Art History Midterm

25. Anavysos Kouros. 600-480 BCE. Archaic Greek Art

Function: Grave-markers. Wealth needed to have one created kouros (male), or kourai (female). Made for the deceased. Subject Matter: The kouros were gravemarkers created for the deceased. The main subject (and only one) was the main figure which represents the deceased. Depicts the person usually as serene and young. Style/formal characteristics (visual analysis): The dead were represented as youthful and stoic, with a hint of an archaic smile giving the sculpture a sense of sereneness. Representing the dead going into the afterlife, a-la "Menkaure and a Queen". Stylized hair in the round, hair and style appears to be more naturalistic compared to the geometric period, however is not completely naturalistic. In the kouros there is a better understanding of Context/Historical Significance: During the archaic period the subjects were fit, athletic MEN (or gods), depicting men nude in the period was acceptable (not women). Men were a sign of fertility. Compare to the funerary krater, the Greeks developed a sense of the afterlife. Kouros represent this change in focus on death, as the Greeks depicted afterlife scenes rather than prior focus on the emotional and present effects of death.

18. Hatshepsut with Offering Jars, ca. 1473-1458 BCE, Egyptian Art [New Kingdom, Dyn. 18]

Function: The purpose of the sculpture was to present Hatshepsut as a noble and credited leader, since she was female. Since her younger brother was too young to reign she took over his reign and her sex meant she had to stablize her credibility. Has pharaoh characteristics despite her being female, most works of Hatshepsut were masculinized. Subject Matter: The subject is Hatshepsut, it justifies her leadership and reign as well as presents her as a leader. She is the main focus of the work. The jars in her hand symbolize her offering the gods offerings. Style/formal characteristics (visual analysis): Hatshepsut is portrayed as larger than life and important and qualified for leadership. The intended viewpoint is Hatshepsut. Has the qualities of Egyptian pharaohs- ceremonial beard, kilt, nemes. Context/Historical Significance: Poor condition due to Hatshepsut's brother (who she took the reign from) who attempted to erase Hatshepsut's reign from history in anger and jealousy.

20. Akhenaten and his family, ca. 1353-1335 BCE, Egyptian Art [New Kingdom, Amarna Period/Dynasty 18].

Function: The purpose of this work was to depict the royal family and Akhenaten in a different style from the traditional Egyptian style of the time. Subject Matter: The subject of the work is Akhenaten and his family in a happy family scene. Style/formal characteristics (visual analysis): 1) wonky proportions -- typical of Amarna Period, "heretic king" doesn't follow traditional art style 2) happy family scene -- atypical of Ancient Egyptian artwork, which is usually stoic and stiff 3) sun -- represents sun god Aten, blessing the royal family Context/Historical Significance: Akhenaten's strange appearance which caused a change in the style of Egyptian style. Counters the style of stoic stiff depictions, while this work is happy and expression-filled.

29. POLYKLEITOS. Doryphoros, 480-323 BCE. Classical Greek Art [High Classical].

Function: The sculpture was created to depict a male warrior, depicting the standard of beauty and idealized body. (male and fit). Subject Matter: The sculpture depicts the idealized male (and general) body. It depicts Doryphoros, a warrior What are these works about? Do they tell a story (narrative)? If so, what is it? Are there any symbols, clues or attributes (iconography)? Style/formal characteristics (visual analysis): Discuss the visual appearance of the works and their significance (e.g., composition, line, space, color, ground plan, etc.). If it is a statue, what is the intended viewpoint? What do the media tell us about these works? What is their scale? How do figures relate to space and to each other? What techniques are used? Context/Historical Significance: Works during the High Classical Period of Greece had subjects that were mainly male gods, warriors, or athletes. The idealized male body was always preferred. The Canon (The idea of a canon, a rule for a standard of beauty developed for artists to follow, was not new to the ancient Greeks). Polykleitos's idea of relating beauty to ratio. Idealized Naturalistic The Canon

55. Distribution of Gifts, detail of the Arch of Constantine. Late Antique—Roman, 200-527CE

Here the emperor and his attendants distribute largess to people approaching from both sides while Constantine sits on a high throne. Stylistically, the entire frieze demonstrates a striking contrast with the earlier more "classical" relief on the arch, borrowed from other monuments. Here these identical forms are frontal primarily, squatty and unnaturalistic, with drapery that is incised with grooves. These rigid forms are barely modelled and are carved with repeated and unrealistic motions and gestures. These traits become common in the sculpture of the Middle Ages, with emphasis on symbolism and easily readable concepts.

41. Athena Fighting the Giants, detail of Altar of Zeus from Pergamon, Turkey. 323-31 BCE. Hellenistic Greek Art.

The Altar of Zeus is the most famous of all Hellenistic sculptural ensembles and was located on an elevated platform framed by an Ionic stoalike colonnade with projecting wings on either side of a broad central staircase. In contrast to other Greek temples that had sculpture on the pediment, this building had a frieze almost 400 feet long with a hundred larger-than-life-size figures on the altar platform. The choice of subject matter held great symbolic significance for the Attalid kings. The subject is the battle of Zeus and the gods against the giants, a popular topos in Greek art, but this is the most extensive representation of that epic conflict for control of world. This detail from the gigantomachy frieze shows Athena grabbing the hair of the giant Alkyoneos as Nike flies to crown her, and is a quotation from the Athena on the Parthenon's east pediment. Despite the references to Athenian sculpture, the sculptors of the Altar of Zeus did not just borrow motifs but created a distinct style based on the unprecedented emotional intensity seen in the figures' anguished faces and straining, theatrical poses. Violent movement and swirling draperies create a vivid description of death and suffering, while deep carvings create dark shadows and projecting figures that add to the drama. The Altar of Zeus is a perfect example of the theatricality often seen in the Hellenistic Period. Described as "baroque", these dramatic elements reappear in seventeenth-century European sculpture. o Function: o Subject Matter: o Style/formal characteristics (visual analysis): o Context/Historical Significance: Nike

33. Marshals and Young Women [detail of the Panathenaic Procession], relief from Parthenon. 480-323 BCE. Classical Greek Art [High Classical].

o Function: o Subject Matter: o Style/formal characteristics (visual analysis): o Context/Historical Significance:

48. Detail of a Third Style Wall Painting Villa of Agrippa Postumus, Boscotrecase. Roman Imperial Art. 27 BCE-200 CE

o Function: o Subject Matter: o Style/formal characteristics (visual analysis): Cubiculum 15, referred to as the 'black room', opens off the east end of the terrace. A deep red decorative frieze serves as the base from which a series of thin white columns appears to rise against a black background (pictured left and below). The columns support pavilions, candelabra, tripods, and a narrow cornice that runs around the room. In the side panels of the north wall are two pairs of swans. The swans (pictured left) were sacred to Apollo, the patron god of Augustus, and the symbol of his victory over Mark Antony at the Battle of Actium. It was originally thought that the swans may have been linked to the small portrait medallions (pictured left) in the central panel which support the thin decorative pediment, but rather than being portraits of a male member of the imperial family they now appear to be the portraits of two different women, possibly Augustus's wife Livia and his daughter Julia. In the middle of each central panel is a small landscape. The landscape on the north wall (pictured right and below) depicts a tower outside of which some sort of ceremony appears to be taking place. o Context/Historical Significance: 1) Monochromatic, referred to as the 'black room', opens off the east end of the terrace (d). A deep red decorative frieze serves as the base from which a series of thin white columns appears to rise against a black background (pictured left and below). The columns support pavilions, candelabra, tripods, and a narrow cornice that runs around the room. 2) In the middle of each central panel is a small landscape. The landscape on the north wall (pictured right and below) depicts a tower outside of which some sort of ceremony appears to be taking place.

