Egyptian - everything Flashcards
1
Q
A
- Tomb painting from Hierakonopolis
- 3,500-3,200 BC
- Cairo, Egypt
- painting of people on ships in Nile with animals
- no ground line
2
Q
A
- The Palette of Narmer
- 3,000 BC
- Cairo, Egypt
- Stone palette used fro make up
- ceremonial
- have ground lines, neat
- separate registers - zones
- sets up conventions of Egyptian art
- front side
- depicts the unification of upper and lower Egypt
- major figure is Pharaoh Narmer
- In royal palace
- profile head, fontal eye, frontal chest, profile legs, wearing crown of Upper Egypt, wearing mace - going to smite other man
- smaller servant in background
- papyrus plant - grown in Lower Egypt
- Hawk Horus - god of Upper Egypt
- Bull of Hawthorne at top
- fleeing figures on lower register
- other side
- 2 feline-like creatures with long, snake-like necks
- represent unification of upper and lower Egypt
- upper register
- pharaoh is largest person wearing crown of lower Egypt
- Hierarchy of scale = larger is more important
- walking with smaller figures towards group of dead bodies (defeat of enemy) with heads between legs
- lower register
- bull and defeated figure (bull represents pharaoh)
*
- bull and defeated figure (bull represents pharaoh)
- 2 feline-like creatures with long, snake-like necks
3
Q
A
- Hesire
- 2,650 BC
- Saqqara
- wood relief
- ground line, profile head, legs, frontal eyes, torso
- leading official - scribe
- wearing kilt like a pharaoh would
- holding staff - authority
- elaborate burial
- used grid for precise measurements
4
Q
A
- Mastaba tombs
- 3,000-2,190 BC
- Burial tombs
- chapel, false door (for underworld)
- serdab (chamber of statue of the dead)
- burial chamber
5
Q
A
- Stepped pyramid and funerary precint of King Djoser
- 2,630-2,611 BC
- Saqqara
- one mastaba on top of each other?
- step pyramid (like ziggurat)
- Imhotep - architect and 1st name of architect/artist in history
- pyramid is part of complex
- false structures, wall, courts, pavilions, funeral temple
- designed to give pharaoh what he needs in afterlife (pharaoh = god)
- elaborate entry ways
- piers with ends like columns
- looks like bundle of plants
- stone architecture for dead, non stone for living
- piers with ends like columns
- Ashlar masonry - cut blocks laid in courses (rows) and engaged columns - dressed masonry
- Engaged columns - attached to walls
- column tops (capitals) similar to papyrus plants, plants “translated” into stone
6
Q
A
- Pyramids of Gizeh
- Khufu - 2550 BC (largest)
- Khafre - 2500 BC (middle sized)
- Menkaure - 2475 BC (smallest)
- near nile river
- several components to complex
- valley temples, causeway, mortuary temple, pyramids
- Valley which held rituals
- ships made of wood - for pharaoh’s body
- precision in building pyramids
- quary stone on Gizeh plateau
- enormous blocks - organized labor
- pulleys and ropes and ramps
- enormous building
- various chambers inside
- ramps lead up to king’s chamber
-
Egyptian statue characteristics
- absolutely frontal
- utterly immoble
- perfectly calm
7
Q
A
- The Great Sphinx
- 2,500 BC
- Gizeh
- statue of lion body with pharaoh head
- carved out of natural rock
- has features of ideal figure - evokes eternity
- representation that Ka can identify in afterlife
- Ka - spirit
- representation that Ka can identify in afterlife
8
Q
A
- Statue of Khafre
- 2,500 BC
- Gizeh
- absolutely frontal, utterly immobile, perfectly calm
- kind of relief sculpture
- papyrus reeds below, hawk protecting head
- symmetrical
- evokes eternity
9
Q
A
- Menkaure and his wife, Khameremebty
- 2475 BC
- still, calm
- homes for Ka
10
Q
A
- Seated Scribe
- 2400 BC
- Saqqara
- Less favorable features, less perfect, sagging chest, protruding belly, less formal
- lower level than pharaoh
11
Q
A
- Bust of Prince Ankhhaf
- 2500 BC
- Gizeh
- signs of age, balding, tired eyes, fuller face
- not pharaoh - shown more realistically
- limestone, plaster, paint
12
Q
A
- Ti Watching a Hippopotamus Hunt, relief in the tomb of Ti
- 2,400 BC
- Saqqara
- Watching hippopotamus hunt
- viewed from side (Nile) like aquarium
- Ti doesn’t have emotion - going to be preserved in time
- vertical fans turn into papyrus at top
- papayrus inhabited by plants and animals
13
Q
A
- Cattle Fording a River, relief from tomb of Ti
- 2,400 BC
- Saqqara
- men leading cattle across river
- lower half/register
- boy carrying calf - posture modified
- mother is middle cow w/ head looking up at her calf - shows bond between cows
14
Q
A
- Fragmentary head of Senusret III
- 1860 BC - Middle Kingdom
- look of concern, furrowed brow
- looks fatigued, anxious
- new demension in Egyptian art - emotion
15
Q
A
- Rock-cut tombs, Beni Hasan
- 1950-1900 BC - Middle Kingdom
- tombs carved out of “living” (natural) rock
- rough rock combined with architecture
- post and linel
- columns - flat faces around and blocks at top (abicus)
- do nothing structurally
- anticipation of Roman arch
- built for Pharaoh’s burial
- some columns don’t support ceiling
- false door - underworld/ discourage invaders
- hieroglyphics
16
Q
A
- Funerary Temple of Queen Hatshepsut
- 1500-1070 BC
- Deir el-Bahari
- funerals held there
- Senmut - architect
- leads into natural cliff - one with stone? eternity?
