Art History 101 Midterm 2

Ara Pacis Augustae, Rome, 13-9 BCE. Rome/Early Imperial

Altar where sacrifices could be made surrounded by a marble relief wall. Reliefs included rectangular panels with stories within. Mars is the father and God of War. Son of Venus Gromulus is making a sacrifice of a female pig, establishing a new homeland for Trojans (foundations of Rome). Back entrance has more panels with female figures and have armor and helmets on them: personification of Rome itself. Three goddesses. Locks on side of neck and drapery relate her to Venus. Fresh water and salt water breezes flank her. Abundance is guaranteed after civil war has ended is personified in this piece.

Trajan c. 108 CE. Rome/High Imperial

Came from a Spanish family and made the Roman empire the largest its ever been. Bust format is abbreviated and this is only seen in Roman art. Nude upper torso with general's cloak and sword belt across chest: celebrating military victories of the emperor. Face is middle aged looking and very classicized. Realism is seen but not verism as much as the skin is smoother and more ideal. Eyebrows are carved in creating a new stylized technique. Wants to be compared to Augustus so he quotes him with his hairstyle. Quoting Augustus also builds his legitimacy to the public

Lion Gate, the Citadel of Mycenae, c. 1300-1200 BCE. Greece/Mycenaean

Built on a hillside for good vantage point and built a wall. Enclosed fortified space where people can flee for protection. Incorporated lower area as well. Burial circle outside of walls for sanitation and were marked using small tombstones with stela on them. Ornamentation of the wall. Defenses were very sophisticated. Doorway set back and the wall is built on rock outcropping. Flanking the outcropping is a bastion allowing mycenaeans to shoot arrows at intruders. Rocks used to build the gate are called cyclopean masonry because they were considered so large and heavy that only the cyclops could lift them. Doorway has a lintel. Stone has great compressive value but doesn't have great tensile strength. Relieved the stones by not putting any major stones on top of the lintel. Arch used to close off the space. Powerful display with thin stone motif. Lions standing and framing Minoan style column. Protective and power image in triangular space. Palace within a citadel: megaron

Maussolleion at Hallikarnassos, c. 350 BCE. Greece/Late Classical *****

Burial chamber needed to be suitable for a king but athenians were very modest with burials. This building was organized so its not traditional Greek in style. Patronized greek artists because they were super interested in the art. Karia was not ethnically greek but very involved in the greek world. Patronized artists in a way that the art would look unfamiliar to mainland greeks. Sculpture on top and friezes were not greek. Greek style but not greek patronage

Athenian maidens, detail of the Panathenaic Procession from the Parthenon frieze, Athens, by Phidias (Sculptor in Charge), 447-432 BCE. Greece/High Classical

Eastern end: more solemn part of the procession and introduces women. Women were high class Athenian women who were allowed to join the event. Depth of relief is very small. Figures move toward the center where the action takes place. Gods are represented and seated because they are taller than the mortals but they are posed to look like humans with more idealized bodies. Don't know what the frieze represents

Aphrodite of Knidos, by Praxiteles, c. 350 BCE. Greece/Late Classical

First to represent the female nude and chose a goddess. Statue made and displayed in the city of Knidos. Have only found her ins Roman adaptations since then. Statue was seductive: we don't know if she is taking the garment off or putting it on. She is modestly hiding herself or showing off her femininity. Ambiguity involved in time of when audience is looking at her. Facial features give sensuousness and softness.

Temple of Portunus, Rome, c 120-80 BCE. Rome/Republican

Hybrid Roman-Greek temple. Travertine covered with a plaster mixed with marble dust. High podium with frontal flight of steps. Massing of columns and cult buildings is in the very back. God of Portunus: details ionic volutes. Slightly more greek looking to visitors. Dentilated frieze course which is borrowed from ionic order in Greece. Engaged half columns running around the interior of the cult building. Columns give impression of peripteral but aren't actually engaged in holding the structure together so are a pseudo-peripteral. These columns are decorative and serve no structural purpose. Looks very Greek.

The Caryatid porch of the Erechtheion, Athens, 421-405 BCE. Greece/High Classical

A collection of building elements. Operating on multiple levels and has a centrifugal force about it. Graceful and elegant: columns are very thin. Frieze is a different material. Building is marble and the frieze is limestone. Figures were fixed to the surface. Ionic capitals. Banding and channels of volutes dip into the center. Corners come out on the diagonal . Figures that balance roof of the building on their heads. Women are the columns. Example of ionic order architecture.

Arch of Constantine, Rome, 312-15 CE. Rome/Late Imperial.

After battle of Milvian bridge. Arch is triple bayed and the proportions are almost exactly the same as Septimius Severus arch. Relief sculpture on the interior and exterior and has a large inscription for constantine on the attic. Combines elements of relief sculpture that were carved from scratch and used to celebrate constantine. River gods in spandrels over the bays representing the rivers of places where there were military campaigns. Recycled pieces of early emperors. Attic has a large frieze that pictures trajan but constantine is the subject performing the action rather than trajan.Circular roundels honor Hadrin's virtue and manliness and these were recorded into Constantine's arch so he may be viewed in the same way. Marcus Aurelius also celebrated by Constantine being showing performing his actions. Original pieces are much more stylized and much less classicized and this was deliberate to call attention to the newness rather than the antiquity of the other elements. Constantine's roundels showing moon goddess are very stylistic. Disproportionate sizing of troops and buildings on the registers and these elements made them very readable from the ground. Emperor presented centrally and frontally so the viewer becomes part of the scene as if Constantine is giving a speech to the public. Celebrate the victory over Maxentius. Arch would have been colored in antiquity. Abstracted and very stylized victory on the bottom of the arch --> Quoting the victory from the column of Trajan.

