Quiz 3 Flashcards
Aphrodite of Knidos
Praxiteles
Late Classical Greek
350 BC
One of the few representations of a female nude in Greek art. She bares the neutral expression of high classical greek art (viewer impression). The covering of her pubis represents the gender inequalities in Greek culture (female obedience).
Maussolleion
Halikarnassos
Late Classical Greek
360-350 BC
So-Called Mausolus
Mausolleion at Halikarnassos
Late Classical Greek
360-350 BC
Portrait displays great specificity compared to the generic portraits of old men on the Parthenon frieze. It is possible that this specificity came from Greek artists working for non-Greek patrons (freedom from taboo and restrictions).
Tomb of Persephone: Rape of Persephone
Vergina
Late Classical Greek
350 BC
Macedonian’s buried their people in great mounds with stuff. The tomb displays the abduction and rape or Persephone possibly equating the person to Persephone (rebirth). Compared to the black figure vases, painters are interested in volume and shading (what you see).
Alexander Mosaic
Pompeii
Hellenistic
310-100 BC
Capture of the psychologcal intensity of the confrontation between the two kings. Darius has lost control (his charioteer drives him to safety). The barbarians are feminized, Alexander the Great is in control.
Great Altar of Zeus
Pergamon
Hellenistic
166-156 BC
Features the gigantomachy frieze (battle between gods and giants). Movement and great detail in hair, feathers and scales. The expressions of the giants are like those of early classical (severe).
Aphrodite of Melos
Melos
Hellenistic
150 BC
Features the deliverate avoidance of expression and emotion of the high classical style, but also features the eroticism of the Hellenistic period (slipping garment). Mix and matching of styles.
Fibula
Regolini-Galassi Tomb, Cervetiri
Etruscan
650-640 BC
Orientalizing jewelry features lions of Near Eastern motifs. The italic clasp would have been used to fasten a woman’s gown at the shoulder.
Temple of Minerva
Veii
Etruscan
600 BC
Etruscan temples closly resembled Greek temples, but had no pediment and was frontal facing with columns. They also featured roof statues and decorations.
Apollo of Veii
Temple of Minerva, Veii
Etruscan
510-500 BC
The statue was made of taracotta and had supporting elements between the legs. The fabric and smile is similar to the archaic style.
Tomb of Hunting and Fishing
Tarquinia
Etruscan
530-520 BC
The main wall painting represents nature and has a great emphasis on landscape. Compare to the Egyptian wall paintings and the Theran spring fresco.
Banqueting Couple
Tomb of Hunting and Fishing, Tarquinia
Etruscan
530-520 BC
The upper wall painting depicts a party. Cultural similarities and differences between the Etruscans and the Greeks. Women have a public role.
Tomb of the Leopards
Tarquinia
Etruscan
480-470 BC
Features banqueting couples (white & tan skin) celebrating the joys of life instead of somber contemplation of death. The figures are similar to that of Greek vases before the Archaic period.
Tomb of the Augurs
Tarquinia
Etruscan
530 BC
Phersu and Gladiatorial Combat
Tomb of the Augurs, Tarquinia
Etruscan
530 BC
Depicts the bloody, violent customs of funerary cames (possible influence for gladiator battles). Figures resemble Greek vases during the early archaic period with stiffness.
Tomb of the Reliefs
Cervetiri
Etruscan
300 BC
Accomodated several generations of a family. The tomb is like the home with domestic context. The three headed dog, Cerberus is a reference to the passage from this life to the next.
Sarcophogas with Reclining Couple
Cervetiri
Etruscan
520 BC
Life-size taracotta sarcophogas of a couple. The image of a wife and husband sharing the same couch is uniquely Etruscan. Artist focused on upper half of the bodies and facial expression (archaic).
Capitoline She-Wolf
Rome
Etruscan
500-480 BC
Lean, hungry, savage wolf with a lion like mane. Captures phsycic intensity. The mother of Rome who nutured Romulus and Reemus. Not a Roman sculpture.
Statue of Aulus Metellus
Roman Republican
100 BC
Not the nude, youthful, idealized body of Greek sculpture. He is engaged in oratory, addressing the public. Mature with wrinkles, but still young.
Veristic Head of a Roman Partician
Otricoli
Roman Republican
75-50 BC
Artist focused on the effects of age and service and deliberatly exagerated the old age qualities. Realistic and defining qualities. These portraits were used in a variety of contexts (public, private).
