by Jacques-Louis David. It signifies the aftermath of the trial of the philosopher of ancient Athens Socrates. The trial of Socrates represented the harsh crack-down of the political changes that were taking place at the time; the philosophes were being attacked for their liberal ideals as being the cause of the decline in Athenian Imperial power. This event parallels closely with what was taking place at the time in France. The French masses were going through political changes at the time of the painting, in 1787. The King was still in power, but he was seeking help in trying to handle the debt of his nation. He called for advice by calling up the Three Estates, The Estates…
On my mission to find a painting that either caught my eye or would stop me dead in my tracks, I discovered “The Anger of Achilles.” This oil painting seemed to call me hither to take a closer look. As I walked closer, the painting became more clear and vivid. It was as if Jacques-Louis David was oil painting in high definition. This is a stunningly clear oil painting. So clear, it resembles a modern day photograph.…
In this article, Ruth Glynn sets out to explore the mysterious and oft misunderstood iconography of a select group of images. Specifically those depicting the hero Herakles as he grapples with the sea god Nereus who was later replaced with images of Triton. Her goal, is to explain why this change took place as well as the significance. This she does though a study of the iconographical significance of the figures and their attributes. She then moves on the a detailed study of Attic era vases, marking out three different groups based on the imagery.…
Figural reliefs decorated the inner and outer walls, depicting different mythological creatures or gods in tranquil settings, which contribute to the overall theme of peace in Augustus’ empire. The organized structure of the reliefs represent a controlled empire ruled by Augustus. In particular, the relief on the south frieze of the altar proves the specific propagandistic-type of art in the Augustan era. Standing 5’3’’ high, this relief depicts the imperial family and dignitaries, most likely inspired by the Panathenaic Festival Procession frieze from the Classical Period of Greece. However, the roman relief illustrates a specific event, “the inaugural ceremony of 13BCE when work on the altar began” (Klein, 200). The procession is made up of identifiable figures in the imperial family and members of the Senate along with children at their feet. In line with Augustan portraiture, the people’s faces are idealized and free of flaw, portraying these influential people as godlike. The children’s dispositions, however, deviates from the usual…
Figure 1 A depiction of a Mithraic bull sacrifice. Similar scenes were placed in temples to Mithras.…
Funerary krater: In year 1050 there is evidence of the development of a specific Greek style. This specific style is found first on the vases/ceramic wares. The decoration on the surface is a narrative of a funeral procession. The figures are very simplified; depicted into very simple geometric shapes; torso and hips are triangular. We see a body lying in state (prothesis) which means this vase could have been used as a grave marker. I do want you to notice that there is more of an attempt to display real human emotions. The mourners’ arms are raised over their head as if in distress. It is no surprise that the Greeks would acknowledge real emotional grief in this painting. They were a civilization that was self aware. Their deities were not only human looking but also had very human characteristics. In fact the only difference between the gods and humans was that the…