Augustus of Prima Porta, c. 18 BCE. Rome/Early Imperial

Also known as Octavian -> nephew of Julius Caesar and became the first ruler of ancient Rome after defeating Marc Anthony. Made of perean marble from a Greek island that was very prized because it was the whitest and the purest. Carved out of a single block of marble and this was very difficult to do because it was slightly larger than life sized. Represented Rome's first emperor wearing armor. Cloak draped around his hips (general's cloak=military virtues). Head is remarkably different than the realistic portraits of the roman republic. Had to reconfigure how he was going to display himself to the public. Cloak was like an homage to Jupiter. Inspired from classical greek sculpture like victorious youthful athletes. Authority of antiquity and classical past. Contrapposto pose. Brows have a crisp delineation. Youthful idealizing conception of facial features. Bare feet quote the bare feet of the naked athlete (unrealistic because he's wearing armor but have to go to battle with footwear on). Leg support is winged cupid on the back of a dolphin -> reference to Venus alluding to the connection of venus and her birth from the sea. Arm position: right arm is extended to make an experience out of viewing the statue. Breast plate of the statue has a relief sculpture: represents god of the sky and other gods giving very cosmic connotation. Reclining female is mother earth. Alludes to a specific historical event. Documented historical events visually. Return of legionary standard that was taken by partheon forces. Julio-claudian dynasty.

Basilica Ulpia, from the Forum of Trajan, Rome, by Apollodorus of Damascus, 112 CE. Rome/High Imperial

Back of the enclosure was a temple that was dedicated to Trajan and his wife after they died because they became deities. Short ends of the basilica are ended with rounded hemicycles. Naive of basilica is divided in subsidiary spaces referred to as side isles. Windows are set up high and are clestory to allow light in. Raise roof for the windows and caryatids used male forms of deitians. Made in colored marble s and granites and used rock from all over the empire. Concave facade has decorative brickwork. Has pediments and is nicely ornamented on the outside.

Fallen warrior from the east pediment, Temple of Aphaia at Aegina, c. 480 BCE. Greece/Archaic

Athena is in action in the surrounding figures fall toward athena in the center. This warrior is much older and he is collapsing and legs are spilling out everywhere and is very disorganized. Shows how body is organized from the inside out. Eastern warrior shows the act of dying

Peplos Kore from the Athenian Akropolis, c. 530 BCE. Greece/Archaic

Beauty of woman was in the face and the clothing. Peplos is the garment she wears. Heavy garment and forms of her body are revealed. Her garment and face would have been ornamented. Almond-shaped eyes and delicate eyebrows. Soft cheek bones and a hint of a smile (archaic smile). Hair comes down in wavy locks pinned back behind the ear. At one point earrings were attached. Made of marble and arm would have extended holding something. Garment was decorated with animals (tapestry like). May have represented divinity but we cannot be sure. Was very colorful.

Riace Warrior A, c. 450 BCE. Greece/High Classical

Bronze male nude looks less subdued than marble. Beard shows that he is mature . Standing in contrapposto position. Held a shield and spear in hand. Figure looks very powerful and present. Same weight bearing leg but relaxed leg comes forward rather than back to show more power. Mouth is slightly open showing some speech.

Portrait of a General, c. 75 BCE. Rome/Republican.

Bodies of portraits do not represent the body type of the actual person who they are depicting. Very veristic face and very youthful body type. Leg support is a breast plate. Cloak of a military commander. Draping of the cloak is borrowed from standing representations of Jupiter. Make the equation that is explicit of the general and he is equating himself with Jupiter.

Octagon Room (reconstruction) from the Domus Aurea (Nero's Golden House), Rome, Severus and Celer, architects, 64-68 CE. Rome/Early Imperial

Brick faced concrete in the octagon room. Revolutionized architecture because of this new concrete medium. Mold out of poured concrete makes domes and can fashion it to span much larger areas. Oculus is the central round that allows light into the building. Massive dome space supported by concrete piers. Light changes over the course of the day and during the equinoxes and solstices. Vault haunch clestory lighting for the lighting system was created in the octagon. Room with waterfall is lit up on one day (October 13th at Noon) when Nero was proclaimed emperor to celebrate accession day of Nero. Covered with mosaic at one point. Decorated with wall paintings. Refined wall illusionary architecture. Marble floors.

Imperial Procession, from the frieze of the Ara Pacis Augustae, Rome, 13-9 BCE. Rome/Early Imperial

Combined with historical panels. Friezes that include real women and children of the imperial family. Have a lot of nature in them too. Supernatural abundance brought about by augustan pea

Julian, c. 361-63 CE. Rome/Late Imperial

Distant cousin of Constantine who became the last Emperor of this family. He is using portraiture and historical trends in portraiture to send a radical message to civilians. Standing statue not wearing a draped toga but a cloak of philosophers and intellectuals --> intellectualizing aspect of the ruler (he was an intellectual). Also see the intellectual in the full beard. Pupils and iris' are not carved in which make the statue look older than it is and alludes to older statues. Distinctive quotation to the second emperor of Rome who was known for his connection to founding the Religion of Rome: likening himself to the rebounding of religion because he was not Christian and wanted to be more reverted to polytheistic religion. Also alludes to Hadrian and Marcus Aurelius who also used beards to quote intellectuals.

Column of Trajan, Rome, 113 CE. Rome/High Imperial

Covered with band of relief sculptures that go all the way to the top of the statue. Gilded bronze statue of Trajan at the top. This marks the tomb of Trajan and he is buried within the sacred city. Base covered with arms and armor to show Trajan victorious in his military endeavors. Rounded molding made of laurel leaves representing the triumphal crown. Banks of the Danube river and boats to show conquest: roman army crossing the bridge and going into enemy territory. Frieze acts like a documentary film: events of important campaigns and brought them to the public so they can understand what happens abroad. Details painted would have made it more legible. Windows cut into the column and they are there so there is light flooding the spiral staircase inside but this idea came after the frieze was already created which is why windows are cut in at weird places. See market of Rome from the top: further showing off his superiority and advertising himself and his achievements. Had metal details in the friezes.

