This paper will explore very important differences and similarities of two master pieces of art work, both named "Madonna and Child", available at Metropolitan Museum of Art. First piece, "Madonna and Child" C.1230, was made by Berlinghiero, an Italian artist who lived in early thirteenth century. The other version of "Madonna and Child" was made in 1480's, by a famous Venetian artist Giovanni Bellini, who lived between 1430-1516. Therefore, this short paper will be an attempt to show the change in art occurred in the same area but in different times.Starting with the "Madonna and Child" of Berlinghiero, which is a very unnatural image, Mary and Christ look flat because there is lack of showing depth. Mary is holding Jesus in her arm in front of a golden background. While Jesus looks towards his right, Mary is looking at the viewer. She has suffering expression in her face. The lines around her eyes and forehead, and her lips shows that she is upset. Mary appears like she knows the future crucifixion of her son. Also another reason why she is upset, would be the isolation and anger towards her because of having a baby in an illegitimate way, which is not true but most of the people didn't understand when she gave a birth to Christ . Mary's hands, one holding Jesus, one pointing him, are very thin and long. Jesus, unlike Mary, has a calm expression and his face looks very old and mature for his body's size. He is holding a scroll, probably it's a religious text from the Bible, which may refer to bringing the direct afflatus of the Holy Spirit.Performing "Madonna and Child", Berlinghiero was influenced by Byzantine icons, small portable paintings depicting holy figures usually Christ and the Virgin. This icon-like image exhibits many of the characteristics of Byzantine traits, for instance, the Virgin's long straight nose and small mouth, schematic linear folds of Christ's robe.When examining…
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.…
This paper will analyze and explore the stylistic differences between the largely unrealistic and conventional style of the Egyptian art of the Old Kingdom depicted in the work Mer-ib and his Wife in their Chamber of Sacrifice and the realistic style of Greek artist Euthymides in his work Revelers. The primary differences in these art styles lies in their representation of the human form. While the Egyptian Old Kingdom style seems to rely less on the artist’s representation of reality and more on a set of standards in Egyptian art, the Greek work appears to attempt to capture exactly what the human eye experiences.…
The Tiber Muse, originally discovered in the vicinity of the Tiber River in Rome in 1885, is a product of the Graeco-Roman era and is dated around the 2nd-1st century BCE. This date and other formal qualities of the sculpture such as the pose, drapery and medium suggest that it was produced during the Hellenistic Period of Greece and Asia Minor, and then imported to Rome at a later date. The importation, copying, and public display of Greek art were common from the start of Roman conquering of Greek territories and throughout the Roman Imperial era. The formal qualities of this piece, to be explored later in this exhibition, are comparable to those of the Nike of Samothrace in that they both exhibit the dramatic, elaborate techniques common of the Hellenistic Period (323-30 BCE) that embrace a range of emotions, providing us with an overpowering, multi-sensory experience as we view these pieces. The qualities and purpose of art during the Hellenistic Period were quite different from those of the Byzantine Era, to be further explored by comparing these two sculptures with the Justinian and Attendants mosaic from San Vitale in Ravenna, Italy. Through a formal analysis of these three works, the meaning, purpose and values of the culture that produced them will become clear, and we can further understand the historical context of these two very different time periods.…
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…
The death of Alexander the Great inspired the beginning of the Hellenistic era of the fourth century. The characteristics of this period marked a separation and divide from earlier Greek’s works. Hellenistic artist’s begun expressing their sculptures with such high degree of naturalism contrasting with the earlier religious sculptures that used the idea of realism. Another essential idea that Hellenistic artists used to convey their message on sculptures was the use of emotion, drama, lighting and dynamics poses. The foundation of the Hellenistic era supported many of the works created during the Italian Renaissance. Many of the sculptures created during the Italian Renaissance comprised of religious beings such as Mary or JesuThis paper will…
