By comparing the two sculptures of Khafre, image 3-11 ca. 2520-2494 BCE (1), with the statue of Doryphoros (Spear Bearer), image 5-40 ca. 450-440 BCE (2) you get a true sense of the evolution of art, from Pharaonic Egypt to Classical Athenian Greece two millennia later. This was not just a revolution in art but also philosophy, which transported itself into not only the types sculptures created but also the style used by their creators.…
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.…
The sculptures are castings of original works that are found in European museums in bullet proof glass. The Greek sculptures are all organized in one section and are from different time periods such as the Hellenistic, Cypriot, Archaic and classical…
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…
1 Examine the funerary sculpture from Upper Egypt, 2200-2000 B.C.E., on page 54 of your textbook…
Making out of terra-cotta, the most common forms of pottery made in the ancient Greece, the vase is painted using “the red-figure style” . It was made in a specific shape for particular use such as pouring librations (lekythos). I like how this vase shows only a few figures, maintaining the right balance between the vase and the picture. The graphic decorations provide insights into the ancient Greek…
Successful sculptural forms are created through careful attention to common artistic elements and techniques. In order to discover an artist’s intentions while looking at a sculptural piece, it is vital to note the artist’s visual cues. Such visual cues may include form, shape, texture, material, lighting, space, and dynamism. In addition, classical sculpture is commonly comprised of well-balanced idealized forms, with a sense of naturalistic beauty and elegance in mind. Great sculpture also must convey a strong sense of gracefulness and stability. The Lansdowne Bust of Athena of Velletri very successfully exhibits artistic qualities and sculptural…
This statue differs from others in the past, more natural and life like a rounder thicker realistic version very surreal. Although later in this period you will see this style get more precise this is an outstanding example of the Classical period. Standing tall with head straight a relaxed confidant athlete, arms hanging to his sides with one leg bent as if he is turned around waiting with ease on others that have fallen behind him. Standing 3 foot 10 inches tall smaller than the typical life size statues normally found, the size does not take away it is not missing a single detail from any angle seen. This is a remarkable example of Classical Greek art that we should consider extremely lucky that we are able to few and study it as it was (though missing a few bites and pieces) when it was created so long…
The sculpture was assembled to be perceived taller than it really was and stood on top of an approximately 4x4 foot concrete cube that helped signify the importance of the statue. The statue itself was exactly 46-1/8 inches tall, which offered the idea that it was indeed a young boy rather than a man. The color bronze is considerably consistent throughout on the statue. I will add that his eyes are paneled silver, while the lips are copper. I found the color in his face to suggest more humanistic qualities than not. Because the sculptor purposely gave the statue’s eyes and lips a different color than the rest of the piece, it gave me the idea of a human. Additionally, the young boy was wearing a robe that ended at bottom of his knees and had open toed sandals on his feet. Although the boy was in a robe, one could articulate that he does have a rather slim figure. On another note, I found it very interesting how this statue was in somewhat of an open area, thus dominating Gallery 166. I feel as if the curator desired to show the viewer that the Camillus were significant to the Romans throughout this period.…
Over the years, throughout the world there are being discovered important art pieces created by known, unknown artists or simply by people who want to pay tribute to someone in particular, who has different and special elements behind. Around the world, investigators have discovered millions of beautiful and significant pieces that symbolize some important events in the lives of a culture, of a people or a civilization. Such is the case of the discovery of two statues of great goddesses; Nike of Samothrace and Coatlicue, both have strong similarities as well as differences, they had different cultures and myths, and also had artistic and symbolic elements.…
Throughout Egypt, during the middle empire art evolved as a symbol for power and permanence featuring straight lines and powerful figures; as time passed art evolved again morphing from simply representational images of man to the more idealized and anatomically correct style of Roman art. As art became more and more prevalent through the late 3rd and early 4th century’s artists began to focus more on anatomical perfection and realism borrowing artistic elements from other cultures such as the Greeks. Though the artistic styles of ancient Egypt and early Roman art vary widely, the underlying symbolism remains the same. This is clear in both the Egyptian Sculpture Vizier (Figure 1) and the Roman sculpture Bust of and Unknown Man (Figure 2). Where the ideas and concepts of both sculptures are essentially the same, their vastly different styles are evident of the time periods in which they were made.…
Ancient Egyptian and Greek statues have many similarities. Hatshepsut in a Devotional Attitude is an Egyptian statue from 1473-1458 BCE. It is almost 8 feet tall and almost 2.5 feet wide. It is made of granite and is a statue of Queen Hatshepsut, the wife of Tutmose III, one of the most dynamic egyptian kings of the eighteenth dynasty. The Marble Statue of a Kouros (youth) is an Archaic Greek statue from 590-680 BCE. It is a little over 6 feet tall and about 20 inches at its widest. It is the representation of a nude male figure and is made of marble. However, the artists of both the statues are unknown.…
This sculpture was discovered off the coast of Cape Artemision at an ancient shipwreck. This piece is now being held at National Archaeological Museum in Athens, Greece. This piece belongs in the classical time period because you can see the focus is on the anatomy of the body not particularly how the body looked when it moved. Also, Zeus does not have much emotion on his face, which is another characteristic of classical art. Not only does Zeus have a stoic smile but he also possesses other qualities that make him a classical piece of work. His body is proportioned perfectly and he is aligned in a natural stance, which makes him look life like. It is very interesting to see how the Greeks knew the human body well enough to be able to sculpt the perfect proportions on a medium like marble or bronze. The Atemision Zeus is made out of Bronze, which was one of the preferred methods to sculpting because bronze was fairly easy to mold. The height of this Zeus sculpture is 6’10” and that again demonstrates how these sculptures were made to look very grand and…
They thought of the gods as people, but bigger and more beautiful than any human being. The early Greek statues were stiff and flat, but that changed in the 6th century BC when the sculptors began to study the human body and work out its proportions. The Greeks wore no clothing when they practiced sports, and the sculptor could observe their beautiful, strong bodies. The most famous sculptor is Myron. Myron is famous for the definition in the body of his famous 'Discobolus', or Discus Thrower. The 'Doryphorus', or Spear Bearer, of Polyclitus was called by the ancients the guide or model in sculpting. The Spear Bearer was believed to follow the true proportions of the human body perfectly. The greatest name in Greek sculpture is that of Phidias. The sculptures that decorate the Parthenon were planned and done by him. His great masterpieces were the huge gold and ivory statue of Athena which stood in this temple, and the one of Zeus in the temple at Olympia. These earlier forms influenced many Greek sculptures, such as the 'Aphrodite' of Melos, commonly known as the 'Venus de Milo', which is a beautiful marble statue which is presently in the Louvre, Paris. The name of its sculptor is unknown; experts say that it dates between 200 and 100…
He was my first attempt at greek art and I carved him out of marble stone and I tried my best to shift the weight of the body. However, my client said that to bring a foot forward isn’t what’s required to make his stance contrapposto. I then attempted to have Dionysus hold grapes over his head as the client asked for, but I was told that the arms had no muscle features and that muscles are more than just the outline shape. I was also told that arms rarely stick out straight from their side and rather come in at an angle. During the creation of the robes I had them fall flat and straight but was yelled at for not creating the folds and crevices. For the body, I made him fit and muscular, which I was applauded for though once again the muscles were a bit off. As for the head, I thought I thought gods were supposed to have headdresses and false beards, but it turns out most are well shaved and only wear a wreath if at all on the head. My clientele was not happy with the end product as I have yet to gain the years of observation and skills as many Greek artists have…