26. Peplos Kore. 600-480 BCE. Archaic Greek Art.

o Function: To honor and depict a Greek goddess (likely Artemis) Place holder for altar in Greek temple > Acropolis Kore often used to mark graves, were offerings to the gods (6th-5th c. B.C.E.) Physical representation of a deity (specifically the goddess Artemis or Athena), which is the most likely option as she is clothed differently than all other korai found at the Acropolis o Subject Matter: Physical representation of a deity (specifically the goddess Artemis or Athena), which is the most likely option as she is clothed differently than all other korai found at the Acropolis o Style/formal characteristics (visual analysis): The Peplos Kore (peplos being the type of robe or shawl-like fabric draped over the figure and kore meaning a girl or young female) stands at approximately 1.18 m (3 ft 10 in) high. It is carved from fine grained Parian marble.[3] Traces remain of the original paint. o Context/Historical Significance:

8. Stele of Hammurabi. ca. 1780 BCE. Ancient Near East [Babylon].

o Function: To portray the leader Hammurabi and his power as well as his laws and codes for law. o Subject Matter: Hammurabi being handed the codes, justifying the laws he's made since "they're from the gods themselves". Hammurabi prominent figure, as well as the seated god who is the same height as Hammurabi sitting down, making it prevalent the person sitting down is a god, because they are large. o Style/formal characteristics (visual analysis): Has three different written languages that are the codes. Stele with relief carving of Hammurabi and god, two sections: Hammurabi scene and the codes. o Context/Historical Significance: Hammurabi installed codes for law, and to justify them, they were inscribed in this large stele. The three different languages show vast advancement in this date. 1) seated man -- Hammurabi is receiving the laws from the sun god; validates his rules 2) Code of Hammurabi -- writes down comprehensive punishment for crime, not up to will of judge 3) biases in the code -- wealthy men > women, slaves

5. Sound Box of the Bull-Headed Harp, ca. 2600-2400 BCE. Ancient Near East [Sumerian]

o Function: Unknown function, o Subject Matter: o Style/formal characteristics (visual analysis): 1) bull head -- perhaps a representation of a sun god; religious artwork 2) gold and lapis lazuli -- expensive, implies significance of item and its owner 3) scorpion-man -- perhaps a character from the Epic of Gilgamesh; Gilgamesh as a very old oral tradition o Context/Historical Significance:

45. Ara Pacis Augustae. Roman Imperial Art. 27 BCE- 200 CE.

o Function: Was built to celebrate the return of Augustus from his campaigns in Spain and Gaul. The marble structure, which once stood on the Campus Martius, is a masterpiece of Roman sculpture and, in particular, of portraiture. o Subject Matter: o Style/formal characteristics (visual analysis): The altar complex consisted of an interior altar surrounded by a stone precinct wall. The entirety was raised on a marble base with steps leading into the precinct space. Both the altar proper and its enclosing structure were heavily ornamented with relief carving. The iconography of the exterior program included references to fertility and prosperity, such as vegetation and animals, in the lower register and scenes associated with Rome's mythic past in the upper. Most scholars identify narrative panels on either side of the west entrance to the altar as depictions of Rome's founding figures—Aeneas to one side, Romulus to the other. These figures, in turn, are seen as prototypes for Augustus himself. o Context/Historical Significance: 1) Interestingly, although Augustus is present in the scene, the emperor is actually not so easy to pick out, which is in great contrast to later Imperial sculpture where the emperor of the time is very much the focal point of the monument. 2) The altar came to represent Pax (Peace), a concept particularly forwarded during the reign of Augustus and it was probably for this reason that the Ara Pacis appeared on the coins of Nero

37. LYSIPPOS. Apoxyomenos. 480-323 BCE. Classical Greek Art [Late Classical].

o Function: conventional subjects of ancient Greek votive sculpture; it represents an athlete, caught in the familiar act of scraping sweat and dust from his body with the small curved instrument that the Romans called a strigil. o Subject Matter: o Style/formal characteristics (visual analysis): First, differs from the Polykleitan canon: the body of the athlete is slender with longer limbs, the torso is shorter, and the head is only a tenth of the height of the body (heads were an eighth of the height of the body in the Polykleitan system). Second, this sculpture is truly three-dimensional. The right arm extends directly out toward the viewer and protrudes daringly into the viewing plane. The audience cannot fully appreciate the work from the front, but must circle the piece, viewing it from several angles. This creates a physical interaction between viewer and image, which influenced the psychological aspects of Hellenistic sculpture o Context/Historical Significance: The original Apoxyomenos is known to have been transported to Rome at the time of the emperor Tiberius, who placed it before Agrippa's bath. The Vatican copy of the Apoxyomenos is tall, slender, and elegantly shaped, the head small in proportion to the body. S-curve pose Torsion

30. Erechtheion, Acropolis, Athens. 480-323 BCE. Classical Greek Art (view and plan) [High Classical].

o Function: in order to house the ancient wooden cult statue of Athena and generally glorify the great city at the height of its power and influence. o Subject Matter: o Style/formal characteristics (visual analysis): Its massive foundations were made of limestone, and the columns were made of Pentelic marble, a material that was utilized for the first time. o Context/Historical Significance: The Erechtheion underwent extensive repairs and reformation for the first time during the 1st century B.C., after its catastrophic burning by the Roman general Sulla. The intact Erechtheum was extensively described by a Roman geographer, writing a century after it had been restored in the 1st century AD. caryatids

2. Warka Vase, ca. 3200-3000 BCE, Ancient Near East [Sumerian]

: o Function: to give offerings to the god ianna. Shows story through registers o Subject Matter: The subject matter of the Warka Vase is the presentation of offerings to the goddess Inanna, a ritual enactment that may be associated with the idea of the Sacred Marriage, that is, the union of a God or a Goddess and a mortal, usually the ruler or a member of the ruling family; or the enactment of a marriage between the Gods assuming the forms of mortals, for instance, the royal couple, who may both represent and become in actuality, for a given function or period, the divinities they symbolize. o Style/formal characteristics (visual analysis): vase, relief decoration in four registers, showing (bottom to top) rows of plants, sheep (make and female), nude males carrying baskets or jars, and a cultic scene, in which the ruler of city of Uruk delivers provisions to the temple of the goddess Inanna, represented here by two reed bundle standarts--symbols of the goddess--and a woman, probably her priestess ); rim broken; repair piece inserted in antiquity (holes drilled for repair) o Context/Historical Significance: In Mesopotamian Art, nudity is generally presented as an expression of frailty and destitution, for instance, in the representation of enemies killed in battle, defeated and imprisoned or enslaved. In the Warka Vase, the nude figures are presented in a different context, and therefore with a different meaning and different expression. Here we may observe that the display of the naked human body in a religious context "anticipates", so to speak, the role of the nude in Greek Art. Relief Sculpture Registers Votive Offerings Diety Composite View Hierarchy of scale

21. Funerary Krater from the Dipylon Cemetery. 900-700 BCE. Geometric Greek Art.

Function: Funerary purpose, significant because this was made before the Greeks had a set belief of the afterlife, therefore the emphasis was placed on the mourning of the dead, these were placed above the graves of the dead. Mixed wine and water, the bottom of the krater is hollow, so they literally "poured one out" for their dead homies. Subject Matter: Bottom register represents lineage and family history, this is prominent due to the outdated weapons/objects seen in the bottom register. The purpose of this register was to represent the dead's past and honor their lineage. the figures are mourning in the top register, some are seen tearing their hair out, and in the same register there is a depiction of the dead laid down. Focus on the grieving of the dead in the top register. Style/formal characteristics (visual analysis): Registers to separate the two focuses on death and the deceased. The Krater is designed for its use, having two handles for the people carrying the krater. The open bottom is designed for the pouring of the water/wine mix for the dead. The visuals are meant to honor and symbolize the deceased. Context/Historical Significance: The Greeks did not yet have a sense of the afterlife during the geometric period, therefore the focus of this work and other geometric funerary works was on the present effect of death on earth (not the afterlife). The Geometric period is evident by the figures drawn with geometric shapes and not naturalized or stylized.