SHELDON NODELMAN from E. D’Ambra, ed., Roman Art in Context. NY: Prentice Hall. 1993 pp. 10‐20 Like all works of art. the portrait is a system of signs; it is often an ideogram of “public’ meanings condensed into the image of a human face. Roman portrait sculpture from the Republic through the late Empire-the second century BCE. to the sixth CE -constitutes what is surely the most remarkable body of portrait art ever created. Its shifting montage of abstractions from human appearance and character forms a language in which the history of a whole society can be read. Beginning in the first century B.C., Roman artists invented a new kind of portraiture, as unlike that of the great tradition of Greek Hellenistic art (whence the Romans had ultimately derived the idea of portraiture itself and a highly developed vocabulary of formal devices for its realization) as it was unlike that of their own previous Italo-Hellenistic local tradition. This new conception, conferring upon the portrait an unprecedented capacity to articulate and project the interior processes of human experience, made possible the achievement in the ensuing six centuries of what is surely the most extraordinary body of portrait art ever created, and forms the indispensable basis for the whole of the later European portrait tradition, from its rebirth in the 13th and 14th centuries to its virtual extinction in the 20th. No clear account of the nature of this reformulation of the structure of representation or of its historical significance has so far been given. That the portraiture which it engendered is strikingly “realistic” in the sense of evoking the presence of an astonishingly concrete and specific individuality, to a degree previously unknown and rarely equaled since, has been the universal experience of every observer. But this question-begging term (first used to characterize Roman portraiture, in opposition to the “idealism” imputed to the Greeks, three…
After the Council of Nicea (Byzantine Council) chose the cross as the emblem of Christianity in 325 C.E, Constantine the Great, used the shape on clothing as the official cypher of his rule. Therefore in jewellery, crosses dominated apparel and jewellery for the next millennium. This clearly shows the effects of the council’s influence in dictating the fashion and the ruler using the emblem of the cross to convey power of his rule.…
One of the most influential artistic styles in western culture is the Classical Style. This term describes the art and architecture produced in Ancient Greece between the late sixth and early fourth centuries B.C.E. The harmonious order that governs almost all the aspects of Ancient Greek Civilization, including politics and philosophy, was the basis of this rich artistic period which has always had a strong influence on Western culture. Nevertheless, there have been some periods in history where the Classical influences were more prevalent. This influence could not be more evident than in the Renaissance, which refers to the rebirth of the Classical Style. The Renaissance which spread through Europe started in Italy around 1300 C.E. and lasted though the seventeenth century. In this period, the artisans did not just copy the Greek’s but also revived their principles of harmony, order, proportion, and realism. In this paper, I’m going to exam one sculpture and one building from each of these two periods to identify the similarities and differences between them.…
Throughout history the human figure has been demonstrated in Middle Eastern, Egyptian and Greek sculptures and paintings. Most of these artifacts tend to focus more on humanism than realism due to Rulers and Gods, geographical areas, resources and events thus, giving them the idea for the theme of the art they create. These are the reasons that might explain their commonalities or differences in the representation of the human figure.…
There we observed the change in the form of statues. Being able to see the statues and painting we’ve studied and saw in our textbook in real life amused me. Being able to go up to them and look at the details rather than staring at the photographs also made me more interested in the art itself. For this assignment I decided to compare “Seated Statue of Gudea” and “Statue of Eros Sleeping”.…
Apse Mosaic is from the 6th century C.E. and is representative of Byzantine art and culture. Mosaics in churches were very popular forms of art during this time as the Byzantine culture was well known for expressing their belief in Christ. The mosaic uses the lines and color very well by using contour lines and different, vibrant colors to show the distinct characters and symbols in the art. Space is very well used by leaving no “grey” area. Every detail is also in proportion to one another, except for the Cross, which is emphasized to draw the viewers attention into the center of the work. The Cross is also placed above the apostles, in the sky, to symbolize the transformation of Christ and heaven, which shows the believe that after death you rise into heaven to be with Christ.…
Ancient Romans were practical people who used pragmatic features in their art to explain the world around (Speivogeol, 2005). The Romans admired Greek art and often borrowed, copied, and stole from their ideas. The Romans even placed Greek-style statues in their public buildings. However, they were original when they carved their sculptures. The Romans sculptures were more realistic, and detailed characteristics including, warts, mole, wrinkles, and other unattractive features.…
Throughout different time periods and civilizations come many different types of art that would never be comparable to those of another time or place. There are also the pieces that come from a completely different time and place, but yet they can still be compared to one another. The Torso of a God (Egyptian, New Kingdom, Dynasty 18, last decade of the reign of Amenhotep III, Granodiorite, 1359-1349 B.C.) and the Statue of Asklepios (Greek, Hellenistic period, Pentelic Marble, 2nd century B.C.) are two sculptures made hundreds of years apart, yet they both display many similarities and show how art is constantly changing whilst keeping the same core ideas.…
In this essay, I’m going to compare and contrast sculptures of a biblical hero character…