- inviting ramps in center
- relief columns
- frontality of building - like pharaoh’s statue
- ramps on central axis (axial approach)
17
Q
A
- Hatshepsut, from upper court of her mortuary temple
- 1550-1070 BC (1470 BC)
- Deir el-Bahari
- free standing statue
- destroyed but reconstructed - by later pharaoh
- Hatshepsut became pharaoh and took on role with male clothes and false beard
18
Q
A
- Senmut with Princess Nefrura
- 1550-1070 BC (1470-1460 BC)
- Thebes
- block statue of Senmut and Hatshepsut’s daughter
- cloak wrapped around both of them
19
Q
A
- Temple complex of Amun-Mut-Khonsu
- 1550-1070 BC
- Luxor
- architecture:
- long length
- avenue of sphinxes
- entrance flanked by pylon (figures) - important
- open air courtyard surrounded by colums
- hypostyle hall
- chamber of the bark - boat where kings body sails out
- storerooms
- sanctuary
- colossal statues of pharaohs on side
- columns define processional route
-
Hypostyle hall:
- large columns on sides
- larger columns in middle
- roof in middle is taller than roof on sides
- grill work in between - clerestory zone
- allows light to come into central room - clerestory light
- roof in middle is taller than roof on sides
- Temple of Ramses II, Abu Simbel
- Stone pillars with Ramses dressed as Osiris - shows power
- large stone figures on outside - show power
20
Q
A
- Nebamun Hunting Birds, Tomb of Nebamun
- 1550-1070 BC
- Thebes
- similar to tomb of Ti
- aquarium view of water, large figure, birds flying above
- Nebamun - largest (most important)
- with wife (smaller) and daughters (even smaller)
- Nebamun actively participating in scene
- throwing stick in one hand, 3 birds in another
- cat grabbing birds
- Nebamun enjoying afterlife
21
Q
A
- Banquet Scene, Tomb of Nebamun
- 1550-1070 BC
- Thebes
- higher register
- party with many people
- formal postures
- lower register
- 4 musicians - 2 facing forward
- 2 dancers - informal treatment of posture
- suggests motion - very different than traditional Egyptian art
- shows that Egyptians chose to create the conventions that showed up in art
22
Q
A
- Akhenaton (Amenhotep IV)
- Amarna period - 1353-1335 BC
- Cairo
- statue is curvey and more realistic and weak-looking
- Akhenaton moved captial and changed the religion from worshipping Amen and other gods to worshipping the disk-shaped god of Aton
- appearance of statue suggests displeasure with pharaoh by artist
23
Q
A
- Nefertiti
- 1353-1335 BC - Amarna Period
- Cairo
- Unfinished? or is right pupil not painted to show progression in art for students?