Stag Hunt, by Gnosis, c. 300 BCE. Greece/Hellenistic

Dining rooms have mosaic floors made of pebbles in large mansions. In situ: in place. couches around it to create a symposium feel: male gatherings favored after hunts by Macedonians. Drainage holes for dining rooms. Mosaic is signed by the artist. Carpet image surrounded by floral motifs and wave pattern. Two hunters bringing down a stag. All pebbles are natural in color. Used color to create volume in the different figures.

Springtime Fresco from the West House at Akroteri, Thera, before 1630 BCE. Greece/Cycladic

Exuberant mountain landscape that fills entire room. Rock outcroppings with lilies and birds. Anti-naturalistic and naturalistic. Colors are very unrealistic. Shows the vibrance of nature. Sense of energy and movement. Rocky outcrops are jagged and looks crazy but actually looked like this landscape during that time. Looks different than Egyptian art because its more symmetrical than aegean. Not for burial purpose but for the living to enjoy.

Kritios Boy, c. 475 BCE. Greece/Early Classical

Figure is standing at ease and foot is coming forward. Arms at sides. Has a weight bearing leg and a relaxed leg. Created changes in the entire body. Kouros is the sum of the parts and the boy is the totality of the body. Teenage boy. Some think he was a groom.

Maxentius/Constantine, c. 312-15 CE. Rome/Late Imperial

First Christian emperor and moved capital from Rome to Constantinople by the Bosphorus (Istanbul). Colossal image. Limbs were carved out of marble and there was drapery on the statue created by sheets of gilded bronze. Acrolithic: combination of mediums --> white marble and gilded bronze. Different from psychological realism because we have returned to long hair and no facial hair. Deeply inset eyes are very exaggerated in size. Clean shaven face and hair quoting Augustus to gain legitimacy. Trojan is also quoted. Much more calm style. Very classicizing look as it is quoting high classical Greek sculpture and statue. Pose derived from Jupiter even though he was Christian and mimicked the cult statue of Jupiter to revert to traditional imperial values and legitimize himself through quotation of antiquity. Neoplatonic: looking to revive greek philosophies of Plato. Square indentation for sideburn to be added to the side of the face as well as prominent nose and indentation under the forehead: WAS A RECYCLED STATUE. Colossal head was previously Maxentius and Constantine had this sculpture resculpted for his features. Not originally made for Maxentius either because there are two different marbles used in this Statue and there is also remnants of a creased earlobe in the other type of marble which was a clear indication that before this sculpture was recycled for Maxentius it was made for Hadrian. There was so much marble that these recycles could occur. Portrait was likely damaged when it was recycled by Maxentius because he would not deface a person like Hadrian but rather carve himself into it to pay homage and connect himself to Hadrian. Colossal hand made of person marble was originally holding a scepter as Jupiter did. (Julian-Flavian dynasty)

Nike of Samothrace, c. 200-150 BCE. Greece/Hellenistic

Found on top of the Sanctuary of the Great Gods and has a vantage point across the whole sanctuary. Made of parian marble which becomes translucent when the sun hits it. Left and right wings were not symmetrical: one of the wings is reconstructed. Parts of the prow of the ship of war: marble is quarried from a completely different place: base is different marble than the sculpture. Originally thought she formed a fountain but cannot hold water. Hard to reconstruct what her original context was. Don't know if she was in a roofed building or an open layout: archaeologically roofed was favored.

Toreador Fresco from the Palace at Knossos, c. 1550-1450 BCE. Greece/Minoan

Fresco of a leaping bull: three humans and a bull in the act of doing acrobatics around the bull. One man is holding the bull, one is in motion, and one is landing. Chief difference are skin colors, person on the bull is red and the other two are white: representing different genders. There is equal participation of men and women. Scene conveys a lot of energy. Grace in the bull and athleticism of the people. Groundline: plan that the figures are on and there is no groundline here the figures are just floating in space.

Greeks fighting Amazons, detail from the frieze, Maussolleion at Hallikarnassos, c. 350 BCE. Greece/Late Classical

Frieze displays subversion of order (women are never part of the battlefield). Shows battling of the amazons: shows hierarchy and order of social class in Greek society. More background space on the frieze showing background composition. Foot going back shows this depth. Illusionistic perspective: how things go back into space even though there is very little depth inward to the frieze. No isocephaly.

Kroisos Kouros from Anavysos, c. 530 BCE. Greek/Archaic

Growing interest in the corporeality of the statue of the human bod. Line were very important. Base of what he stood on was inscribed with words to mourn him. Statue is representative of a man who died in battle. Shown not as a warrior that died in battle but as an ideal youth figure. Standing in similar fashion but the muscles are more forms than lines and the arms are further from the chest: more naturalistic.

Colosseum (Flavian Amphitheater, Rome, c. 70-80 CE. Rome/Early Imperial

Golden house was dismantled and lake was drained after Nero died to create colosseum. Statues may have stood in the upper two arcades and used as supports for an awning for inclement weather. Flavian amphitheater. 4 story structure with three rows of superimposed arcades. Upper story has square palasters, columns in the ground floor are tuscan (doric),the middle are ionic and the top two are corinthian. Progression of Orders: layering the orders and this becomes canonical for amphitheater building. Heaviest order on the bottom and then lighter as moving up. Made up of large pairs of travertine. Interior of the colosseum has a floor where containers of armor and wild animals were held. Relief sculpture was also important to imperial sculpture.

Nero, c. 59-64 CE. Rome/Early Imperial

Great great grandson of Augustus. Images follow idealized youthful idealized values and high classical greek statues. Radically rethought what emperor should look like and shied away from Augustus' image style. Hair is very different, augustus' is very plain and the locks fall where they will in a very random fashion but Nero's hair is perfectly quaffed. Fuller facial features are intended to remind people of royal images. Opted for a more royal message. Nero wears an under chin beard. Romans were usually clean shaven but could have a beard during a military campaign or mourning the death of a loved one. Beard here is striking to the public. Trying to communicate representation of Greek philosophers to make him looks more intellectual. Very innovative statue.