6. Victory Stele of Naram-Sin. ca. 2254-2218 BCE. Ancient Near East [Akkadian].

o Function: Represent the leader Naram-Sin as victorious and powerful. o Subject Matter: Naram-Sin o Style/formal characteristics (visual analysis): Hieratic scale, represents Naram-Sin as the main focal point of the work. o Context/Historical Significance: Steles represent important people, and were used to represent power and wealth. 1) hieratic scale -- bigger figures more important 2) people look up to naram-sin, naram-sin looks up at three suns (gods); the hierarchy 3) tree -- symbolizes Earth and the ground

46. Imperial Procession, detail of the Ara Pacis Augustae. Roman Imperial Art. 27 BCE- 200 CE

o Function: o Subject Matter: o Style/formal characteristics (visual analysis): The relief figures on the north and south exterior walls are arranged in two groups. On the south side are Augustus and the Imperial family. On the north side are officials such as magistrates, senators, priests and their families. All are captured in a single moment as they participate in a procession. Some figures are speaking to each other, one figure (possibly Augustus' sister) holds a finger to her lips and calls for silence whilst elsewhere some children look decidedly bored with one small child pulling the toga of an adult in order to be picked up. The animation and individuality of the figures is a high point of Roman sculpture and the relief is also graded to give the scene depth and a further reality. Interestingly, although Augustus is present in the scene, the emperor is actually not so easy to pick out, which is in great contrast to later Imperial sculpture where the emperor of the time is very much the focal point of the monument. o Context/Historical Significance: 1) The relief figures on the north and south exterior walls are arranged in two groups. On the south side are Augustus and the Imperial family. On the north side are officials such as magistrates, senators, priests and their families. 2) All are captured in a single moment as they participate in a procession. Some figures are speaking to each other, one figure (possibly Augustus' sister) holds a finger to her lips and calls for silence whilst elsewhere some children look decidedly bored with one small child pulling the toga of an adult in order to be picked up. The animation and individuality of the figures is a high point of Roman sculpture and the relief is also graded to give the scene depth and a further reality.

43. Man with Portrait Busts of his Ancestors. Roman Republican Art. 509-27 BCE

o Function: o Subject Matter: Togatus Barberini is a Roman marble sculpture from around the first-century AD that depicts a full-body figure, referred to as a togatus, holding the heads of deceased ancestors in either hand. It is housed in the Centrale Montemartini in Rome, Italy (formerly in the Capitoline Museums).[1] Little is known about this sculpture and who it depicts, but it is speculated to be a representation of the Roman funerary practice of creating death masks. The type of shoes the middle figure is depicted to wear distinguishes them as a member of the Roman noble class. From this small bit of information, many theories have risen in speculation of the true identity of the center figure, but little evidence has been provided to back up many of these claims and as such they remain only theories. o Style/formal characteristics (visual analysis): o Context/Historical Significance: 1). The separation of head and body in this work is understandable since in many instances the bodies of full-length portraits were produced in advance, waiting in the sculptors workshop for a patron to commission a head with his or her own likeness that could be attached to it. 2). Presumably the busts carried by this patrician were likewise only blocked out until they could be carved with the faces of the commissioners ancestors. These faces share a striking family resemblance, and the stylistic difference reproduced in the two distinct bust formats reveals that these men lived in successive generations. They could be the father and grandfather of the man who carries them.

4. Standard of Ur [both sides], ca. 2600-2400 BCE. Ancient Near East [Sumerian]

o Function: 1) hollow wooden box -- probably not a standard, perhaps a soundbox? Unknown. o Subject Matter: (Peace and War side) o Style/formal characteristics (visual analysis): Has registers on each side (Peace and War side). 2) mosaic of shell and lapis lazuli -- expensive, implies significance of item and its owner. o Context/Historical Significance: 3) found next to dead man -- perhaps its owner, ritually sacrificed

22. EXEKIAS, Achilles and Ajax playing a Dice Game. 600-480 BCE. Archaic Greek Art [blackfigure].

o Function: 2). Ancient "fan-fiction"- this scene was depicted based on the trojan war Epic. We are aware Trojan War was lore, but was history for the Greeks. o Subject Matter: Achilles and Ajax o Style/formal characteristics (visual analysis): 1). Black-figure pottery, very laborious process, as the vases were being made, a liquid clay called slip was applied to patch up weak areas or hold pieces together. The slip turned black during firing, and potters began intentionally painting on the slip in distinctive shapes before firing, resulting in black figures. The firing was a three-step process. o Context/Historical Significance: depicted based on the trojan war Epic. We are aware Trojan War was lore, but was history for the Greeks. Trojan War, in Greek mythology, war between the Greeks and the people of Troy . The strife began after the Trojan prince Paris abducted Helen , wife of Menelaus of Sparta. When Menelaus demanded her return, the Trojans refused. Menelaus then persuaded his brother Agamemnon to lead an army against Troy.

49. Colosseum , Rome. Roman Imperial Art. 27 BCE-200 CE

o Function: Amphitheater designed for sport and entertainment purposes, gladiator fights and spectacles. o Subject Matter: The structure is meant for entertainment, and bringing people together to be spectators, there are symbols of wealth, as the columns get higher up they get "fancier: representing the social scale, since the people with more money sat at the top, where there was a built-in shade from the sun. Mixture of different orders (columns), beginning with the most basic and stable Doric order and progressing up to the Corinthian order- the most ornate, delicate, least stable order. o Style/formal characteristics (visual analysis): The Colosseum's large size is meant for being able to hold a large number of people, and the space meant to be efficient and useful for the use of the structure (entertainment purposes). The floor plan beneath the main arena floor of the coloseum was created to keep the animals and gladiators before fights, and the floor was also designed to be covered with sand and or water, for recreations of naval battles. The circular design is effective in allowing the audience to see everything. o Context/Historical Significance: The Colosseum was the example for the modern-day arena of entertainment. The Colosseum was truly a design that set an example for other designs. The Colosseum is also significant in its historical social significance, the hieratic scale where the people with more money were at the top. The Colosseum was also destroyed by christians, who reused parts of the structure to build churches, etc. in Rome

14. Menkaure and a Queen, 2490-2472 BCE. Egyptian Art [Old Kingdom, Dynasty 4].

o Function: Represents Menkaure in a symbolic, honorable way. o Subject Matter: Menkaure being led into the afterlife by a goddess. o Style/formal characteristics (visual analysis): 3) stiff pose & strict proportions -- Ancient Egyptian art very traditional o Context/Historical Significance: 1) unfinished -- Menkaure died before the artisans were ready 2) "Queen" -- could be a wife, supporting Menkaure, or a goddess, guiding Menkaure to the afterlife 1) unfinished -- Menkaure died before the artisans were ready 2) "Queen" -- could be a wife, supporting Menkaure, or a goddess, guiding Menkaure to the afterlife 3) stiff pose & strict proportions -- Ancient Egyptian art very traditional