- wife of Akhenaton
- beautiful face
- exaggerated neck
24
Q
A
- Queen Tiye
- 1353-1335 BC - Amarna Period
- Cairo
- Akhenaton’s mother
- wears weird wig on head
- addition later
- evident inlaid eyes
- evidence of age
- very small size
25
Q
A
- Akhenaton, Nefertiti, and three daughters
- 1353-1335 BC - Amarna Period
- Cairo
- all sitting informally
- casual scene at home
- god Aton is shining rays on family
-
sunken relief - edge carved away instead of entire background
- more efficient than regular relief
26
Q
A
- Tomb of Tutankhamen
- 1550-1070 BC (1313 BC)
- Valley of the Kings
- Discovered by Howard Carter
- Face of mummy covered by death mask
- made of gold with pharaoh headdress
- frontal pose
- tomb entrance was sealed shut
- found many luxury items
- Egyptian thrown
- aton disk with Tut and wife
- casual postition
- Ebony wooden stool
- Egyptian thrown
- found many luxury items
- found burial chamber
- 5 boxes around 3 coffins
- mummy of Tut found inside
- Painted chest - Tut defeating Asian enemies - Egyptians in neat registers, enemies in chaos
27
Q
A
- “White Temple” on ziggurat
- 3500-3000 BC - Protoliterate Period
- Uruk
- ziggurat - tall platform - high to reach gods (gods are up high)
- built out of mud bricks - didn’t have stone
- sun dried mud brick
- temple on top
- bent-axis approach (contrast to strick axiality of Egyptians)
- have to walk all the way around temple to get to entrance
- Cella - central religious/sacred chamber
28
Q
A
- Statues of Gudea
- 2125-1750 BC - Neo-Sumer and Babylon
- Girsu
- devoted to gods and piety
- hands clasped in prayer
- holding jar with water flowing out and fish swimming in it - represent being thankful to water of rivers/gods
- temple plans on lap
- serving gods by building temple for them
29
Q
A
- Stele with code of Hammurabi
- 2125-1750 BC - Neo-Sumer and Babylon
- Inscribed laws given by God Shaymash that were written by Hammurabi
- Shaymash sitting, giving Hammurabi a rod and ring
- Rod and ring are symbols of measuring rod and rope
- measure people’s lies and honesty
- Hammurabi looks respectful while standing
- signals authority to govern and judge
- Rod and ring are symbols of measuring rod and rope
30
Q
A
- Female Head (Inanna?)
- 3500-3000 BC - Protoliterate Period
- Uruk
- marble head - imported from other land
- body possibly made from wood / other materials
- eyebrows and eyes inlaid with shells and black stone
- sensitivity created, soft curves
- disappeared in 2003 but discovered
31
Q
A
- Warka Vase (Alabaster Vase)
- 3500-3000 BC - Protoliterate Period
- Uruk
- depicts goddess Inanna
- arranged in registers
- relief
- made of alabaster stone
- lowest register
- water of river (Euphrates)
- next register
- plants, land, animals walking
- next register
- humans walking (gathering for sacrifice)
- upper register
- humans giving Inanna vase
- Profile and composite figures
- oldest example of Sumerian narrative art
32
Q
A
- Statuettes from Abu Temple
- 3000-2340 BC - Early Dynastic Period
- Eshnunna
- some big, some small
- all have attitude of worship
- hands onf chests and clasped together
- they are stand-ins for people to convince citizens of piety
- 2 largest
- stand on circular pedestools, have circular clothes
- emphasized circular shape
- garments are conical (cone-like)
- abstract shapes
- ankles are rectangular
- elbows and arms create triangle
- have flat faces with features stuck on
- extremely large, dialated eyes, wedge-like eyes, cylindircal neck
- eyes are large for religious purpose - shows that they have an unyielding worship for the gods
33
Q
A
- Stele of the Vultures / Victory Stele of Eannatum
- 3000-2340 BC - Early Dynastic Period
- Girsu
- Stele - upright slab of wood or stone on which appears writing, painting, sculpture, or all of them
- Vultures are carrying heads of deafeated enemies, king goes out with infantry and crush the men of Uma, below King in chariot with spear with infantry behind them
- King Eannatum was very pious
- didn’t take credit for defeat of enemies
- gives credit to god, Ningirsu
- Ningirsu holds net of small figurines - defeat
- work of narrative, reason for war explained, religious document
34
Q
A
- Harps and detail
- 3000-2340 BC - Early Dynastic Period
- Royal Cemetery, Ur
- Bull headed harps
- blue stone - lapis azule beard
- gold head
- inlaid scenes of animals playing instruments
- animals are animated because music is animated
- bull represents power/male dominancy
35
Q
A
- “Standard of Ur”
- 3000-2340 BC - Early Dynastic Period
- Royal Cemetery, Ur
- banquet on one side, battle on other
- battle
- capturing enemies, leading captures to king
- banquet
- with kings (larger) with attendees and musicians and animals
- rounded forms
36
Q
A
- Stele of King Naram-Sin
- 2340-2180 BC - Akkadian Period
- Susa
- King wearing horned crown gods normally wear
- gave himself god attributes
- arrogance of king
- seen as equal to gods
- humans below king asking/begging to be spared
- king carries military attributes
37
Q
A
- Head of an Akkadian ruler
- 2340-2180 BC - Akkadian Period
- Nineveh
- interesting texture
- long, plaited hair, different textures
