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…
They are both in seated positions, but the seated scribe is sitting straight up and very stiff where the dying gallic displays flexibility in movement. The seated scribe’s face gives off no emotion where the dying gallic looks very sad and defeated. The seated scribe wore a linen apron while the dying gallic was completely nude. In ancient Greece, nudity represented acts of heroism since he was a celtic warrior the nudity represents him well. The seated scribe was about 53.7 cm tall where the dying gallic was more life size at 93 cm tall. Both of the sculptures hands were placed firmly on their thighs. The seated scribe had a flabby chest and a chubby chest, where the dying gallic had a muscular physical appearance. These two sculptures show the different art styles that the ancient Egyptians and Greeks utilized. The sculptures also displays how the Egyptians and Greeks view a heroic figure and a normal…
The work I chose to analyze was from a wall fragment from the tomb of Ameneemhet and wife Hemet called Mummy Case of Paankhenamun, found in the Art Institute of Chicago. The case of the Mummy Paankhenamun is one of the most exquisite pieces of art produced by the Egyptian people during the time before Christ. This coffin belonged to a man named Paankhenamun, which translates to "He Lives for Amun" (Hornblower & Spawforth 74). Paankhenamun was the doorkeeper of the temple of the god Amun, a position he inherited from his father.…
The Votive Statue of Gudea had powerful meaning for the people of Mesopotamia. It was a sign of hope and help the people know that there will be more food for the people. This statue shows a lot of sign of respect to Judea. As they worship Gudea, the people hope to have more resources. This statue shows a connection of the mortal being and the God communicating with each other to make sure the people of the Mesopotamia is living nicely. While the statue has symbolic figures, it has to mean to the people that help create attention.…
Athough from two entirely different cultures and entirely different times, the Pantheon and the Parthenon share similarities, along with a world of differences, in form, function, themes, ideology, and messages about their respective civilizations. By comparing these two structures, it is easy to see why knowledge of context and culture is important to understanding and interpreting art.…
Many architectural and urban forms and elements that we witness today are largely influenced by how buildings were design and laid in Rome. Not only in terms of its external design that brought upon important messages but the design of interiors and the significance of spatial arrangement of spaces exist within them has created the sense of physical experience in the buildings as well. Rome’s urban development and the rise of architectural movement began during the time of Augustus from 27 B.C. to 14 A.D. 1,2 Born Gaius Octavious, known as Octavian in his early years rose to become the first emperor of Rome after ending the second triumvirate through defeating Antony and Lepidus.3 When Octavian returned to Rome, he was honoured by the Senate and the Roman citizens for bringing peace and prosperity to a war-weary Roman world.4 He was then granted the name “Augustus” which is an important symbolic act to legitimize his political control as an emperor over Rome.5 Augustus’ main intention is to establish a stable Rome under his authority and this is largely shown through his restoration of incomplete buildings by Caesar. During his reign, as stated in his bibliography, Res Gestae, he claimed that he “repaired eighty and two temples of the gods in the city, … omitting none which at that time needed repair”.6 However, he also erected four new temples during his reign and these temples largely convey the message of him wanting to show that he was a dependable and better ruler.7 Stamper argues that the building of temples in Rome by various rulers form a large connection of showing power and authority over the city.8 Thus, based on this intention of Augustus, this essay will analyse three different temples completed…
In the Fourth Dynasty the art consisted of mainly architecture and sculptures. The famous pyramid structure during this time were more smooth on the sides because of their new layering technique, a good example in our book is figure 3.8 Model of the Great pyramids on page 57. One additional feature of the landmark of the Great pyramids is the Great Sphinx which is the following figure, figure 3.9 that is made from the same material as the pyramids. When it comes to statues and sculptures many of their human figures at this time were simply ageless and in an upright standing position or sitting on a throne for watching rituals and showing power. These statues were typically of royals such as a king and queen as you can see from figure 3.10 through 3.12 on pages 59 and 60. The characteristics in the statues were that they had wide…
The pantheon is an artistic and imaginative blend of three major architectural focus: the unification of traditional temple form and the new domed space, the technical development of concrete constructions, and the tendency to obscure construction and structural elements. This paper discusses the Pantheon by analyzing the architecture from various aspects such as its three distinctive spaces and the experience they brings, the lighting of the interior, innovation such as coffering, the skillful use of concrete, and the Roman’s attempt to conceal the construction. Furthermore, the potential meanings and implications are evaluated by formal analysis and looking at the cultural context of the empire.…
Roman politicians and priests were also important. Based on the ruins and the inscriptions it appears that this was a community that was definitely Roman and heavily influenced by Greek culture. Themes that appear throughout include the play of the gods and goddesses in the everyday lives of men and women. In addition, there is a practical element to many structures and the depiction of battles, pastoral life, and the important of the state (Dunstan…
-The Early christian architecture and tis decorations began to demonstrate increasing monumentality as a result of its dependence on Roman imperial traditions. This caused the early christian sculpture to be more impressive and a work of art that demonstrated this is a fine Early Christian stone coffin, the Sarcophagus of Junius Bassus. This richly carved sarcophagus was made for a Roman who had died in 359 at age 42 and who had been “newly baptized” as an inscription would tell us. The front of this was divided by columns into ten…
“The art of Egypt is heavily influenced by spiritual and religious ideas and culture that extends back thousands of years” (Dagan, 2008). The Egyptians wrote their history and painted images on their palace walls. They painted pictures that were symbolic to their belief systems from the gods that they worshiped to their belief of the “afterlife”. Even their column designs took a symbolic form to represent the vegetation of Egypt. This thesis states that Ancients Egyptians were a religious peoples and their art serves as hardcore proof of that.…
The rooms of this ancient society were architectural articulations of wall-paintings symbolizing happy moment in architectural creation . These paintings were an expression of happiness leading to the conclusion that this society existed peacefully. Furthermore, the relationship of that society to the divine was in all probability real. This is so because from these paintings one can observe some of the drawings of their gods. Sculptures of gods strongly suggest that the society had divine inclination. From the paintings it appears that the divine might have permeated everyday life…
As I walked pass by the horseshoe-shaped courtyard of Agronomy Hall, I saw an eccentric, bronze art sculpture standing firmly in the middle. At first I was pondering what has this statue got to do with Agronomy Hall until I walked closer to get a clearer picture. "Janus Agri Altar." That was the title given to this 14-foot metal structure that serves as a…
By the time of the pharaohs, the ‘decorative arts’ were wellestablished, predating the Christian era by thousands of years. The images used in the tombs of Egyptian kings took on deep symbolic meaning.…
The monument to the people's heroes is located in the center of Beijing's tiananmen square.…