Fallen warrior from the west pediment, Temple of Aphaia at Aegina, c. 500-490 BCE. Greece/Archaic

Greeks are becoming wealthier and democracy is becoming invented. Encounters with Persia. Temple of Aphaia houses a cult statue. Pediments tell the story of the war between the Trojans and the Greeks. Figures brought into uniform scale by putting them in different positions. Western pediment Athena stand quiet and upright and figures fall away from her toward the corners. Western Pediment is earlier than the Eastern pediment. Both warriors are in the act of dying. Western warrior has a great silhouette and we see the warrior pulling the arrow out of himself. He has an archaic smile and looks very posed and is also much more youthful looking. Shows imitation of dying rather than actually dying.

Hadrian, c. 128 CE. Rome/High Imperial

Hadrian succeeded Trajan and busts sent a different message. Another military depiction of the emperor's there is a breastplate. No specific hairstyle quotation but there is an undertone beard like Nero. Very interested in learning and intellectualization and this is encoded in the bust. Classicizing style as some features are somewhat idealized. Eyebrows, pupils, and iris' are carved in. Movement of head on the neck on the bust looks like the emperor's head is in motion. Bearded representations of deities may be another reason he selected the bust with a beard (jupiter). Breastplate are allusions to jupiter and minerva as they also have medusa on their breast plate: medusa on the front to ward off bad luck. Shoulder straps are more archaic Greek with figures of snake-bodied men and these are related to Zeus. Remind people that the city of Athens granted Hadrian the olympios.

Pantheon, Rome, c. 118-25 CE. Rome/High Imperial

Hadrianic architecture. Structure dedicated to all the gods: used this as an audience hall. Facade is very traditional. Has columns and a flight of 7 steps. Egyptian granite monolithic columns with Corinthian capitals. Traditional triangular pediments with Latin inscription (technically this is the third pantheon and this detail is inscribed on the front of the pantheon. Pediment has holes in it for the attachment of an eagle statue alluding to jupiter. Interior: expect to walk into a rectangular but enter a rotunda with a perfect dome over it. Recreate dome of the heavens. Oculus and light system allows light to travel around the building over the course of the day. 7 large niches on the ground floor so light can enter them and illuminate the statues inside. Dome has concrete coffers. Interior and exterior would have been golden. Colored marble inlay of windows to light statues below them. Pilasters don't line up nicely with the windows. Niches are flanked by shrines to give movement and rhythm to the architecture. Dome is poured concrete. Five rows of coffers and these rows have 28 coffers which is not coincidental number but is know as the perfect number in ancient Rome. Light hits the gilded bronze tiles. Only one day when the angle of the sun falls through a window that allows sunlight to go into the front porch: 21st of April is the day Rome was founded. Exterior is brick faced concrete and rings are made and stacked to create a dome. Bottom rings are heavy and inset with heavy stone and brick and the lighter top rings are inset with with lighter materials like pumice stone so it doesn't fall through and buckle under the weight.

Birth of Athena from the East Pediment of the Parthenon, Athens,by Phidias (Sculptor in Charge), 447-432 BCE. Greece/High Classical ****

Helios rising and the moon setting to show cosmos in the image and the divinity associated with the event of the birth of a goddess. Aphrodite in the lap of her mother. Reclined bodies that are clothed but the body is revealed to the audience.

Great Altar at Pergamon, c. 190-150 BCE. Greece/Hellenistic

Hellenistic baroque Greek altar: very dynamic. Battle of Gods and Giants. Trying to fight them. There is no blank surface. Explosion of energy and tension. Every muscle is flexed to the maximum and the pain and hardship is seen. Extreme expression was powerful and carried onto the greek world.

Basilica of Maxentius/Constantine (Basilica Nova), Rome, c. 306-12 CE. Rome/Late Imperial.

House of the Colossal statue of Constantine that quotes Jupiter. Was originally a basilica for Maxentius but after his loss of the battle of Milvian Bridge Constantine reformed it to reflect himself as emperor. It is a colossal rectangular building with a central section with a ride roof and two naives off of it that have lower roofs. Made out of brick-faced concrete and was the largest concrete roofed space. Huge concrete piers help to define the space. Windows inset in the upper part of the naives to flood light using the clestory lighting system and lighten the impression of heavy concrete. Poured concrete barrel vaults over the side isles and crossing barrel vaults over central naive. Apse contained the seated image of constantine. Interior decorated with white marble columns that were also colossal that only served as a decorative function and no support function.

Krater with the Death of Sarpedon, by Euphronios, c. 510 BCE. Greece/Archaic

Instead of painting figures black in the background the background is black and the figures are red (reversed technique from above). Can add women to the vase by adding white. Calyx Krater. Very important scene from Trojan war. Frames by patterns. Death of Zeus' son and Zeus realizes he cannot protect his son and sends two gods to collect his body off the battle field so he can bury him. Stability and balance of the composition. Red figure artists use a brush not a stylus. Uses a range of strokes and a glaze and can add colors. Beginnings of a beard show how young Sarpedon is. Body collapsing in death: legs are heavy and splitting apart and arm is falling to the ground. Stomach muscles. Thinking about how to represent the body in space. Wings of sleep and death have ornamentation. Diluted glaze allows for the sense of monumental wall painting as well. Gives more dimension and depth.

Temple of Hercules Victor, by Hermodorus (?), Rome, c. 150-100 BCE. Rome/Republican

Intersection of Roman and Greek architecture. Made of pentelic marble from Athens which was the same marble used to construct the parthenon. Columns of this temple are corinthian and this will become the most common order in empirical Roman temples. Temple is circular: invented in Greece. Is peripteral. Huge front door doesn't look greek, but it adds frontally and this is compounded by front steps. Temple is built on a high platform as well.

Capitoline Wolf, c. 470 BCE. Rome/Republican.