- statue intentionally punished
- ear severed, eye poked out (Hammurabi’s Code)
- Showed conquering of statue
- Iconoclasm
38
Q
A
- Cycladic figurine
- 2500-2300 BC - Cycladic Art
- Syros
- made of marble
- angular, triangular components
- abstract form to depict human
- no facial features
- in interest in showing details
- figurine of a woman
- some other similar figurines were found in graves
- many were discovered illegally to be sold in the art market - so we don’t know a lot about them
- could be for fertility or afterlife
- there are a great number of forgeries
39
Q
A
- Lyre Player for Keros
- 2500 BC - Cycladic Art
- Keros
- more complex
- figure sitting in open back chair playing open lyre
- a lot of open space on inside of sculpture
- musician throwing head back - movement and emotion
- similar to seated sculpture of Khafre
- Khafre more solid, no movement, more detail, more angular and rigid, much larger
- Lyre player more round and free
- similar to seated sculpture of Khafre
40
Q
A
- Kamares Ware jar
- 1800-1400 BC - Minoan Art
- Phaistos
- pottery jar with light detail/art on dark background
- art tells of being near water
- fish, spiral decorations, wavy lines (animates pot)
- spiraliform - spiral form decorations
- repetition of lines (motif)
- tortion/twisting
41
Q
A
- Octopus Vase
- 1800-1400 BC - Minoan Art
- Palaikastro
- dark on light decoration
- spiraliform
- repetition of forms
- tortion - tentacles going in multiple directions
- octopus at oblique angle
*
42
Q
A
- Palace of Minos at Knossos
- 1800-1400 BC (1700-1400 BC) - Minoan Art
- Knossos, Crete
- terraced terrain
- multiple stories, stairways
- light wells allow light to illuminate insides
- columns to support ceiling
- wooden, painted red and black, bulging capital, abacus, narrower at bottom wider at top
- tricky architectural plan, a lot going on
- theater area?
- proto-drama?
- sidewalks
- irregular exterior form
- many corridors and rooms - like labyrinth
- central court
- elaborate entry ways
- storage areas
- ritual enter - processions
- similar design to vases
- linear scripts found in palace - records
- theater area?
- bull is important motif
43
Q
A
- Woman or goddess, fresco
- 1800-1400 BC (1450-1400 BC) - Minoan Art
- Palace of Minos at Knossos
- fresco - painted on wet plaster
- shows elegant woman with nice clothes, long hair, lipstick, central eye on profile head
44
Q
A
- “Snake Goddess”
- 1800-1400 BC - Minoan Art
- Knossos
- depicts priestest favoring goddess
- exaggerated pinched waist (wasp waist)
- open bodice garment - fertility
- failance material
- reaching arms out holding snakes - movement
- symbolic of rebirth
- focused wide-eyed expression
45
Q
A
- Young god?
- 1800-1400 BC - Minoan Art
- Palaikastro
- wasp waist
- broad shoulders
- detail in hand is extensive - veins and muscles
- gold and ivory sculpture
46
Q
A
- Bull Leaping Fresco
- 1880-1400 BC (1450-1400 BC) - Minoan Art
- Palace of Minos at Knossos
- a lot of modern reconstruction
- depicts bulls and powerful males and females
- males = strength, females = fertility
- 3 athletes leaping over bull that is moving foward
- bull has characteristic gallop
- flying gallop - all 4 legs in air
- 2 figures on ends frame scene, middle figure emphasizes movement
- bull has characteristic gallop
47
Q
A
- Harvester Vase from Hagia Triada
- 1800-1400 BC (1450-1400 BC) - Minoan Art
- Hagia Triada
- depicts harvest ritual
- soft stone
- each face has different expression
- leader has distinctive clothing
- those in procession carry winnowing fans and Egyptian sistrum - rattle
- shows connections with other cultures
- shows underlying skeletal structure
48
Q
A
- Landscape frescoes
- 1800-1400 BC (1650 BC) - Minoan Art
- Akrotiri, Thera
- shows volcanic colors - vibrant
- lilies on top of hills
- swirly pattern (birds, plants)
49
Q
A
- Citadel at Tiryns
- 1600-1200 BC - Mycenean Art
- well walled/fortified
- defensive site
- galleries with corbled arches
- built by cyclops? (Cyclopian architecture)
- difficult to get into, gates, propylon
- Megaron - 3 part structure, is one with rest of palace but distinctive - thrown room
- minoan wooden columns for support
- ceremonial, functional, storage facilities
50
Q
A
- Citadel of Mycenae 13th century BC
- 1600-1200 BC - Mycenean Art
- Mycenae
- well fortified
-
Lion Gate - 1250 BC
- entrance is defensible
- comparison to Ishtar Gate
- post and lintel contruction
- left relieving triangle on top of lintel
- closed up with decoration of lions standing up facing each other on altar without heads
- displays message that “we are strong and fortible and on the inside we are just as strong as lions”
- closed up with decoration of lions standing up facing each other on altar without heads
51
Q
A
- Ziggurat, Ur
- 2125-1750 BC - Neo-sumer and Babylon
- one of the largest ziggurats every built
- baked-bricks laid in bitumen
- three pairs of steps
52
Q
A
- Menthuemhet
- 660-650 BC
- Karnak
- realistic face and ideal body
- longevity of stylistic modes in Egypt
53
Q
A
- Shaft Graves
- 1600-1200 BC - Mycenean Art
- Funeral Mask - not worn by corpses (self-portraits?)