Portrait of Roman General
Tivoli
Roman Republican
75-50 BC
Veristic head on an idealistic body. Mix and match of Roman Republic with Classical Greek style.
Portrait of the Roman General Pompey
Rome
Roman Republican
50 BC
This portrait is identifiable. Pompey was deliberatly quoting Alexander the Great with the locks of flowing hair.
Temple of Portunus
Rome
Roman Republican
75 BC
Ionic Greek style but Etruscan structure (single front, columned porch).
Sanctuary of Fortuna Primagenia
Palestrina
Roman Republican
200 BC
Roman concrete covered with a nicer material. Concrete allowed architecture to move past post and lental structure (vaulted chambers and terraces).
Sanctuary of Fortuna Primagenia
Palestrina
Roman Republican
200 BC
Roman concrete covered with a nicer material. Concrete allowed architecture to move past post and lental structure (vaulted chambers and terraces).
Plan and Section of a normative Pompeiian house
Pompeii
Roman
Identify: Atrium (waiting area), Tablinum (guest recieving area), Peristyle (garden), Triclinia (dining rooms)
Who goes where?
House of the Silver Wedding: Atrium
Pompeii
Roman
79 BC
The guest waiting area of the house which had a roof partially open to the sky to let in light and collect rain water. Guests could see into the back of the house where all the luxury is displayed.
House of the Vettii: Garden Peristyle
Pompeii
Roman
79 BC
The garden often featured fountains and statues of famous poets and other figures. The peristyle provides a second source of light as well as a place for summertime meals.
Samnite House
First Style Painting
Herculaneum
Roman
200 BC
Sqaures and rectangles of stucco painted to immitate different types of marble. Make your home appear rich and cultured with marble from all over the world.
Villa of Publius Fannius Synistor
Second Style Painting
Boscoreale
Roman
50-40 BC
Walls are painted with a cityscape. Artist gives the illusion of space and depth with color and linear perspective.
Villa of the Mysteries
Second Style Painting
Pompeii
Roman
60-50 BC
Illusion of three-dimensional world on the wall. Initiation rites of the Dionysiac mysteries. The collumns are behind the figures putting them in your space.
Villa of Livia
Second Style Painting
Primaporta
Roman
30-20 BC
Depiction of nature and landscape, somewhat like the spring fresco. Illustion of three-dimensional world with atmospheric perspective.
Villa of Agrippa Postumus
Third Style Painting
Boscotrecase
Roman 10 BC
Delicate fantisies on monochromatic backgrounds. Landscape that distances you rather than drawing you in. Reinforcing the presence of walls.
Golden House of Nero
Fourth Style Painting
Rome
Roman
64-68 BC
Kinship with Third Style (emphasis of wall) and monochromatic backgrounds. But featurse irrational fantasies in framed paintings.
House of the Vetti: Ixion Room
Late Fourth Style
Pompeii
Roman
62-79 BC
Synopsis of all four styles in a crowded and confused competition. Featuring framed scenes of the first and third style and the illusion of the second style.
Statue of Augustus
Primaporta
Roman
20 BC
Shown as successful, youthful and beardless. Addresses the crowd much like the statue of Aulus (Roman magistrate). His armor depicts the retrival of the eagles (restoration). Augustus had physical defomaties that weren’t addressed in sculpture. His bare feet are a symbol of divinity (baby = venus).
Forum of Augustus
Rome
Roman
2 BC
Returning Rome to its origins and moral values (does something different) Greek practices and references, corinthian order, pediment and caryatids.
Temple of Mars Ultor
Forum of Augustus
Rome
Roman
2 BC
Returning Rome to its origins and moral values (does something different) Greek practices and references, corinthian order, pediment and caryatids.
Togate Statue of Augustus as Pontifex Maximus
Rome
Roman
20 BC
Old fashioned toga symbolized virtue and preisthood. The drapery is depicted in high classical style. With the guise of a priest he avoids divinity issues.
Portrait of Livia (Wife of Augustus)
Arsinoe, Egypt
Roman
Early 1st Century AD
Not a Roman veristic portrait, but draws from high classical greek style. Idealized and lack of age and expression.
Ara Pacis Augustae (Altar of Augustan Peace)
Rome
Roman
13-9 BC
Shows historical events and real people (members of imperical family) (women and children!) Ercourages the traditional Roman elite and children. Celebrates Augustus’s acheivment of peace.
Horologium of Augustus
Rome
Roman
Giant sundial built during the reign of Augustus shorty after Julian Ceasar’s calendar reform. Integrated with the Altar of Peace.