Made of Bronze and Etruscan. Copper and silver used to make bronze. Earliest surviving work of roman art. She-wolf. Dated to the classical period in Greece. Important to Romans because the she wolf is the wolf that saved Romulus and Remus and nursed them back to health. Twin renaissance infants are additions but we do think this is what the statue looked like before it was lost to antiquity. Very naturalistic looking and this showed that the sculptor was very familiar with dog and wolf anatomy. Stance and growl as well as veins in the nose. Detail of the eyes. Hair is very detailed and patterned creating a stylized element. Two artistic approaches in a unified work of art. Braided pattern on abdomen. Tail is also braided. All these details are added after bronze is cast and engraved into the bronze. She is in action and in motion. She is growing at the viewer because we are in her presence and she is a protector: we are reliving the moment of when she nurses the twins back to health. Model is made out of clay and then molten bronze is poured into the mold. Cast out of a single pour but the tail was added separately. Thought he could have been medieval because greeks usually did multiple pours rather than one.

Snake Goddess from Knossos, c. 1700-1550 BCE. Greece/Minoan

Made out of clay that has been fired. Dressed in Minoan style court dress with open bodice and flounced skirt. Actions: holding writhing snakes and she has power over them and also has a leopard on her head. Her face shows that she is very present and gives the sense that we are in the presence of a sacred being. Bodice is opened and breasts are barred.

Marriage Sarcophagus, c. 520 BCE. Rome/Etruscan

Made out of terra-cotta and holds a married couple. Difference in material as vases were made out of terra-cotta in Greek art. Details on the sarcophagus look like Greek archaic art. Faces: look like the kouros and the peplos. Features of the face like the eyes and the comparable composition of the slightly smiling mouth. Was colored at one point. What's different: animated gestures: husbands hand resting on wife shoulder. Almost as if they are talking. Their poses are reclined and very different from the kouros. They are not contained in a rectangular block. The material allows for more freedom with the sculpture. Beard is more stylized than the greek version. Pattern in the edges of the hair and beard.

Portraits of Maussollos and Artemisia (?) from the Maussolleion at Hallikarnassos, c. 350 BCE. Greece/Late Classical

Male statue is not greek and has very heavy frame but still idealized. Drapery has its own energy. Very bundled bodies rather than revealed. Artwork focused one honoring an individual rather than representing the city or polis. We don't know who it represents but we know it represents someones likeness.

Aphrodite of Melos (Venus de Milo), c. 150-100 BCE. Greece/Hellenistic

More present type of art that explores personality and psychological/temporal states in Hellenistic art. Ideal beauty and gracefulness. Shows the differences between human experience and its relevance to aging and psyche.

Horsemen, detail of the Panathenaic Procession from the Parthenon frieze, by Phidias (Sculptor in Charge), 447-432 BCE. Greece/High Classical

Not a procession of myth or divinities but is observed by the gods. Procession involves coming to a sacrifice. West, North, and South only represent men and we see some getting ready or on horseback. Contrapposto poses. As we move along the procession the action speeds up. Greeks have completely filled the field available and all heads rise to the same point even though some are standing and some are on horseback (isocephaly).

Dipylon amphora by the Dipylon master, c. 750 BCE. Greece/Geometric

Not made of precious materials but using humble materials of the day like clay and iron. Special shapes for different functions. Acted as grave markers and found near a gate in Athens. Ancient cemetery. Vases put as grave markers. Amphora is the shape. Decorated with geometric motifs done with great skill. only two tones black and red. Only a certain amount of details and some areas are left blank. Scenes on it refer to funeral where deceased are laid out and mourned by family and friends. Figures are geometric components. Figures are black to make silhouette. Triangles for arms and bodies. Storage vessel for holding wine and oil.

New York Kouros, c. 600-580 BCE. Greece/Archaic

Nude male form was very important. Life sized in stone marble. Underlining geometry of the form. Facial features reminded from Egypt probably because thats where they were learned. Difference is Egyptians worked in granite and Greeks worked in marble. Egyptian figures do not step forward as this kouros does, and they are also not connected to the rock behind them. There are no nude Egyptian statues. Pattern and ornamentation: hair beaded tresses and muscles are very linear in fashion. Pectorals defined by small modeling. Spine and shoulder blades are more lines than they are shapes. Very large eyes were originally painted, forehead is low and the face is carved back into the surface of the stone. Not very realistic and naturalistic even though it was life-sized.

Doryphoros (spear bearer) by Polykleitos, c. 450 BCE. Greece/High Classical

One of the most famous works in greek antiquity. Very canonical in that is was a work that defined a genre. Idea where set of ideals and actions will be governed (how to make statues from that point forward). Authoritative body of evidence and how the human body should be represented. Weight bearing leg opposite the weight bearing arm: chiastic motion. Gives dynamic tension to the body. At ease and at motion: rhythmos. Coordination of body parts as symmetria. Commensurability of parts: all parts are in appropriate relation to each other.

Dipylon krater by the Hirschfeld painter, c. 750 BCE. Greece/Geometric

Open mouth vessel for the mixing of wine and water. Decorated with scenes from the funeral and warriors in chariots. Given more of a vase to narrate scenes than geometric motifs. More animation is added to this scene with children and deer and ducks. Differences in the styles of both the artists. People are more chunky in this one. More emotional style. Artistic character at work but very contemporary and monumental works of art. Displayed in the public context but different in how they depicted the same scene.

Diskobolos (discus thrower) by Myron, c. 460 BCE. Greece/Early Classical

Original was made in bronze because it was a very complex pose which was easier to do in bronze because it has tensile strength. Figure is shown in the moment right before the discus is about to be thrown. Action is about to be released (pregnant moment), perfect balance (rhythmos). Figure is arranged to be perfectly understood from a single point of view. Turn of the head and position of the chest and arms and body are all artfully arranged to show complete image from a particular perspective. Symmetria: all parts of the body are being coordinated to work together.

Berlin Tondo (Septimius Severus, Julia Domna, [Geta], and Caracalla), c. 200 CE. Rome/Late Imperial

Painting on wood with egg based pigment (tempera) or wax based paints. Painted portraits and wrapped them into roman period mummies (traditionally Egyptian). Roundel portrait of the imperial family but missing the younger son Geta. Julia has helmet hairstyle that became trendy during the time period. All members have crowns with jewels and gold to show authority and wear gold and purple striped togas. Lighter pigments to make highlights on the paintings like in the iris' and the hair and jewels. Face of Get scraped off after he was urdered and Caracalla became emperor because didn't want to co-rule. Dominate memoriae: damnation of memory: erased all inscription and visuals of Geta to make it like he never existed.