1. White Temple and Ziggurat, ca. 3200-3000 BCE. Ancient Near East [Sumerian]

o Function: At the top of each ziggurat was a shrine, although none of these shrines has survived. One practical function of the ziggurats was a high place on which the priests could escape rising water that annually inundated lowlands and occasionally flooded for hundreds of kilometers. Another practical function of the ziggurat was for security. Since the shrine was accessible only by way of three stairways, a small number of guards could prevent non-priests from spying on the rituals at the shrine on top of the ziggurat, such as cooking of sacrificial food and burning of carcasses of sacrificial animals. Each ziggurat was part of a temple complex that included a courtyard, storage rooms, bathrooms, and living quarters, around which a city was built. o Style/formal characteristics (visual analysis): o Subject Matter: Ziggurats were built by ancient Sumerians, Akkadians, Elamites, Eblaites and Babylonians for local religions. Each ziggurat was part of a temple complex which included other buildings. The precursors of the ziggurat were raised platforms that date from the Ubaid periodduring the sixth millennium. The ziggurats began as a platform (usually oval, rectangular or square), the ziggurat was a mastaba-like structure with a flat top. The sun-baked bricks made up the core of the ziggurat with facings of fired bricks on the outside. Each step was slightly smaller than the step below it. The facings were often glazed in different colors and may have had astrological significance. Kings sometimes had their names engraved on these glazed bricks. The number of floors ranged from two to seven. o Context/Historical Significance: Only priests were permitted on the ziggurat or in the rooms at its base, and it was their responsibility to care for the gods and attend to their needs. The priests were very powerful members of Sumerian and Assyro-Babylonian society. 1) whitewashed -- shines in the sunlight, highly visible 2) accidental ziggurat -- pedestal, built in layers, puts temple higher to the heavens 3) sloping slides -- people can walk up the ziggurat and get to the temple

12. Great Pyramids of Gizeh, ca. 2575-2450 BCE, Egyptian Art [Old Kingdom, Dynasty 4] (image and model of complex)

o Function: Commemorating the three kings they were built for and burial purposes. o Subject Matter: The three kings. o Style/formal characteristics (visual analysis): o Context/Historical Significance: 1) only three -- Egypt stopped making huge pyramids for dead kings b/c they kept being looted 2) perfect triangular prism -- Egypt had prior practice (bent pyramids) & was very good at math 3) huge stone blocks -- very labor intensive, big show of power and resources (particularly manpower)

16. Ti Watching a Hippopotamus Hunt, ca. 2450-2350 BCE, Egyptian Art [Old Kingdom, Dyn. 5].

o Function: For his importance o Subject Matter: Seth, the Egyptian God of chaos, disguised himself as a hippo, due to the fact that hippos were known to be very violent and hurt people, this gave a symbolic meaning giving Ti a sense of heroism, since he was leading he hunt for evil. o Style/formal characteristics (visual analysis): Limestone. Hieratically, rendering Ti in a conventional composite pose, in a boat by himself, looming over the other boat with the smaller working men on it; they are shown in much more human-like poses, captured at the point right before they strike. o Context/Historical Significance: Hieratically, rendering Ti in a conventional composite pose, in a boat by himself, looming over the other boat with the smaller working men on it; they are shown in much more human-like poses, captured at the point right before they strike. Canon (or proportion)

23. EUPHRONIOS, Krater with the Death of Sarpedon. 600-480 BCE. Archaic Greek Art [red-figure]

o Function: Funerary, for the dead, Krater, also spelled crater, ancient Greek vessel used for diluting wine with water. It usually stood on a tripod in the dining room, where wine was mixed. Kraters were made of metal or pottery and were often painted or elaborately ornamented. o Subject Matter: Front side depicting Sarpedon's body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches. Reverse side depicting Athenian youths arming themselves. The Euphronios krater stands 45.7 cm (18 inches) in height and has a diameter of 55.1 cm (21.7 inches). It can hold about 45 L (12 gallons). The style of the vase is red-figure pottery, in which figure outlines, details, and the background are painted with an opaque black slip while the figures themselves are left in the color of the unpainted terracotta ceramic clay. The krater is decorated with two scenes.[3] An episode from the Trojan War is shown on the obverse; this illustration depicts the death of Sarpedon, son of Zeus and Laodamia. The reverse of the krater shows a contemporary scene of Athenian youths from the sixth century BC arming themselves before battle. In the scene of Sarpedon's death, the god Hermes directs the personifications of Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to his homeland for burial. While the subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic but accurate anatomy. This style is emblematic of the Pioneer Group of late Archaic painters, of whom Euphronios is considered the most accomplished. The scene of the anonymous Greek youths on the reverse shares this naturalistic style, using all the Pioneer Group's characteristic techniques of anatomical accuracy, natural poses, foreshortening, and spatial illusion. o Style/formal characteristics (visual analysis): The style of the vase is red-figure pottery, in which figure outlines, details, and the background are painted with an opaque black slip while the figures themselves are left in the color of the unpainted terracotta ceramic clay. o Context/Historical Significance: Records in Italian courts of an investigation indicate that the krater was looted from an Etruscan tomb in the Greppe Sant'Angelo near Cerveteri in December 1971. The krater was sold to the Metropolitan Museum of Art by Robert E. Hecht, an American antiquities dealer living in Rome, for US$1.2 million on November 10, 1972.[4] Hecht, who was accused of trafficking in illicit antiquities, claimed to have acquired the krater from Dikran Sarrafian, a Lebanese dealer, whose family had been in possession of the piece since 1920. Evidence suggests that Hecht may have purchased the krater in 1972 from Giacomo Medici, an Italian dealer who was convicted of selling stolen art in 2005.[5] Hecht denied the charges.[6] 1). Red figure pottery- much easier development from black figure pottery, the black paint was directly painted on top of the krater.

36. PRAXITELES?. Hermes and the Infant Dionysus. 480-323 BCE. Classical Greek Art [Late Classical].

o Function: Hermes was the ancient Greek god of trade, commerce, sports and athletes. Hermes was also viewed as the protector and patron of roads and travellers. He was the second youngest of the Olympian gods and Dionysus being the youngest. This statue shows Hermes with his half-infant brother Dionysus in his arm. o Subject Matter: o Style/formal characteristics (visual analysis): Marble was his preferred material. In this sculpture, Hermes teases Dionysos by dangling grapes out of his reach. Hermes leans against a tree stump, over which his cloak is draped, which provides support for his arm. His weight rests on his right leg while his left foot lightly touches the ground. The off-balanced stance of the god's body forms a new pose known as the "Praxitelean curve." His body bends sinuously, creating an emphatic S-shaped pose. The musculature is defined, but softer than previous works, giving the statue a sensuous and graceful appearance. Praxiteles advocated a new canon of proportions in which humans were slenderer, softer, and taller than the Polykleitan canon. o Context/Historical Significance: discovered in 1877 in the ruins of the Temple of Hera, Olympia, in Greece. According to the myth, Zeus gave the infant Dionysus to the care of Hermes to hide him from Hera's wrath, as Dionysus was the only god born from a mortal mother and Zeus. Hermes is represented in the act of carrying the child Dionysus to the nymphs who he charged with his rearing. The uplifted right arm is missing but may have held out to the child a bunch of grapes to symbolise his future as the god of wine. S-curve pose Hermes Satyr