- Gold mask from Grave Circle at Mycenae
- circular head, jolly, more relief
- specific technique - carve/push out from back to form relief in fron (usually gold)
-
Inlaid Dagger
- inlaid decorations of hunters hunting lion
- animated figure resembles Minoan art
- lions running in flying gallop - contact between Minoans and Myceneans
54
Q
A
- Female Head (Sphinx?)
- 1600-1200 BC - Mycenean Art
- Mycenae
- contact with Egypt?
55
Q
A
- Treasury of Atreus
- 1600-1200 BC - Mycenean Art (13th Century BC)
- Corbled arch
- courses of stone gradually coming in - corbeled dome
- Tholos tomb (beehive tomb)
- side chamber with same architecture as entrance
56
Q
A
- Warrior Vase
- 1600-1200 BC (1200 BC) - Mycenean Art
- Mycenae
- row of warriors going out with person bidding goodbye
- signals that army is strong and used a lot in Mycenae because there are soldiers
57
Q
A
- Geometric Krater from Dipylon Cemetary
- 800-700 BC - Geometric Art (750 BC)
- Athens
- Greece has great clay abundance
- funerary object to cover clay
- bottom knocked out to pour offerings for dead
- shape was designed to mix wine and water but not in this case
- Geometric shapes at top and middle-bottom
- 2 figural friezes (registers)
- humans in geometric forms
- first example of Greek exploration of human body
- figures mourning abou figure on bier (table) who is dead
- women pulling on their hair out of grief
- triangle torso - frontal though head and legs are facing either right or left
- one big frontal eye
- figures placed out to see dead - takes place at home
- Theme of krater fits purpose
- deceased could be soldier
58
Q
A
- Hero and Centaur
- 800-700 BC (700-730 BC) - Geometric
- very small
- could hero be Herakles fighting centaur?
- composite animal - 2 or more animals combined
- shows mythology?
- centaur only horse in back
- artists regaining their skills
59
Q
A
- Mantiklos Apollo
- 700-600 BC - Orientalizing
- Thebes
- Shares characteristics with Hero and Centaur
- a little more advanced
- triangular torso and neck
- Geometric
- tube-like hair
- face is a little less geometric but still triangular
- looks a little bit more human
- inscription on legs
- wearing chest plate (warrior?)
- Mantiklos gave statue to Apollo
- could have been holding bow and arrow
- “speaking” statue - given to Apollo in order to gain something in return
- interesting relationship between gods and humans
- set up a deal with gods
- interesting relationship between gods and humans
60
Q
A
- Corinthian black-figure amphora
- 700-600 BC - Orientalizing
- Rhodes
- round, loaded with geometric designs though not quite as geometric as before
- many rosettes like Ashurbanipal fresco
- motifs like lions from Mesopotamia
61
Q
A
- Temple A
- 700-600 BC - Orientalizing
- Prinias, Crete
- Small temple
- had porch, thick columns, cella, sculpture over entrance (lintel)
- looks very similar to Megaron in Mycenean architecture
- was it carried on from Mycenean times?
