‘8 Sentence Body Paragraph’ Essay Template (22-sentence)
Introduction ¶(Includes thesis)
Body ¶ #1
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact )(In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Body ¶ #2
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact) (In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Conclusion ¶(Includes summary)
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Ancient Greek Art
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The Greek World
Map 5-1 The Greek world.
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Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. 3’ 4 1/2” high. Metropolitan Museum of Art, New York.
Geometric Period
(9th – 8th centuries BCE)
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DIPYLON PAINTER, Geometric amphora with mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 750 BCE. 5’ 1” high. National Archaeological Museum, Athens.
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Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE. Bronze, 4 1/2” high. Metropolitan Museum of Art, New York (gift of J. Pierpont).
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Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8” high. Museum of Fine Arts, Boston.
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Eleusis Amphora – front, 675-650 BCE
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Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625–600 BCE. 1’ 2” high. British Museum, London.
Observe the creatures on this black-figure amphora. Are there any precedents for such composite creatures?
Orientalizing Period (7th century BCE)
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Lady of Auxerre, from Crete, probably Eleutherna, Greece, ca. 650–625 BCE. Limestone, 2’ 1 1/2” high. Musée du Louvre, Paris.
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kouros (male youth)/kouroi (pl.)
kore (maiden)/korai (pl.).
Archaic Period (6th century BCE)
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Kouros, from Attica, possibly Anavysos, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York.
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Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4” high. National Archaeological Museum, Athens.
Why did Greek artists render the male form in the nude?
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Calf Bearer, dedicated by Rhonbos on the Acropolis, Athens, Greece, ca. 560 BCE. Marble, restored height 5’ 5”; fragment 3’ 11 1/2” high. Acropolis Museum, Athens.
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Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, 4’ high. Acropolis Museum, Athens.
Notice traces of encaustic paint on the Peplos Kore. Most Greek stone statues were painted.
Notice also that the Peplos Kore is clothed.
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Kore in Ionian dress, from the Acropolis, Athens, Greece, ca. 520–510 BCE. Marble, 1’ 9” high. Acr.
The document discusses the evolution of representations of the human figure in ancient Greek art from the 8th century BCE to the 1st century CE. It examines how Greek religion, mythology and cultural influences were expressed through artistic depictions of figures in sculptures and reliefs. Key developments included the earliest kouroi statues becoming more naturalistic over time, the refinement of depicting the human form in Classical Greek art, and Hellenistic sculpture capturing more emotion and movement. The document contains over 70 labeled images as examples.
This document provides an overview of Greek art from the Geometric period through the Classical period. It discusses the evolution of representations of the human figure in art from early stylized forms to the naturalistic depictions of figures in contrapposto. Architectural developments are also summarized, including the elements of Doric and Ionic temples. Major artists and sculptors of the Archaic and Classical periods are mentioned, such as the Kritios Boy and works by Phidias and Polykleitos. Key monuments on the Acropolis, including the Parthenon, Erechtheion, and Temple of Athena Nike, are briefly described.
The document provides an overview of ancient Greek sculpture from the Archaic period through the Hellenistic period, including many examples of key works and styles. It features summaries of sculptures from temples, tombs, and sanctuaries across Greece from approximately 600 BC to 100 BC, spanning materials from marble to bronze. Key periods and artists mentioned include the Kouroi, Kore, Classical period works by Phidias, Praxiteles, and Lysippos, and Hellenistic developments.
This document provides an overview of the history and development of art and architecture in ancient Greece and Rome from approximately 1000 BCE to 330 CE. It features descriptions and analyses of over 80 images of artifacts from this period, including sculptures, paintings, buildings, and other works. The images showcase the evolution of styles from Geometric to Classical to Hellenistic periods in Greece and Etruscan, Republican, and Imperial periods in Rome.