39. ALEXANDROS. Aphrodite of Melos. 323-31 BCE. Hellenistic Greek Art.

o Function: It is thought to portray Aphrodite, the ancient Greek goddess of physical love and beauty. (The Roman equivalent is the goddess Venus.) o Subject Matter: o Style/formal characteristics (visual analysis): 6 feet 8 inches tall. The sculpture was carved from essentially two blocks of Parian marble, and is made up of several parts which were sculpted separately before being fixed with vertical pegs. Tragically, the statue's arms and original base have been lost almost since the work's arrival in Paris, in 1820. This was partly due to errors of identification. Experts are confident that these additional pieces were part of the original statue, despite the variation in finish, since it was common practice at the time to devote less effort to less visible parts of a sculpture. The aloofness and impassivity of the head, for instance, derives from the 5th century BCE. First, note the contrast between the smooth nude flesh of the torso and the ruffled texture of the drapery covering the legs. Second, note the spiral composition - the slight turn of the body - from the hips to the shoulder - combined with the outward thrust of the right hip, resulting in a fascinating S-shaped pose. Thirdly, note the relatively small size of the torso. Finally, there is an inescapable hint of erotic tension caused by the drapery which threatens to slip off entirely. o Context/Historical Significance: The Venus de Milo was unearthed on the Greek island of Melos (Milos), one of the southwestern Cyclades group. It was found in a field by a young farmer called Yorgos Kentrotas, buried in a wall niche within the ruins of the ancient city of Milos. The stone sculpture was in two main pieces: (1) the upper torso, and (2) the legs, covered in drapery. Several other sculptural fragments were discovered close by, including a separate left arm (and hand) holding an apple, and an inscribed plinth with a clear reference to a sculptor called "...sandros from Anchiochia on the Meander". Torsion

40. Nike of Samothrace. 323-31 BCE. Hellenistic Greek Art.

o Function: It was created not only to honour the goddess, Nike, but probably also to commemorate a naval action. It conveys a sense of action and triumph as well as portraying artful flowing drapery, as though the goddess were descending to alight upon the prow of a ship. o Subject Matter: o Style/formal characteristics (visual analysis): The statue's outstretched right wing is a symmetric plaster version of the original left one. The stylistic portrayal of the wings is a source of scholarly discussion, as the feather pattern resembles neither the wings of birds in nature nor wings in Greek art. As with the arms, the figure's head has never been found, but various other fragments have since been found. The fingerless hand had slid out of sight under a large rock, near where the statue had originally stood; the fragments have been reunited with the hand, which is now in a glass case in the Louvre next to the podium on which the statue stands. The different degree of finishing of the sides has led scholars to think that it was intended to be seen from three-quarters on the left. o Context/Historical Significance:

13. Khafre, ca. 2520-2494 BCE, Egyptian Art [Old Kingdom, Dynasty 4].

o Function: Represents a leader in a propaganda sort of way. Khafre Enthroned is a funerary statue of the Pharaoh Khafre o Subject Matter: Khafre Enthroned is a funerary statue of the Pharaoh Khafre o Style/formal characteristics (visual analysis): This sculpture, depicted in-the-round (versus relief sculpture) shows Khafre seated, one of the basic formulaic types used during the Old Kingdom to show the human figure.[3] Mummification played a huge role in the Egyptian culture, a 70-day process to ensure immortality for the pharaoh. Starting in the 3rd millennium BCE, if the pharaoh's mummy was damaged, a ka statue was created to "ensure immortality and permanence of the deceased's identity by providing a substitute dwelling place for the ka o Context/Historical Significance: nemes Uraeus Bilaterally symmetrical

42. Temple of Portunus. Roman Republican Art. 509-27 BCE.

o Function: Its dedication remains unclear, as ancient sources mention several temples in this area of Rome, without saying enough to make it clear which this is. It was called the Temple of Fortuna Virilis from the Renaissance, and remains better known by this name. If dedicated to Portunus, the god of keys, doors and livestock, and so granaries, it is the main temple dedicated to the god in the city. o Subject Matter: o Style/formal characteristics (visual analysis): The temple was originally built in the 3rd or 4th century BCE but was rebuilt between, the rectangular building consists of a tetrastyle portico and cella, raised on a high podium reached by a flight of steps, which it retains. It has a pronaos portico of four Ionic columns across and two columns deep. The columns of the portico are free-standing, while the remaining five columns on the long sides and the four columns at the rear are half-columns engaged along the walls of the cella. This form is sometimes called pseudoperipteral, as distinct from a true peripteral temple like the Parthenon entirely surrounded by free-standing columns. o Context/Historical Significance: 1). The Temple of Portunus was built to honor the god Portunus, who was the god of trade and harbor. 2). Its plan may be referred to as pseudoperipteral, instead of a having a free-standing colonnade, or row of columns, on all four sides, the temple instead only has free-standing columns on its facade with engaged columns on its flanks and rear. 3). The temple's design incorporates elements from several architectural traditions. From the Italic tradition it takes its high podium (one ascends stairs to enter the pronaos), and strong frontality. From Hellenistic architecture comes the Ionic order columns, the engaged pilasters and columns. The use of permanent building materials, stone (as opposed to the Italic custom of superstructures in wood, terracotta, and mudbrick), also reflects changing practices. Pseudoperipteral

11. IMHOTEP. Stepped Pyramid of Djoser, ca. 2630-2611 BCE, Egyptian Art [Early Dynastic, Dynasty 3].

o Function: Its purpose was to facilitate a successful afterlife for the king so that he could be eternally reborn. o Subject Matter: Djoser, also spelled Zoser, second king of the 3rd dynasty (c. 2650-c. 2575 bce) of ancient Egypt, who undertook the construction of the earliest important stone building in Egypt. His reign, which probably lasted 19 years, was marked by great technological innovation in the use of stone architecture. o Style/formal characteristics (visual analysis): he superstructure of the Step Pyramid is six steps and was built in six stages. The pharaoh's pyramid resembles a series of stacked mastabas (standard tomb type in early Egypt, a rectangular brick/stone structure with sloping sides erected over an underground burial chamber) of diminishing size. o Context/Historical Significance: It was built in the 27th century BC during the Third Dynasty for the burial of Pharaoh Djoser by his vizier, Imhotep. The pyramid is the central feature of a vast mortuary complex in an enormous courtyard surrounded by ceremonial structures and decoration. The pyramid went though several revisions and redevelopments of the original plan.