- Lintel - female lions, very detailed floating figures on bottom, seated figures at top
62
Q
A
- Lady of Auxerre
- 700-600 BC - Orientalizing
- exploration of the female body - clothed
- “Daedalic style” - Daedalis built labyrinth at Knossos
- triangular face
- Geometric design on dress
- big feet and hands
- goddess or priestest
- lacks headdress and is in praying position
- first step in treating female body
63
Q
A
- Sounion Kouros (New York Kouros)
- 600-480 BC - Archaic
- Athens
- stance like Egyptian statues
- not realistic
- abstract shapes - groin to under rib cage make diamond shape
- flat faces
- eyes stuck on surface
- ears are flat
- similar to Menhotep statue
- different in that there is little stone between arms and legs
- frees the statues
64
Q
A
- Kroisos (Anavysos Kouros)
- 600-480 BC (530 BC) - Archaic
- Athens
- depicts youth warriors who died in battle
- could be funerary marker, gift to gods
- very realistic - move more rapidly towards realistic portrayal of humans
- has an “archaic smile”, long hair, rigid stance
65
Q
A
- Calf-Bearer (Moschophoros)
- 600-480 BC (560 BC) - Archaic
- Athens
- Old man (beard)
- not nude
- carrying calf - his arms and the arms of calf make x shape
66
Q
A
- Peplos Kore
- 600-480 BC (530 BC) - Archaic
- Athens
- woman figure wearing drapery
- more realistic than Lady of Auxerre
- “sister” of Calf-Bearer
- wearing 3 items of clothing
- chiton, cape, peplos
- belted waist, earings
- color still in hair - buried soon after being made
- long hair
- beautiful almond face
- frontal pose
67
Q
A
- Kore from the Acropolis
- 600-480 BC (510 BC) - Archaic
- wears chiton and himation
68
Q
A
- Temple of Hera I
- 550 BC
- Paestum, Italy
- early version of capital of column
- sagging and more rounded
- 3 columns in anits
- odd number in colonnade (normally even)
- experimental temple
69
Q
A
- Temple of Artemis at Corfu
- 590 BC
- Corfu
- sculpture from the west pediment; gorgon (Medusa), Pegaus, Chrysaor
- depicts Medusa Gorgon with snake hair, snake belt, and running - maybe from Perseus
- Perseus cuts her head off
- from her neck sprang Pegasus and Chryseor (son)
- Perseus cuts her head off
- Medusa is Apotropaic - turns away evil
- this is why it is on temple - serves as protection
- Medusa is running in stylistic way
- left leg and arm are both in front
- felines surround Medusa
- have spiral forms on them - lingering elements from Geometric age
- smaller figures
- one gy getting hit by arrow - Pyrons in Trojan War
- 2 figures fighting
- Zeus and giant fighting
- small figure laying in corner (dead soldier)
- challenging for sculpter to fit sculpture in triangle shape (pediment)
-
Pediment Problem
- theme, scale, action, time, place, and relate to temple
70
Q
A
- Temple of the Siphnians
- 530 BC
- Delphi
- Place to hold gifts for gods
- instead of columns there are statues of two women that support pediment in antis
- caryatids in pronaos
- Ionic frieze - Battle between Gods and Giants
- Peracles
- goddess on chariot pulled by lion biting into giant
- Apollo and Artemis
- dealing with the human body in movement
- shows depth by overlapping figures
71
Q
A
- Temple of Aphaia
- west pediment - 500-490 BC
- east pediment - 490-480 BC
- Can see columns on front and side at same time
- has ramp going up to it (weird)
- Doric order, 6 colums in front, 2 columns in antis
- open space in middle of colonnade
- Battle theme in pediment
- all on theme, all different types of positions and movement
- shows muscle structure, motion, and tension in body
-
west pediment - fallen soldier - looks happy because it has an archaic smile
- also has rubbery looking leg
- solves pediment problem
- figures are all the same scale but are in different positions to fit space
- doesn’t necesarily relate to temple
- In middle - Athena
- East pediment
- fallen soldier from east pediment looks more realisitic
- is looking straight down so seems more appropriate but still has archaic smile
- more muscle definition - arms are being used
- shows how much art had progressed in those ten years
72
Q
A
- Francois Vase, Kleitias and Ergotimos (attic black-figure volute krater)
- 570 BC
- Attica region in Greece
- volute krater - handles look like volutes in ionic columns
- scene of lapiths fighting against centaurs at wedding - centaurs got drunk and tried to take bride and women
73
Q
A
- Exekias, Attic black-figure amphora
- 540-530 BC
- one of greatest vases ever made
- scene pertaining to Trojan War
- Achilles and Ajax playing dice
- are ready to go into battle if needed
- arches of back allude to curve of vase
- dialogue
- very detailed clothing
- height of incision in Greek vase art
74
Q
A
- Andokides Painter, Attic bilingual amphora
- 525-520 BC
- same scene as Exekias vase but on side is black-figure, other is red-figure
75
Q
A
- Euphronios, Attic red-figure calyx krater
- 510 BC
- different shape krater (like a flower)
- scene between Herakles and Earth giant
- garments on women are same as archaic garments
76
Q
A
- Euthymides, Attic red-figure amphora