The document provides an overview of ancient Greek art from the Geometric period through the Archaic period. It describes the emergence of geometric styles on artifacts like kraters in the Geometric period. During the Orientalizing period, Greek art incorporated Egyptian and Near Eastern influences. The Archaic period saw developments in architectural styles like the Doric and Ionic orders and refinements in vase painting techniques with black figure and red figure styles. Statues of the kouros type emerged as a distinctive Greek artistic form depicting the male nude figure.
This document provides descriptions of important works of Greek art from 750 BC to 190 BC. It includes sculptures like the Doryphoros and Kritios Boy, as well as architectural elements from temples such as the Parthenon pediments and friezes. Locations of the artworks in museums across Europe are mentioned. The time period covered spans the Geometric, Archaic, Classical, and Hellenistic eras of ancient Greek art.
Greece f gardner's 13th and stokstad 3rd 2010sbbradley
This document provides an overview of ancient Greek art and architecture from 900 BCE to 150 BCE. It features over 100 images of artifacts from this period including pottery, sculptures, architectural structures and more. The images are accompanied by brief descriptions and date ranges. The document covers major developments from the Geometric period through the Hellenistic era, focusing on the rise of temples, sculpture, and vase painting in Archaic and Classical Greece.
Ancient Greece evolved through several artistic periods from 900 BCE to 30 BCE. Geometric and Orientalizing art from 900-600 BCE featured abstract, schematic figures on pottery and small bronzes with Eastern influence. The Archaic period from 600-480 BCE saw the first life-size statues with the "Archaic smile" and temples with Doric and Ionic columns. Art depicted humans, gods, mythology and the Trojan War. Kouroi were nude male statues and korai were female statues that followed Egyptian conventions. The Classical period saw the Parthenon and refined human proportions before the Hellenistic period featured emotional, violent sculptures and hybrid temple designs.
The document discusses the evolution of representations of the human figure in ancient Greek art from the 8th century BCE to the 1st century CE. It examines how Greek religion, mythology and cultural influences were expressed through artistic depictions of figures in sculptures and reliefs. Key developments included the earliest kouroi statues becoming more naturalistic over time, the refinement of depicting the human form in Classical Greek art, and Hellenistic sculpture capturing more emotion and movement. The document contains over 70 labeled images as examples.
This document provides an overview of Greek art from the Geometric period through the Classical period. It discusses the evolution of representations of the human figure in art from early stylized forms to the naturalistic depictions of figures in contrapposto. Architectural developments are also summarized, including the elements of Doric and Ionic temples. Major artists and sculptors of the Archaic and Classical periods are mentioned, such as the Kritios Boy and works by Phidias and Polykleitos. Key monuments on the Acropolis, including the Parthenon, Erechtheion, and Temple of Athena Nike, are briefly described.
The document provides an overview of ancient Greek sculpture from the Archaic period through the Hellenistic period, including many examples of key works and styles. It features summaries of sculptures from temples, tombs, and sanctuaries across Greece from approximately 600 BC to 100 BC, spanning materials from marble to bronze. Key periods and artists mentioned include the Kouroi, Kore, Classical period works by Phidias, Praxiteles, and Lysippos, and Hellenistic developments.
This document provides an overview of the history and development of art and architecture in ancient Greece and Rome from approximately 1000 BCE to 330 CE. It features descriptions and analyses of over 80 images of artifacts from this period, including sculptures, paintings, buildings, and other works. The images showcase the evolution of styles from Geometric to Classical to Hellenistic periods in Greece and Etruscan, Republican, and Imperial periods in Rome.
The document provides an overview of ancient Greek art from the Geometric period through the Archaic period. It describes the emergence of geometric styles on artifacts like kraters in the Geometric period. During the Orientalizing period, Greek art incorporated Egyptian and Near Eastern influences. The Archaic period saw developments in architectural styles like the Doric and Ionic orders and refinements in vase painting techniques with black figure and red figure styles. Statues of the kouros type emerged as a distinctive Greek artistic form depicting the male nude figure.