10. Palette of King Narmer, ca. 3000-2920 BCE. Egyptian Art [Predynastic Period]

o Function: Make-up palette. Indicated by the circle on the front part. Where make-up would be mixed and created. o Subject Matter: King Narmer, by hieratic scale, making him the biggest figure and main focus. 1) papyrus over man's head -- represents lower Egypt, Namer unifying Egypt 2) hieratic scale -- bigger figures more important 3) hawk -- represents Horus, unifying Egypt as divine will o Style/formal characteristics (visual analysis): Has registers. 1) papyrus over man's head -- represents lower Egypt, Namer unifying Egypt. 1) papyrus over man's head -- represents lower Egypt, Namer unifying Egypt 2) hieratic scale -- bigger figures more important 3) hawk -- represents Horus, unifying Egypt as divine will 2) hieratic scale -- bigger figures more important 3) hawk -- represents Horus, unifying Egypt as divine will o Context/Historical Significance:

19. Colossal Figure of Akhenaton, 1353-1335 BCE, Egyptian Art. [New Kingdom, Amarna Period/Dynasty 18].

o Function: Portray Akhenaten's power and status. o Subject Matter: akhenaten. o Style/formal characteristics (visual analysis): 2) False Pharaoh beard - Non-traditional characteristics: 1) Elongated body and facial features (androgynous features as well) 2) Suppleness of body, increased focus on naturalism 3) Pronounced belly (contributes to elongation and suppleness) 4) Fleshy naturalism of features 5) Androgynous body o Context/Historical Significance: - The new features on this statue mirrored Akhenaten's radical changes to Egyptian religion-- he replaced traditional gods with Aton, who was identified with the sun disk-- Akhenaten claimed to be the son and only prophet of Aton - Cultural changes -> drastic changes in art - However Akhenaten's changes did not last Amenhotep IV Aten/Aton Monotheism Prophet

15. Seated Scribe, ca. 2500 BCE, Egyptian Art [Old Kingdom, Dynasty 4]

o Function: Portraying scribe. Commemorate and revere the scribe himself and his importance in preserving Egyptian history. Serves a funerary purpose to help the scribe transcend into the afterlife. o Subject Matter: Scribe, belly fat, not a common laborer, wealthy and educated. o Style/formal characteristics (visual analysis): Red-painted skin, with human features to make him look alive and human. 2) red-painted skin -- red symbolic color of men. 1) inlaid crystal eyes -- catch the light, make him look alive. He is an educated, wealthy, non-commoner of the time. o Context/Historical Significance:

35. PRAXITELES. Aphrodite of Knidos. 480-323 BCE. Classical Greek Art [Late Classical].

o Function: Praxiteles made this sculpture to appear as if the viewer walked in on Aphrodite in a vulnerable and nude state. It was created for an honorable and sexual purpose. o Subject Matter: The subject is Aphrodite, as she is the largest focus, the narrative is that the viewer has walked in on Aphrodite before she bathes herself. The shower head next to her is a sign of the story told by the sculpture. o Style/formal characteristics (visual analysis): The hieratic scale has Aphrodite as the largest figure and therefore the main focus of the work. The sculpture has the typical characteristics of Classical Period Greece, with Aphrodite being one of the first accepted depictions of the female nude. (Prior to this the ideal and acceptable nude art was male dominated). Aphrodite has contraposto making her seem human-like and natural. The contraposto adds balance to the work as her right arm and left leg are relaxed and bent while the left arm and right leg counter that. Aphrodite is covering her pubic triangle, drawing attention to her female anatomy, adds sensuality to the sculpture. o Context/Historical Significance: Beginning of Venus, the ideal beauty for women, and her hand covering her pubic triangle draws the eye there, adding to the sense of sensuality. Also a break-through, since it made depicting the female body acceptable.

28. Warrior. 480-323 BCE. Classical Greek Art [Early Classical].

o Function: Represent ideal human. o Subject Matter: Warrior- a common subject for the High classical period- Gods, warriors, and athletes. o Style/formal characteristics (visual analysis): Hollow cast bronze. Made a mold and cast it with bronze. o Context/Historical Significance:v Hollow-cast Bronze Hollow Casting Tensile strength

51. Column of Trajan. Roman Imperial Art. 27 BCE-200 CE [look at details but I won't show them without the column]

o Function: Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senatem (it is unclear whether the Column was meant to serve a commemorative function or as a propaganda piece. Traditional scholarship held that the Column was a glorifying monument, upholding Trajan as Rome's great emperor). o Subject Matter: tells the story of the life and victories of trajan o Style/formal characteristics (visual analysis): The structure is about 30 metres in height, 35 metres including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble[a] drums, each weighing about 32 tons, with a diameter of 3.7 metres. The 190-metre frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides access to a viewing platform at the top. The capital block of Trajan's Column weighs 53.3 tons, which had to be lifted to a height of c. 34 metres. o Context/Historical Significance: he relief portrays Trajan's two victorious military campaigns against the Dacians; the lower half illustrating the first, and the top half illustrating the second. These campaigns were contemporary to the time of the Column's building. Throughout, the frieze repeats standardized scenes of imperial address (adlocutio), sacrifice (lustratio), and the army setting out on campaign (profectio). Scenes of battle are very much a minority on the column, instead it emphasizes images of orderly soldiers carrying out ceremony and construction. The two sections are separated by a personification of Victory writing on a shield flanked on either side by Trophies. Dacian

47. Second Style Wall Paintings, Villa of Publius Fannius Synistor, Boscoreale (recognize overall and detail), Roman Republican Art. 509-27 BCE

o Function: Room M of the Villa of P. Fannius Synistor at Boscoreale, buried by the eruption of Vesuvius in A.D. 79, functioned as a bedroom. o Subject Matter: o Style/formal characteristics (visual analysis): The rear wall shows rocky terrain with balustrades and an arbor above, a small cave or grotto sheltering a fountain, and a small figure of Hekate below. In the center of the wall, between two columns, a parapet embellished with a yellow monochrome landscape supports a glass bowl filled with fruit. The side walls of the room are symmetrical. Each wall is subdivided into four sections by a pilaster that defines the area of the couch and by two ornate columns. The paintings depict enclosed courtyards in which we glimpse the tops of statuary, rotundas, and pylons as well as vegetation. These precincts alternate with townscapes combining colonnaded buildings and projecting terraces. o Context/Historical Significance: 1) the frescoes depict columns that appear to expand into another room, giving the sense of a much larger, almost unending, space. 2) The facing long walls of the Metropolitan cubiculum are mirror images of each other, possibly by transfer, with variations. In addition, each is divided into four panels by painted columns.

32. Lapith Fighting a Centaur, metope from Parthenon. 480-323 BCE. Classical Greek Art [High Classical].

o Function: Show power Subject Matter: Lapith fighting a centaur, showing power and strength. o Style/formal characteristics (visual analysis): o Context/Historical Significance: Allegory Battle of the Lapiths and Centaurs (centauromachy)

50. Arch of Titus. Roman Imperial Art. 27 BCE-200 CE

o Function: The Arch of Titus is the oldest of the two remaining arches on the Forum Romanum. located on the Via Sacra, Rome, just to the south-east of the Roman Forum. It was constructed by the Emperor Domitian shortly after the death of his older brother Titus to commemorate Titus's official deification or consecratio and the victory of Titus together with their father, Vespasian, over the Jewish rebellion in Judaea. The arch contains panels depicting the triumphal procession after the Roman victory culminating in the fall of Jerusalem, and provides one of the few contemporary depictions of artifacts of Herod's Temple. It became a symbol of the Jewish diaspora, and the menorah depicted on the arch served as the model for the menorah used as the emblem of the state of Israel. The arch has provided the general model for many triumphal arches erected since the 16th century. The arch is also a political and religious statement expressing the divinity of the late emperor Titus. o Subject Matter: " o Style/formal characteristics (visual analysis): The arch is large with both fluted and unfluted columns, the latter being a result of 19th-century restoration. One panel shows the start of Titus victory triumph procession as it passes through the Porta Triumphalis to the Forum Boarium with the participants carrying booty from the Temple of Jerusalem after the sacking of the city. The other relief panel is carved in three-quarter view and has Titus riding a four-horse chariot (quadriga) and shows him being crowned by a personification of Victory. The goddess Roma stands in front. The two relief panels are significant in the history and development of Roman art, as they are the first full attempt by Roman sculptors to create the illusion of space. This is successfully achieved in several ways; the figures are portrayed in three-quarter view, the background figures are so rendered that they recede gradually into the distance, the central figures are carved in higher relief than those on the edges, and the whole panel is curved slightly inwards. Running around the whole arch is a small frieze. Set in the centre of each side of the archway is a keystone representing Roma and the Genius of the Roman People. The interior vault is coffered with a central representation of the deified Titus (apotheosis) being carried to the heavens by an eagle. Originally, the whole arch was finished off in customary style with a huge bronze quadriga which would have stood on top of the arch o Context/Historical Significance: " Forum Triumphal Arch Spandrels Attic Menorah Ark of the Covenant