- 510 BC
- all different positions
- contorted bodies
- Euthymides was very proud
- inside depicted dancers and musicians
- bottom of inside - guy throwing up from drinking too much wine
77
Q
A
- Kritios Boy
- 480 BC
- Acropolis, Athens
- has shorter display of hair - tied up
- inlaid eyes
- no archaic smile
- head more propartional to body
- not standing up straight
- head slightly turned
-
contropossto - stance with shift of weight
- one hip higher than the other
- revolutionized statue - natural posture in statues
78
Q
A
- Delphi Charioteer
- 470 BC
- Sanctuary of Apollo Delphi
- bronze sculpture is started to be used more
- depicts charioteer who just won chariot race
- Greek artists like to depict moment right after violent action
- very calm face - lips are almost pouting
- idealized young face - heavy jaw line
- wears long belted garment
79
Q
A
- Zeus, from off Cape Artemision
- 460 BC
- Delphi
- depicts moment right before action
- delicate balance
- Bronze - marble is too heavy for pose
- defined muscles
- older man - beard
80
Q
A
- Myron. Diskobolos (Discus Thrower)
- 450 BC
- Marble - Roman copy
- original was bronze but it is lost
- physical body is expanded - takes up space
- 2 arcs that draw the eyes
- flexed muscle, rib cage shown
- calm face - humans are perfectable into god-like status
81
Q
A
- Polykleitos, Doryphoros (Spear Thrower)
- 450 BC
- Roman Marble copy (original bronze doesn’t survive)
- fuller contropossto
- sloping shoulders, weight leg
- perfect anatomy
82
Q
A
- Temple of Zeus at Olympia
- 470-456 BC
- Olympia, Greece
- in ruins - from earthquake
- Pantheletics - many treasuries and athletic games
-
East Pediment, Chariot race between Pelops and Oinomaos
- 3rd example at solving pediment problem
- Iconography - practice of “reading” what is “written” in images
- Chariot race: Pelops and Oinomaos
- wedding: Pelops and Hippodameia (daughter of Oinomaos)
- Oinomaos doesn’t want his daughter to get married
- so he challenges suitors to chariot races that are rigged for him to win
- loser is killed
- Pelops was suitor of Hippodameia
- bribed Mertilops into sabotaging the King’s chariot
- Pelops wins but then kills Mertilops
- Mertilops curses Pelops
- so he challenges suitors to chariot races that are rigged for him to win
- Theme - athletic - relates to Olympia
- Location - Peloponesian peninsula
- all same scale
- all doing the same thing - waiting for the race to begin
- time - right before race
- fits temple - Zeus in middle - Temple of Zeus
- corner - dying soldier, dead soldier, river personification
- geographically frames scene
- older individual shows expression of shock and knowing what will happen - looks older - beard, bold, flabby stomach
- river personification - back is carved to perfection
- wanted temple to be perfect
83
Q
A
- Parthenon
- 447-438 BC (construction finished in 432 BC)
- Athens: the Acropolis
- dedicated to Athena
- 8 columns in front (normally 6)
- most structures in acropolis were built after Persian War
- Pericles - leader of Athenian Democracy
- Phidias - builder/sculptor of Parthenon
- Parthenon partially destroyed in 1687 from explosions
- Entrance of temple on opposite side (east) than entrance to Acropolis - forces you to walk around it.
- formula - y = 2x + 1 - for width and length
- material is marble
- steps to stylobate
- columns with flutes - arris
- refinements - none of the columns stand up straight - lean slightly in
- stylobate is curved - makes it look straight
- large cella with colonnade around it and Athena statue
- inside back room are 4 ionic columns - most of the temple is doric style
- West pediment - battle between Athena and Poseidon
- East pediment - birth of Athena
- Chryselephantine - made of gold and ivory - like Athena
- Metopes: battle scenes - gods and giants
- Ionic frieze: panathenaic procession
- Metope - Centaur beating guy
- Ionic friezes tie building together
- cavalry men on horses
- overlap of all elements - legs of humans and horses
- Gods sitting quietly and peacefully following procession - on East side
- perfection of body
84
Q
A
- West Pediment of the Parthenon
- 432 BC
- Athens
- Contest between Athena and Poseidon
- Athena gave olive tree
- Poseidon gave salt spring and trident marks in Acropolis
- Athena wins - city-state named after her
85
Q
A
- East Pediment of the Acropolis
- 432 BC
- Athens
- birth of Athena - Mount Olympus
- born fully formed out of the head of Zeus
- time - dawn
- action - all the same
- scale - all the same
- theme - birth of Athena for Temple of Athena
- chariot of sun rises in left corner and chariot of moon descends in right corner
- shows that it’s morning
- corner goddess
- shows what sculptors could do with drapery
- exploration of the female body
- drapery draws eyes to right of pediment
86
Q
A
- Erechtheion
- 421-405 BC
- caryatids replace columns
87
Q
A
- Temple of Athena Nike
- 410 BC
- Acropolis
- lots of statues of Athena
- one of Athena adjusting her sandel
- depicted very graceful - although very awkward pose
- beautiful drapery