This document provides descriptions of important works of Greek art from 750 BC to 190 BC. It includes sculptures like the Doryphoros and Kritios Boy, as well as architectural elements from temples such as the Parthenon pediments and friezes. Locations of the artworks in museums across Europe are mentioned. The time period covered spans the Geometric, Archaic, Classical, and Hellenistic eras of ancient Greek art.
Greece f gardner's 13th and stokstad 3rd 2010sbbradley
This document provides an overview of ancient Greek art and architecture from 900 BCE to 150 BCE. It features over 100 images of artifacts from this period including pottery, sculptures, architectural structures and more. The images are accompanied by brief descriptions and date ranges. The document covers major developments from the Geometric period through the Hellenistic era, focusing on the rise of temples, sculpture, and vase painting in Archaic and Classical Greece.
Ancient Greece evolved through several artistic periods from 900 BCE to 30 BCE. Geometric and Orientalizing art from 900-600 BCE featured abstract, schematic figures on pottery and small bronzes with Eastern influence. The Archaic period from 600-480 BCE saw the first life-size statues with the "Archaic smile" and temples with Doric and Ionic columns. Art depicted humans, gods, mythology and the Trojan War. Kouroi were nude male statues and korai were female statues that followed Egyptian conventions. The Classical period saw the Parthenon and refined human proportions before the Hellenistic period featured emotional, violent sculptures and hybrid temple designs.
The document provides an overview of ancient Greek art and architecture from the Geometric period through the Early Classical period. It discusses the development of representations of the human form in sculpture and vase painting over time. Key periods mentioned include the Geometric, Orientalizing, Archaic, and Classical periods. Significant works discussed include the Kritios Boy from the Acropolis and sculptures from temples such as the Temple of Zeus at Olympia and the Temple of Aphaia on Aegina. The document also outlines the emergence of architectural styles such as the Doric and Ionic orders and provides examples of major Greek temples.
This document contains images and descriptions of numerous artifacts from ancient Greece and Rome spanning from approximately 740 BCE to the 1st century CE. The artifacts include vases, sculptures, architectural remains, and mosaics showing figures from mythology and daily life. Many are original Greek sculptures that survive only in Roman marble copies. The structures highlighted include temples, treasuries and theaters from sites in Greece, Italy, Turkey and more. Together these artifacts provide insight into the art, architecture, and culture of classical antiquity.
The document summarizes the history and art of ancient Greece from the Geometric period through the Classical period. It describes how Greek art evolved from simple geometric shapes to more naturalistic and three-dimensional representations of the human form. Key developments included the emergence of temples as the dominant architectural form and the rise of naturalism in sculpture, as seen in the pediment figures of the Temple of Aphaia.
The document provides an overview of ancient Greek history from the collapse of the Mycenaean civilization in the 11th century BCE through the Peloponnesian Wars in the 5th century BCE. It describes the transition from the Mycenaean and Minoan periods to the Greek Dark Ages. Key periods discussed include the Geometric, Orientalizing, and Archaic periods. Major city-states like Athens and Sparta are mentioned. Important sites, artworks, and structures on the Acropolis like the Parthenon are summarized. The document also outlines philosophical thinkers and developments in science during this time period in Greece. It concludes with details about the Peloponnesian Wars between Athens and Sparta.
This Powerpoint slideshow presentation briefly sketches the development of sculpture in ancient Greece, from its humble beginning in the Greek islands to its zenith in the Hellenistic age. It maps out the milestones and advances made in stages, with the help of images of Greek masterpieces, like the Sulky Kore, the Kritios Boy, the Artemision Bronze, the Riace Bronzes etc. The Ancient Greece is unique amongst the ancient civilizations to develop such very level high of naturalism, with its expressive and life-like sculptures. According to some art historians they were driven largely by the spirit rooted in the belief that man is a free, indeed an exalted, being or simply their idea and love of beauty.