Palace at Knossos (reconstruction drawing), c. 1700-1450 BCE. Greece/Minoan

Palace communities dominated large areas. Not fortified (no wall and is defensible). Designed from the center outwards. Palace is designed around a central court and had centrifugal force being added on as time went on. Labriynthine in organization with multiple entrances. Made of small scale stones and wood and covered with plaster that is then richly frescoed. Had running water and air conditioning by the positioning of the building. Staircases were supported by columns (Minoan style) with cushion and rectangular pieces. Social and residential areas> Hierarchical social structure with elites. 150,000 square feet.

The Parthenon, Athens, 447-432 BCE. Iktinos and Kallikrates, architects. Greece/High Classical

Parthenon is made out of marble. Not shown straight on so we can see the whole facade. Doric order: scale is much larger and looks like a temple and has columns on all 4 sides. Horseshoe shape around the central cult statue. Has 8 columns down the front and 17 down the sides that are influenced by ionic architecture. Temple was conceived from the inside out. Has a lot of refinements: ways of manipulating architecture so it creates tension to the eye. There is no straight line in this building. Curvature: building clings to earth by curving in its width and in it's length.Rises organically from the earth and can see down the curve. Greek architecture is made out of individually carved blocks for a particular location. Corner contraction: facade corner columns are much closer than the ones in the center. Strong accent on the corner and brings eye to the center of the piece. Inclination: all of the columns incline inward so they would touch if they were longer. These had to be calibrated to meet properly. Entasis: shaft of the column tapers more rapidly at the top than at the bottom (like a cigar). Color: building was painted especially in upper part of entablature. Elaborate sculptural program as well. Decorated in three major zones: metopes, frieze, and pediments.

Ludovisi Battle Sarcophagus, c. 250-60 CE. Rome/Late Imperial

Period of soldier emperors and has scene of battle on it. Triumphal general in the center. Could depict bibliographical or mythological scenes. This is an example of bibliographical. Elements of the composition --> so many different body parts are rendered in three dimensions. Creates dimensionality by overlapping and intertwining the limbs and bodies. A lot of texture in the marble. Sides of the sarcophagus are much shallower reliefs and the back is uncharted because it was usually up against a wall or a niche of a tomb. Lad has been separated from the rest of the sarcophagus. Big enough to fit husband and wife, but mostly history of the husband.

Philip the Arab, c. 244-49 CE. Rome/Late Imperial

Period of soldier emperors. Non-roman origin (Jordanian). Portrait continues to use psychological realism with same intense expression and deepset brows. Glancing up and off and has the short military hairstyle and cranial contours with geometric lines and furrows with the hairline. Strong naso-labial lines and beard doesn't have a lot of depth. Curving elements on the nose and forehead furrows. Lips are deeply drilled in the middle to create a dark shadow that makes it look like Philip is about to speak (dynamism).

Marcus Aurelius, c. 175 CE. Rome/High Imperial

Philosopher emperor and successful general. Ruled during a time of crisis. Watched this emperor grow up through portraits. Made of gilded bronze and one of the few remaining portraits in bronze of emperors. Wearing a tunic and the general's cloak so is a military depiction of the emperor. Horse is in motion and emperor extends his hand. Bearded emperor depicted again and now they will continue to depict emperors with beards. Mature male face and middle aged with some aging lines. Cast in a number of pieces and then gold leaf was applied to the bronze. Original display was possibly the barracks of the emperor's horse guard or his mother's home. Saddle is very detailed and is not a typical Roman saddle: two theories and both have to do with foreign conquest at the time. German saddle or parthenon saddle based on conquest. Horse and rider in motion: hand gesture of clemency or mercy. There might have been a kneeling foreigner in front of the statue originally but now the audience viewing is the foreigner. Shows his supreme position in Roman Society.

Pompey, c. 41-54 CE. Rome/Republican

Portrait made during a period of civil unrest. Verism and realism. Slightly fuller facial features and full head of hair. Verism: communicates moral values and part of the roman elite. Hair is derived from representations of Alexander the Great. Military achievements in the same areas that Alexander the Great had his victories so this quotation is seen in the hairstyle. Fuller facial features related to the greek rulers of Egypt. Fuller facial features were not to show heaviness but to show ideas of royal luxury and magnificence. Wanted to take control over the mediterranean from Caesar.

Arch of Septimius Severus, Rome, 203 CE. Rome/Late Imperial

Relief sculpture and imperial triumphal arches. Located in the Roman forum. Arches are placed at transitional moments in the triumphal procession. 3 openings (3 bay arch) outside were steps for pedestrians and center was for carts. Columns on pedestals and a generic procession frieze. Flying figures of victory in the spandrels. Large relief panels showing campaigns against pantheons. Inscription in attic of the arch refer to Severus and Caracalla. Erased inscription of Geta and can tell it was erased because there are holes in the inscription where gilded letters were added and there are a different set of holes where Geta's name would be inscribed. Flying victories holding a tree trunk with roman armor on it to symbolize military triumph. Textures and patterns in the marble machete very detailed. Several registers of soldiers. Functions as a documentary or advertisement to the people of what has been accomplished on military campaigns. Head on view and birds eye view into the same picture plane to give the viewer more information.