- wet drapery - clings to her body
- one of Athena adjusting her sandel
88
Q
A
- Corinthian capital and the Corinthian order
- acanthus plant - what it’s modeled off of
- invented by Killimachos
89
Q
A
- Temple of Apollo at Bassae
- mid-late 5th century
- built by Iktinos
- first temple with use of corinthian order
- only one corinthian column
90
Q
A
- Tholos, Epidauros
- 350 BC
- second use of corinthian order
- doric order on outside
- inside whole row of corinthian order
91
Q
A
- Monument of Lysikrates
- 334 BC
- 3rd use of corinthian order
- on exterior
- from now on, corinthian columns are always on the exterior of buildings
92
Q
A
- Theater, Epidauros
- 350 BC
- Polykleitos the Younger
- over half circle
- perfect accoustics
- used natural formation of land (hills/mountains) for seats
- cavea - seating area
- orchestra - circular playing area
- skene - scene building (backdrop)
94
Q
A
- Stoa of Attalos II
- Agora, Athens
- rebuilt in the 1950s
95
Q
A
- Aphrodite from Knidos
- 480-323 BC - Classical
- Praxiteles - sculptor
- first statue to depict a female nude (especially a divine god)
- was thought as disrespectful to appointed city
- so Knidos took it
- Praxiteles thought it through
- Aphrodite is taking a bath
- discretely covers part of herself
- place in round temple to be seen from all sides
- raised a lot of issues
- sexually charged image
- emphasizes contropossto
96
Q
A
- Hermes with the Infant Dionysos
- 480-323 BC - Classical
- Roman Copy
- leanes over so far left that he needs to lean on tree trunk
- late classical - takes classical modes and pushes them
- has baby on his left arm - baby Dionysos
- dangling grapes infront of him
- arms extend out into space
- smooths out lines that distinguish parts of the body - refinement for interest
97
Q
A
- Herakles
- 480-323 BC - Classical
- Skopas - sculptor
- Just the head
- really deeply set eyes - calls our attention
- causes deep shadows
- greater intensities of features characterize works of Skopas
98
Q
A
- Grave Stele of a young hunter
- 480 - 323 BC - Classical
- deceased man in extreme contropossto
- with father and little boy on either side looking sad
- extremely high relief
- very deep set eyes
- emotional quality
99
Q
A
- Apoxyomenos (Scraper)
- 480 - 323 BC - Classical
- Lysippos - sculptor
- Roman copy
- athlete scraping off after working out
- reaching out into space
100
Q
A
- Weary Herakles
- 480-323 BC - Classical
- Lysippos - sculptor
- exaggerated contropossto
- leaning on club
- holding apple behind back
- problem - more of a roman sculpture
- overly muscled, built for a Roman emperor to put in center of athletic area
101
Q
A
- Gnosis, Stag Hunt (pebble mosaic)
- 480-323 BC - Classical
- Gnosis - mosaicist
- Pella, Greece
- 2 hunters, stag
- 3 figures fit into shallow landscape (mosaic was on floor)
- mosaicist has the done same things as painters
- shading
- foreshortening - depicting something at an angle that shows depth
- Gnosis is very proud that he could do this
- limited colors - worked with pebbles
102
Q
A
- Hades abducting Persephone
- 480-323 BC - Classical
- Vergina
- wall painting from tomb at Vergina
- Hades in chariot (that is foreshortened)
- grasped Persephone to be his bride in the underworld
- her garments and hair are flying in the wind
- shading in drapery and in face of Hades
103
Q
A
- Head of Alexander the Great
- 323-31 BC - Hellenistic
- Pella
- angling head on neck
- head turned, eyes looking over shoulder
- plenty of motion
- gives idea of Alexander - not exact portraiture
- compare head with Kritios Boy Doryphoros
104
Q
A
- The Alexander Mosaic (Battle of Issus?)
- 323-31 BC - Hellenistic
- Pompeii
- drama between Alexander and Darius III
- Looks like Alexander and Darius are looking at each other but they are not
- Persian infantry trying to get king away from danger
- shows emotion from danger
- shows drama of battle
- perfect depiction of hindquarters of horse in perpendicular position
- Alexander is actually looking at Persian getting speared by his spear
- Darius is looking at the same thing
105
Q
A
- Didyma, Temple of Apollo
- 323-31 BC - Hellenistic
- very large scale
- base goes up to waist
106
Q
A
- Pergamon; Model of the city
- 323-31 BC - Hellenistic
- Asia Minor
- city plan
- theater buit on slope at center
- everything else fanned out around it
- dramatic plan
107
Q
A
- Altar of Zeus
- 323-31 BC - Hellenistic
- Pergamon, Asia Minor
- Columns, frieze
- frieze moved to lower level in order to be seen
- very large 7 feet tall figures
- a lot of activity
- engaging in same space as humans
- gods and giants battle
- writhing bodies
- Athena fighting several Earth Giants at once
- Nike/Victory is crowning Athena with victory crown
- exaggerated bodies - muscles
- shows that greek gods are strong enough to defeat giants
- metaphor for pergamese
- Zeus leans opposite way of Athena - creates a V shape
- emulates pediments of parthenon - pergamese knew art history well.
- compare with Siphnian Treasury
- compare with 5th century classical statue