"Future ages will wonder at us, as the present age wonders at us now“
The document summarizes key aspects of ancient Greek art from the 9th to 5th centuries BCE. It discusses the Geometric and Orientalizing periods where Greek art was influenced by other cultures. During the Archaic period, Greek sculpture developed the kouros and kore styles. Architecture began using the Doric and Ionic orders. Black and red figure vase painting flourished. The Classical period saw a refinement of the human form in sculpture following Polykleitos' canon, as seen in the Temple of Zeus at Olympia.
The document provides an overview of ancient Greek art from the Classical period. It describes important temples like the Parthenon in Athens and sculptures found there. Key works discussed include the pediment sculptures and friezes from the Parthenon showing scenes like the birth of Athena. Famous sculptures of the era portrayed idealized human forms in a natural style, exemplified by the Riace bronzes, Charioteer of Delphi, and works by Phidias, Polykleitos, and Myron.
This document provides a summary of ancient Greek sculpture from 2500 BCE to 146 BCE. It describes the evolution from early Cycladic sculptures to the naturalism and realism of later Classical and Hellenistic works. Key developments included a shift from stiff archaic poses to more lifelike styles in the 5th century BCE, the emergence of bronze casting, and increasing attention to detail, emotion, and idealized forms under Hellenistic influence. Major artists such as Praxiteles, Lysippus, and the sculptors of the Laocoön group pushed sculpture to new levels of technical skill and expressiveness.
The document summarizes key events and developments in ancient Greece during the Classical period from 480 BCE to 323 BCE. It describes how the Greeks defeated the Persians at the Battle of Salamis in 480 BCE, saving Greece from Persian rule. This victory allowed Athens to emerge as a powerful city-state and ushered in the Classical period, a time of intellectual, artistic, and architectural achievements. The document focuses on Athens' cultural flowering under the patronage of Pericles, including the rebuilding of temples on the Acropolis such as the Parthenon with its sculptures and architectural refinements that embodied the ideals of balance, proportion, and order.
Ancient Greek sculpture began around 4000 years ago with simple white marble figures on the Greek islands. Over time, sculpture evolved from stiff, stylized works to highly naturalistic pieces that captured accurate proportions and movement in media like marble and bronze. Early Minoan and Mycenaean works were few, while Archaic sculptures from 700-500 BCE depicted gods and people in stiff poses. The Classical period from 480-336 BCE saw further realism and lifelike details. Finally, Hellenistic sculpture from 336-146 BCE was highly expressive and exaggerated emotions, showing the pinnacle of ancient Greek artistic achievement.
The document provides an overview of the development of ancient Greek art from c. 900-31 BCE. It covers major periods including the Geometric and Orientalizing styles from c. 900-600 BCE, the Archaic period from c. 600-480 BCE, the Classical period from c. 480-400 BCE, and the Hellenistic period from c. 323-30 BCE. Key developments in sculpture, architecture, and artistic styles are showcased through numerous examples of pottery, temples, statues, and more. The document traces the evolution of Greek art over nearly a millennium through its major historical phases.
The document discusses the art and culture of the Etruscans in Italy before the rise of Rome. It examines their origins, geographical locations, and art including architecture, sculpture, and funerary art. Some key aspects discussed include that Etruscan temple architecture differed from Greek temples in materials and placement of statuary. Etruscan tombs and sarcophagi provide insight into their funerary customs and beliefs. Their wall paintings depicted scenes of daily life and revealed social practices. Etruscan art was influenced over time by the Greeks and Romans through contact and eventual conquest.
This document provides information on numerous artworks from ancient Greece, Rome, and Etruria between approximately 580 BCE to 250 CE. It includes descriptions of sculptures, architectural structures like temples and forums, and sarcophagi. Many of the pieces are located in Greece, Italy, and Turkey and were created using materials like marble, stone, terra cotta, and concrete. The document focuses on the transition from archaic to classical Greek art and architecture, as well as Roman imperial art that was influenced by Greek precedents.