Female figurine, c. 2500-2200 BCE. Greece/Cycladic

Represent women and are made out of marble. Women are completely nude and styles of this type held the same abstracted form but tried to idealize. Essential geometry was very important to the Greeks. Don't know if the figures represent sacred images or human beings. These can be both small in scale and larger. Made out of marble pebbles. Carve surfaces then create a linear pattern with sand. Sharp linear details and smooth bodies. These were originally painted and had eyes. Elegant tall neck and sloping shoulders give a sense of upward energy. Found in a funerary context: offerings that the dead take with them. Figurines are closed in presentation for death and were probably laid down because they don't have feet to stand upright alone. Abstracted forms of the body and triangles to show genitalia and create sensualization of the female form

Room of the Masks, from the House of Augustus, Rome, by Studius (?), c. 30-20 BCE. Rome/Early Imperial

Romans were experts in painting wall frescoes which were created by painting plaster that is applied to walls. It is very durable. Illusionistic architecture. Wall recedes into the picture and the illusionistic panel paintings show landscape scenes. one point perspective: where all the lines receding into the background come to a single point. Theatrical architecture: projecting elements and columns. Masks are subtle creating an artificial environment that can only exist as a work of art. Masks have human eyes that are painted in and have the audience wonder about this: is it an actor or a disembodied head? Either way shows artificiality of the environment. Corners of the roofline have animals on them that are very exotic. Creates confusion between whats real and whats fantasy.

Propylon of Ptolomy II (façade), Sanctuary of the Great Gods, Samothrace, c. 285-281 BC. Greece/Hellenistic

Roots of Alexander the Great were in this place. Remote island and a mystery cult that relied on Hellenistic patronage. Propylon of Ptolemy: entrance gate: huge foundation with a tunnel cut through it. Dedicated to the king. Macedonians developed the tunnel: diverted the river to adjust the landscape to meet architectural needs. Fairly standard design for a propylon. Colonnades on the propylon are close to the same but the difference is of the capitals of the columns. All the columns that face out toward the city are ionic in style and all the columns facing the inside are Corinthian. First building where corinthian architecture is being used on the exterior. Corinthian represents regenerative life force and audience leaving the sanctuary see it right before they enter the real world.

Caracalla, c. 211-17 CE. Roman/Late Imperial.

Ruled alone for only five years. New trend in portraiture. Psychologically very dynamic--> Psychological realism: snapshot capturing a particular moment and mood in his life. No longer a head of full, curly hair but very short to expose geometry and contours of the skull (very militaristic looking). Very short beard that is almost non existent and a very thin mustache that is barely modeled. Geometries of the face were very important. Diagonals of furrows above the eyebrows on the forehead and naso-labial lines create an "x" shape and almost a row of concentration. See shape of jaw and chin and dramatic expression caused by the brows which are deeply carved to create shadows over the eyes and exaggerate them. Iris' are carved in and placing up and away.

Warrior Vase, c. 1300-1100 BCE. Greece/Mycenaean

See this only n mycenaean art where warriors are shown going to battle. Troy war went on for 10 years. Homer gives notion that it was about Helen and some think the story is fiction but details say its not and its about trade war.

Lapith Fighting a Centaur, metope from the Parthenon, Athens, by Phidias (Sculptor in Charge), 447-432 BCE. Greece/High Classical

South Metopes shows a scene of what it means to be human -> Centauromachy. See two very different moments depicting one Greek and one centaur and the outcomes are different. First scene, the Greek has a drape to accentuate the body and shows the body in action. Greek is going to win in this scene. On the right side the centaur is rearing up and about to trample the greek and we see how violent he is by the body language. Greeks represent themselves as both winners and losers: balance between order and chaos. World is not black and white.

Tomb of Persephone, Royal Tumulus at Vergina, c. 330s BCE. Greece/Hellenistic

Specific organization of tombs that characterizes Macedonians. Like a mini building with a beautiful facade where the dead we entombed with riches. Tomb of Persephone: name due to the scenes that frame the chamber. Abduction of daughter persephone. Illusionistic perspective: high energy and high action. Thick quick strokes that define features. Taken into the underworld. Fresco style painting in which a plaster is applied to a wall and then painted so it is much more durable. Brush strokes create highlights and shadows to create three dimensionality.

Commodus as Hercules, c. 191-92 CE. Rome/High Imperial

Succeeds father Marcus. Imperial portrait: in guise of hero Hercules. Put on a costume and did wrestling matches in the colosseum. Tour de force or Roman marble carving. Do things you can't do with bronze. Marble is becoming more popular at this point than bronze. Impression that the heavy busy is on a very thin base. Half torso is present to make a half body portrait. Lion skin of Hercules and undercut to create shadows to highlight emperors face. Beard contrasts with the surfaces of the flesh. Very well preserved. Portrait was part of a group of men. The two men that flanked him were mermen with sea monster bodies. They hold a cloak over the emperor. Made of a single block of white marble. Illusion of heavy bust standing on a very thin base so it looks very light. Resting on an amazon shield and see an amazon kneeling and then a globe with astrological symbols on it: these signs were significant dates in Commodus' life history. Chiaroscuro made by drilling in the hairline and the lions head to create highlighted areas and dark areas.

Vespasian, c. 69-79 CE. Rome/Early Imperial

Takes over after Nero. Uses portraiture to send a new message to roman audiences. Doesn't have a beard and is shown as quiet old with elements of verism as seen in roman republic portraits. Really emphasized signs of aging. Return to republican values after more royal messages sent by Nero. There are restorations to this portrait.

Temple of Jupiter Optimus Maximus Capitolinus, Rome, c. 509 BCE (reconstruction and plan). Rome/Regal Period

Temple is built on a high base/podium however greeks have a low base. Etruscan temples only have steps in the front of the building rather than all the way around the building. Frontality: building has frontality because you can only enter from one vantage point. Peripteral with freestanding columns lining the front of the structure. Original building made of wood. Three rooms in the cult building. Artificial terrace is all that remains. Stone supporting walls for the wooden super structure above it. Stones quarried from the capitoline itself. Very porous stone and easy to quarry. Cult images of terra-cotta replaced with marble ones (Capitoline Triad) -> Jupiter (center Eagle), Juno (peacock), and Minerva (owl). Hera and Zeus are other two equivalents and minerva is equivalent to athena. Italian version of Doric or tuscan order.