24. Temple of Hera I, Paestum, 600-480 BCE. Archaic Greek Art (Image and Plan)

o Function: The Temple was dedicated to the Goddess Hera. Hera was the wife of Zeus and queen of the ancient Greek gods, represented the ideal woman and was goddess of marriage and the family. o Subject Matter: The Temple was dedicated to the Goddess Hera. Hera was the wife of Zeus and queen of the ancient Greek gods, represented the ideal woman and was goddess of marriage and the family. o Style/formal characteristics (visual analysis): The building is of the doric order, build in local sandstone and measuring c. 24.5×53.3m. As all Greek temples it is oriented E.-W. with the entrance to the E. o Context/Historical Significance: The Temple was dedicated to the Goddess Hera. Hera was the wife of Zeus and queen of the ancient Greek gods, represented the ideal woman and was goddess of marriage and the family.

3. Statuettes of Two Worshippers [or Votive statuettes], ca. 2700 BCE. Ancient Near East [Sumerian]

o Function: The function of these sculptures was to represent the person who commissioned them as praying, to represent that person praying all of the time, and never stopping. Religious function. o Subject Matter: The subject is the person who comissoned the piece, and religious. o Style/formal characteristics (visual analysis): 1) tiny-breasted woman -- de-emphasis on fertility 2) praying hands -- people would leave statuette to pray on their behalf; religious item 3) size of statuette depended on how much client was willing to pay o Context/Historical Significance: Religious and spiritual beliefs on afterlife at the time. Figures made for praying.

38. PHILOXENOS. Battle of Issus. 323-31 BCE. Hellenistic Greek Art.

o Function: The mosaic depicts the battle that took place in 333 B.C. between Alexander the Great and Darius III of Persia at Issus in the south of what is now the country of Turkey. Alexander the Great led his Greek and Macedonian forces to victory over the Persian army. It represented the Battle of Issus was a decisive Hellenic victory and it marked the beginning of the end of Persian power. It was the first time the Persian army had been defeated with the King (Darius III at the time) present. o Subject Matter: o Style/formal characteristics (visual analysis): The mosaic illustrates a battle in which Alexander faced and attempted to capture or kill Darius. Alexander defeated him at the Battle of Issus and two years later at the Battle of Gaugamela. The work is traditionally believed to show the Battle of Issus. The portrait of Alexander is one of his most famous. He is portrayed sweeping into battle at the left, on his horse and focusing his gaze on the Persian leader. Darius seems to be desperately commanding his frightened charioteer to flee the battle, while stretching out his hand either as a mute gesture to Alexander, or possibly after throwing a javelin. He has a worried expression on his face. tries to escape o Context/Historical Significance: The mosaic is believed to be a copy of an early 3rd-century BC Hellenistic painting. The mosaic is made of about one and a half million tiny colored tiles called tesserae. The color scale of Roman mosaics are extremely rich in gradation. The process of gathering materials for mosaics was a complex undertaking since the color scale was based solely on the pieces of marble that could be found in nature. The mosaic is an unusually detailed work for a private residence and was likely commissioned by a wealthy person or family. The fact that this scene was made to be viewed in the house of a Roman civilian reveals that Alexander the Great was more than just a heroic image to the Romans. Because Roman leaders followed after Alexander's image, Roman civilians also aspired to emulate the power he represented. It was the first decorative object a visitor would see upon entering that room. Tesserae (singular: tessera), King Darius III, foreshortening

9. Ashurbanipal and his Queen in the Garden, ca. 645-640 BCE. Ancient Near East [Assyrian]

o Function: The panel carving of Assurbanipal also shows his triumph and heroic existence. Behind the king on a table sits his sword, bow and arrows that he has put down after battle to relax. And for his battle trophy he has the head of an apparent enemy hanging in the second tree from the right. This signifies his overall heroic nature and majestic standing among his people. Although the head seems a bit too much, it is a warning to others who may want to bring war to him and his people. o Subject Matter: This panel depicts many people eagerly serving and surrounding an apparent affluent couple in a garden. The impression gained from Assurbanipal and His Queen in the Garden is that of a majestic, relaxing hero. This alabaster panel is a light brown hue of low saturation with the carvings in a peaceful low relief carving that does not jump out at the viewer. The blocks like figures in the panel draw the viewer's attention towards their focal point of the two figures at the right side of the image and the majestic presence. The lines of the vines that seem to wrap around the king and queen bring them more into focus. o Style/formal characteristics (visual analysis): The form of space in the panel carving is amazing. Although carved in low relief, the overlapping of the figures and objects in the foreground have a three-dimensional effect on the panel. This three-dimensional effect is highlighted even more with the overlapping of different elements by the king. There is some kind of table in front of the king, in the foreground. Behind this lays the king, in his relaxing pose with only his bed or couch having been covered by the table, as not to cover the majestic hero. The king then covers part of the vines that are surrounding the couple. o Context/Historical Significance: Assurbanipal and His Queen in the Garden is an example of Assyrian art from the Ancient Near East. This panel depicts many people eagerly serving and surrounding an apparent affluent couple in a garden. The impression gained from Assurbanipal and His Queen in the Garden is that of a majestic, relaxing hero.

44. Augustus of Primaporta. Roman Imperial Art. 27 BCE-200 CE

o Function: The sculpture was created to honor Augustus and justify his power, as well as portray him as a victorious, and noble leader. o Subject Matter: The hieratic scale is used in the sculpture, as Augustus is the main center or the attention, appearing larger than life and as the largest subject in the work. The cupid next to the dolphin sends the message Augustus "link" to the gods, as Cupid is the son of Venus, the Roman goddess of love. Julius Caesar, the adoptive father of Augustus, claimed to be descended from Venus and therefore Augustus also shared this connection to the gods. o Style/Formal Characteristics (Visual Analysis): The outstretched hand, Roman Orator pose, makes him appear as a noble and victorious leader. He is dressed in militant clothing making him have the look of a victorious and militant leader. The symbols next to him add to his credibility and are symbolic of his "ancestral" roots. o Context/Historical Significance: The sculpture was created to justify and honor Augustus' leadership, a common theme of the time.

