Art history 3 (artworks)

statue of Akhenaton, from the temple of Aton in Karnak, New Kingdom. 1353- 1335 BCE

>Different physical features of Akhenaton: androgynous (he symbolizes the mother and father of all humankind). >Radical departure from the idealized traditional representation of the image of the Pharaoh. >initiated both religious and artistic revolutions

Laocoön and his Sons, copy of bronze original probably made at Pergamum c. 150 BCE. Marble, 6'½" high. Vatican Museums, Vatican City

>Dramatic depiction of agony >Strong realism, heroic bodies >Depiction of age >Perfect embodiment of Hellenistic art

Iktinos and Kallikrates, Parthenon, 447-432 BCE, Acropolis, Athens, Greece

>Exemplar of Classical architecture: BALANCE, PROPoRTION, UNITY >quest for perfect proportions., well-spaced columns, harmonious design, mathematical precision.

Human-headed winged lion, from gateway in Ashurnasirpal II's palace in Nimrud, Mesopotamia, 883-859 B.C.E, Metropolitan museum of Art, new York (Assyrian)

>Guardian figures at the gateways and entrances of the palace were called lamassi >MONUMENTAL and DIVINE >Lion=kingship

Animal-head post, Viking ship burial, Oseberg, Norway, 825

>Head of roaring beast, protruding eyes, geometric pattern very elaborate. >Illumination >wood

Khafre with the falcon god Horus embracing the back of his head, c. 2500 BCE. Diorite, 5'6⅛" high. Cairo Museum, Egypt.

>Ideal Proportions God-like quality of the pharaoh >Express serenity, eternal stillness >No movement >Solidity, compactness, lack of facial expression convey sense of immortality and authority

Masaccio, Tribute of Money, c. 1427, Fresco, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy (Renaissance)

>Linear perspective, illusion of receding distance. >Ordered, clear: RATIONAL >Naturalism >Believable illusion of Three-dimensional space >Atmospheric perspective >Realistic shading and modeling >Continuous narrative >Vanishing point: head of Christ

Carpet page with a cross. Illumination in the Lindisfarne, Gospels, c. 710-725

>MARRIAGE BETWEEN CHRISTIAN IMAGERY AND ANIMAL INTERLACE STYLE. SMALL, INFINITELY COMPLEX DESIGNS

Metope of a Lapith and centaur in combat from the south side of the Parthenon, designed by Pheidias, c. 445 BCE. Marble, 52⅝" high. British Museum, London, England

>Metope - part of Doric order >High-Relief sculpture >Symbolize human conflict between animal instinct and rational self-control

COLOSSEUM (Flavian Amphitheater), Rome, 70-80 CE, Early Imperial Period

>Monument that still represents Rome >Concrete allowed to make grandiose and complex architecture

Chartres Cathedral, completed 1260, France

>ROSE WINDOW and the MISMATCHED TOWERS >SINGLE AISLE rather than double aisles of Romanesque churches. >included Flying Buttresses

Augustus of Primaporta, Early Imperial period, marble, 27 BCE- 96 CE

>Statue carries political message >OFFICIAL IMAGE

Portrait Head of a Roman Patrician. c. 80 BCE (Republican Period).

>Verism is the artistic preference of contemporary everyday subject matter >Show signs of personality. >Age=sign of respect

Standard of Ur, Early Dynastic III, c. 2600-2400 BCE, British Museum, London (Sumer)

>Wooden box inlaid with lapis lazuli >narrative >Each side is divided in 3 sections called registers >One side depicts war, the other depicts peace.

Lysippos. The Weary Herakles (Farnese Hercules). A Roman copy by Glykon of the 4th-century BCE bronze original. Height 10' 6"

>a NERVOUS ENERGY. >Rejection of stability and balance. >Interest in portraying emotions >INTEREST IN HUMANIZING THE GREEK GODS >Unbalanced needs a support

Polykleitos, Doryphoros (Spear bearer). c. 440 BCE. (Roman marble copy after Greek bronze original, tree trunk/arm brace Roman additions)

>asymmetrical balance: MOTION WHILE AT REST, HARMONY OF OPPOSITES essence of this style. >, Lack of personality and emotion >Purpose was to IMPOSE ORDER on human body >Classical period

Votive Figures from the Abu Temple at Tell Asmar. c. 2900-2600 BCE. Limestone, alabaster and gypsum (Sumer

>hierarchical proportions >Stylization of head, beard hair >Frontal pose. >large, wide-open eyes=presence of the divinity.

Hall of Bulls. Lascaux Caves, France. c. 15,000 BCE.

>most likely religious purpose. Ceremonies >Predominance of animals reflects the importance of hunting, may be religious meaning as well.

Painted ceiling, late 3rd-early 4th century CE. Catacombs of Saints Peter and Marcellinus, Rome, Italy

>old testament >Orants - figures arms raised in prayer - stand for Christian family seeking the afterlife (Heaven).

Temple of Amun-Re, Middle Kingdom, 1417-1379 BCE, Karnak, Egypt

>post-and-lintel construction >a hypostyle hall, a room created by using a seriesof columns or a colonnade, to support a flat ceiling

Louis Sullivan, Wainwright Building, 1890-91, St. Louis, Missouri

>reflects the elements of a column (base, shaft, capital) in the organization of the exterior

Pont du Gard, first century CE, Nîmes, France

Rounded arch

Sainte-Foy, nave, c. 1050-1120, Conques, France

The weight of the vault thrusts outward. - Romanesque: early medieval European style, based on Roman style rounded arches and heavy construction

The Palette of Narmer. Early Dynastic period, c. 2950 BCE.

> not funerary but commemorative. >using composite pose—Frontal + profile view.

Sarcophagus with reclining couple, Banditaccia Necropolis, Cerveteri, Italy, ca. 520 BCE, Painted terracotta. Rome, Museum of Villa Giulia

>Animated faces, certain degree of realism. >The fact that a women could be present to a banquet was uniquely Etruscan.

Ruins of the Anu Ziggurat and White Temple. Uruk (modern day Warka, Iraq) c. 3300-3000 BCE (Sumer)

>Basic load-bearing architecture >Made of mud bricks. >Their orientation suggests religious beliefs

Stonehenge (cromlech), Neolithic, c. 2900-1500 BCE

>Complex structure: inner ring may have served as a cremation cemetery. >Heel stone: location of rising sun on summer solstice >post-and-lintel construction

New York Kouros, c. 600 BCE. 6 Feet. (Metropolitan Museum of Art)

>DIFFERENCES from Egyptian: "Liberated" from block and nude. >Rigid frontality. >GRAVE MARKER: It was a funerary statue >Triangular shape of head, slim waist, love of patterns. >Does not have a precise identity, anonymous man > Archaic period