Herakles' quest for the Apples of the Hesperides, metope from the Temple of Zeus at Olympia, c. 470-456. Greece/Early Classical

Temple was built in the center of Olympia. Doric building with very large and masculine proportions. Herakles is the son of Zeus and the muscle hero of antiquity. Herakles is sent to get the apple of immortality because it is the key to his own immortality. Atlas goes and gets the apples and gives Herakles the earth but now atlas doesn't want to burden of the earth anymore. There are three verticals and two protagonists. The female figure is in front view and is helping balance the earth with just her fingers: this is Athena helping Herakles. Herakles is in profile view and looking at the apples and Atlas is in 3/4 view looking at Athena and approaching her. Clearly shows that Athena is aiding Herakles against Atlas and Greeks know this story by gesture and glance. Pregnancy of the moment: things are about to happen and there is tension as to which way things will go

Octopus Vase (marine style), c. 1500-1450 BCE. Greece/Minoan

Tentacles frame the shape of the vase, looks as if it is about to swim away. Seaweed and urchins also set the underwater scene. Very organic and energetic looking.

Amphora with Ajax and Achilles Gaming, by Exekias, c. 540-530 BCE. Greece/Archaic

Vase painting was very important. Finest of the black figure painters. Black figure is a technique in which the painter has decorated the vase and made silhouette and then scratched out the details with a stylus. Composition fills between handles of the vase. Quiet yet powerful charged moment represented. Warriors taking a break from battle but not far away from the action because they are still holding spears. Playing a game (interlude from battle) geometry based on the triangle. Two figures leaning in and inward spears create as well but its inverted. Elaborate capes and pattern in armor. Writing on it tells us who they are and who is winning the game they are playing. Silhouette art: not a lot of overlapping figures.

Forum and Markets of Trajan, Rome, by Apollodorus of Damascus, 112 C.E. Rome/High Imperial

Trojans complex is larger than the other predecessors in the market. Forum consists of a large open space flanked by colonnades and flanked by a basilica. Back of the enclosure was a temple that was dedicated to Trajan and his wife after they died because they became deities. Short ends of the basilica are ended with rounded hemicycles. Naive of basilica is divided in subsidiary spaces referred to as side isles. Windows are set up high and are clestory to allow light in. Raise roof for the windows and caryatids used male forms of deitians. Made in colored marble s and granites and used rock from all over the empire. Concave facade has decorative brickwork. Has pediments and is nicely ornamented on the outside.

Garden Room from the Villa of Livia, Prima Porta, by Studius (?), c. 30-20 BCE. Rome/Early Imperial

Underground dining room painted in second style. Illusionistic garden. Wicker fence in the foreground and a marble fence that has a very meticulously kept garden but beyond it is very overgrown. Atmospheric perspective: painting mimics the way we see things. Details in the foreground are crisp and delineated creating illusion of garden and recession into the background. Reveal to us that this is a supernatural garden and can only exist as a work of art. Roots and flowers as we ll as birds from different seasons are seen in one image which is not realistic. Visual encyclopedia garden. Bird cage in the garden contrasts with e free birds in the garden.

Portrait of a Patrician, c. 75-50 BCE. Rome/Republican

Veristic: showing age lines and very naturalistic weathering of the skin and facial features: realistic portraiture. Romans give first realistic depiction of physical human makeup. Origins are complicated and complex. Made for elite romans and they are closely related to aristocratic funerary rituals. When a roman died there was a eulogy for the family and they would wear wax masks of ancestors and family members (reviving the ancestors and bringing them back to life to participate in the ceremony). Life masks: created for people in high offices so their life masks would be present at their funerals. Face of an old man: topographical mapping of an aged male. Point was that signs of aging communicate abstract moral values (dignitas, autoritas, gravitas (moral weight), sapientia, severitas (severity to act in the states best interest even if its against the individual's best interest.

Julius Caesar, c. 44 BCE. Rome/Republican

Very traditional and republican in portrait approach. No quotations of Hellenistic kings. Longer neck and sunken cheeks. Recognizable profile suggests Caesar was going bald so he wore a crown. Skull is slightly deformed at the top. He was the first Caesarean section when born. He was special and had a destiny. Made of a different type of marble.

Apoxyomenos (The Scraper), by Lysippos, c. 330 BCE. Greek/Late Classical

Was the court sculptor for Alexander the Great. Young male cleaning himself off after exercising at the gym. Usually covered body in olive oil and would scrape it off at the end of exercise. Contropposto is exaggerated. Twist to the body and the weight bearing leg is echoed by the outstretched arm. Head is smaller than the proportion of the body. Wanted to become closer to naturalistic forms. Not an ideal representation but a likeness of contemporary style. Viewer has to move around it as it is not a perfectly presented view (contrast with diskobolos statue).

Delphi Charioteer, c. 470 BCE. Greece/Early Classical

We don't know which victory it honors. Don't see the chariot race at the height of action but we see the victor moving to receive his laurel crown. Emphasis on bold planar forms. The folds of his drape are very naturalistic looking. Face is planar and the lips join at the corners. Pattern in his hair. Eyes are made of separate material to liven them.

Nike adjusting her Sandal, from the Temple of Athena Nike, Athens, c. 410 BCE. Greece/High Classical

Wet draping technique: draping looks like its weighing down on the body to reveal the forms of the body underneath. Adjusting of sandal gives some precariousness because of unbalance: not in contrapposto. Draping is shifting with her body to look more unstable. Destabilizing image takes us from the early classical to the late hellenistic.

Antinous as Bacchus-Osiris c. 130-38. Rome/High Imperial

Young male companion of Hadrian. Traveling the Nile and fell in and drowned. Hadrian has him deified to become a god and he was stylized using traits from other gods to look like a combination deity. Looks like the Bacchus: God of Wine, and Osiris: God of the underworld. Much larger than life sized. Light and dark effects due to drilling into the marble very deeply: chiaroscuro. Polished surfaces of skin and highlighted tones make the features look more exaggerated. Facial features are very carved in with a heavy brow line. Crown of grapes and item on head that further quotes bacchus and osiris. Basket by his leg: lid is being pushed off and there is a snake inside alluding again to the bacchus. Very classicized in style.