7. Votive Statue of Gudea, ca. 2100 BCE. Ancient Near East [Lagash]

o Function: The statues were to represent the ruler in temples, to offer a constant prayer in his stead; offerings were made to these. Most of the statues bear an inscribed dedication explaining to which god it was dedicated. This artwork was created for political purposes and meant to respect the ruler. The audience is the citizens of Gutti. o Subject Matter: o Style/formal characteristics (visual analysis): The Statue is made out of diorite which is not an easy material for carving. There were many made like this one, suggesting the importance of the figure, Gudea. Gudea is either sitting or standing; in one case, he holds a water-jug au vase jaillissant. o Context/Historical Significance: divine poet & interpreter of dreams

52. Pantheon, Rome. Roman Imperial Art. 27 BCE-200 CE (know exterior and interior views)

o Function: The structure, a former Roman temple, "Pantheon" meaning "for all of the gods". It was created for worship and honoring of the Roman gods. o Subject Matter: The structure, a former Roman temple, "Pantheon" meaning "for all of the gods". It was created for worship and honoring of the Roman gods. o Style/formal characteristics (visual analysis): The Pantheon was made from concrete thus making it a stable structure, this also allows there to be an oculus at the top of the structure. The oculus is significant and the pantheon's oculus is completely open, therefore rain could get into the structure, because of this the pantheon has sloping sides in the perimeter of the floor to keep the rain/water controlled. The Pantheon has coffers (sunken panels in the dome ceiling), the coffers are a square shape. o Context/Historical Significance: The Pantheon was able to be preserved by being transformed into a Christian church.

53. Marcus Aurelius. Roman Imperial Art. 27 BCE-200 CE

o Function: This work was created to honor Marcus Aurelius and to present him as a powerful and wise leader. He is over-sized and bigger than the horse to once again make him appear powerful. o Subject Matter: The hieratic scale of the work suggests that the subject of the sculpture is Marcus Aurelius and his outstretched hand is a symbol of his power and victory as a leader. (Roman Orator pose) The size of Marcus Aurelius is also a symbol of his importance. o Style/formal characteristics (visual analysis): The statue is made from bronze, it was made from a mold that was filled with bronze. o Context/Historical Significance: The sculpture was one of the few survivors of the bronze statues, historically bronze sculptures were destroyed by christians, and due to the christians misclassifying this sculpture as the biblical dude Constantine, this sculpture was not destroyed.

17. Mortuary Temple of Hatshepsut, ca. 1473-1458 BCE, Egyptian Art [New Kingdom, Dyn. 18].

o Function: it both aggrandizes the pharaoh and includes sanctuaries to honor the gods relevant to her afterlife. o Subject Matter: The Egyptian monarch had the duties to honor their gods and pharaohs and preserve their memory until eternity through the construction of tombs and temples. Queen Hatshepsut was always aware of the ways to elevate her public image and immortalize her name, the Mortuary temple achieved both ends. She was the daughter of a very powerful god in Egypt and that's why she ruled as a man would. She ruled for about two decades. o Style/formal characteristics (visual analysis): Hatshepsut dressed as a man, and the color red, which represents power, is detectable in paint on a number of her statues in the temple. o Context/Historical Significance: Hatshepsut is arguably one of the most formidable women in ancient Egypt. After the death of her husband, Thutmose II, Hatshepsut served as co-regent to her nephew and stepson, the infant Thutmose III, who would eventually become the 6 th pharaoh of the 18 th Dynasty. The roughly 22 year reign of Hatshepsut is generally regarded as one of Egypt's most prosperous, and major accomplishments were achieved by this extraordinary pharaoh, including the construction of her mortuary temple in Deir el-Bahri. Regent Colonnade Post-and-lintel construction

27. Kritios Boy. 480-323 BCE. Classical Greek Art [Early Classical].

o Function: it is believed to be the creation of Krito, the teacher of Myron. With the Kritios Boy the Greek artist has mastered a complete understanding of how the different parts of the body act as a system. o Subject Matter: o Style/formal characteristics (visual analysis): The statue moves away from the rigid and stiff pose of the Archaic style. Kritios Boy presents a more relaxed and naturalistic pose known as contrapposto. This stance forces a chain of anatomical events: as the pelvis is pushed diagonally upwards on the left side, the right buttock relaxes, the spine acquires an "S" curve, and the shoulder line dips on the left to counteract the action of the pelvis. The statue is made of marble and is considerably smaller than life-size at 1.17 m o Context/Historical Significance: Contrapposto** engaged leg

54. Arch of Constantine, Rome. Late Antique—Roman, 200-527 CE

o Function: massive triumphal arch erected in c. 315 CE, stands in Rome and commemorates Roman Emperor Constantine's victory over the Roman tyrant Maxentius on 28th October 312 CE at the battle of Milvian Bridge in Rome. It is the largest surviving Roman triumphal arch and the last great monument of Imperial Rome. The arch is also a tour de force of political propaganda, presenting Constantine as a living continuation of the most successful Roman emperors, renowned for their military victories and good government sends a powerful message about victory and leadership o Subject Matter: " o Style/formal characteristics (visual analysis): The monument is an imposing 21 metre high and 25.6 m wide rectangular block of grey and white Proconnesian marble consisting of three separate arches: one larger central arch with a shorter and narrower arch (fornix) on either side. All three arches express the same ratio of height and width. Dividing the arches are four detached Corinthian columns in Numidian yellow marble, each stood on a pedestal and topped with an entablature. Above the entablature, and as it were extending the columns, stand four pedestals, each carrying a statue representing a Dacian prisoner. Even more colour was provided through the use of purple-red porphry as a background for the sculpted Hadrianic Roundels, four on each façade, green porphry for the main entablature frieze, Carystian green for the statue pedestals and Phrygian purple for the statues themselves. o Context/Historical Significance: " Battle of Milvian Bridge (312 CE) XP monogram= Chi Rho= Christos (The name of Christ) Edict of Milan (313 CE) Constantinople Spolia

34. Nike Adjusting Her Sandal, Temple of Athena Nike. 480-323 BCE. Classical Greek Art [High Classical].

o Function: on the eastern side represented a gathering of gods o Subject Matter: o Style/formal characteristics (visual analysis): The goddess Nike is tying or untying her sandal. Her position is very complex. Indeed, her torso is in a three-quarter position, her left leg is between the three-quarter and the profile while her right leg is in profile. She is haloed by her wings, forming two curves accompanying her arm. The goddess' wings amplify her back's curve and emphasize her head. Since the relief was painted, the visual effect might have been more striking. Her light clothing is see through. She has a heavier clothing, like a mantle on her left arm in a roll. o Context/Historical Significance: This relief, named Nike Adjusting her Sandal, was part of the temple of Athena Nike's south side parapet (409/6 BC). Nowadays, it is exhibited in the Acropolis Museum in Athens. Tactility

31. KALLIKRATES and IKTINOS. Parthenon, Acropolis, Athens. 480-323 BCE. Classical Greek Art (Image and Plan) [High Classical].

o Function: was an expression and embodiment of Athenian wealth, and it was a symbol of Athenian political and cultural preeminence in Greece in the middle of the fifth century. It was larger and more opulent than any temple that had been constructed on the Greek mainland before. Dedicated to Athena where they kept treasury o Subject Matter: o Style/formal characteristics (visual analysis): The Parthenon is a Doric peripteral temple, which means that it consists of a rectangular floor plan with a series of low steps on every side, and a colonnade (8 x 17) of Doric columns extending around the periphery of the entire structure. Each entrance has an additional six columns in front of it. The larger of the two interior rooms, the naos, housed the cult statue. The smaller room (the opisthodomos) was used as a treasury. It was built to replace two earlier temples of Athena on the Acropolis. o Context/Historical Significance: Work began on the Parthenon, built on the Acropolis, in 447 BC to replace an existing temple which was destroyed by the Persians in 480 BC and cost 469 silver talents to build. The work began under the orders of Pericles to show the wealth and exuberance of Athenian power. Caryatids