I remember well of my visit to the National Archaeological Museum in Athens. I stood in front of one of the Kouros (Archaic Youth) statue, feeling a bit small when confronted with thousands of years of history before me. I was captivated by his mesmerising and charming smile. I could see that the statue can be quite easily mistaken as a real person. I never quite understand what really drove the Greek to create these wonderful sculptures. They were simply thousands of year ahead of other civilisations, in sculpture.
This Powerpoint slideshow presentation briefly sketches the development of sculpture in ancient Greece, from its humble beginning in the Greek islands to its zenith in the Hellenistic age. It maps out the milestones and advances made in stages, with the help of images of Greek masterpieces, like the Sulky Kore, the Kritios Boy, the Artemision Bronze, the Riace Bronzes etc. The Ancient Greece is unique amongst the ancient civilizations to develop such very level high of naturalism, with its expressive and life-like sculptures. According to some art historians they were driven largely by the spirit rooted in the belief that man is a free, indeed an exalted, being or simply their idea and love of beauty.
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Ancient Egyptian Art
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Ancient Egypt
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People, boats, and animals, detail of a watercolor copy of a wall painting from tomb 100 at Hierakonpolis, Egypt, Predynastic, ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X 3’ 7 3/8”. Egyptian Museum, Cairo.
Predynastic, Early Dynasties, and the Old Kingdom
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Stylistic Conventions of Egyptian Art
Palette of Narmer: a blueprint for a formula for figure representation and other conventions seen in Egyptian art for nearly 3000 years.
Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate, 2’ 1” high. Egyptian Museum, Cairo.
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Early Funerary Architectural Forms
Section (top), plan (center),and restored view (bottom) of typical Egyptian mastaba tombs.
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IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Restored view (top) and plan (bottom) of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Detail of the facade of the north palace of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Aerial view of the Fourth Dynasty pyramids (looking north), Gizeh, Egypt. From bottom: Pyramids of Menkaure, ca. 2490–2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca. 2551–2528 BCE.
The Pyramids
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Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca. 2551–2528 BCE.
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Model of the pyramid complex, Gizeh, Egypt. Harvard University Semitic Museum, Cambridge. 1) Pyramid of Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre, 4) causeway, 5) Great Sphinx, 6) valley temple of Khafre, 7) Pyramid of Khufu, 8) pyramids of the royal family and mastabas of nobles.
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Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Diorite, 5’ 6” high. Egyptian Museum, Cairo.
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Sculptors at work, detail of the south wall of the main hall of the funerary chapel of Rekhmire, Thebes, Egypt, 18th Dynasty, ca. 1425 BCE.
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Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Sandstone, 65’ X 240’.
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Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston.
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Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca. 2500 BCE. Painted limestone, 1’ 9” high. Musée du Louvre, Paris.
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Ti watching a hippopotamus hunt, relief in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450–2350 BCE. Painted limestone, 4’ high.
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Goats treading seed and cattle fording a canal, reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450 – 2350 BCE. Painted limestone.
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Middle Kingdom
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The Aegean (Bronze Age) (Presentation) Author De Anza CollegeJoão Ramos
The Aegean (Bronze Age) (Presentation) Author De Anza College
Para compreender melhor a idade do Bronze, com base científica, para trabalhos académicos
The document summarizes the evolution of classical Greek art and architecture from 700 BCE to 30 BCE. It describes the key periods and styles including the Archaic, Classical and Hellenistic eras. Major works discussed include the Parthenon, sculptures like the Doryphorus, and artists such as Phidias who decorated Greek temples and captured ideal human forms.
The document provides an overview of ancient Greek art from the 9th century BCE to the Hellenistic period. It discusses the major periods and styles of Greek art including Geometric, Orientalizing, Archaic, Classical, and Hellenistic. The forms of art discussed include architecture, sculpture, painting, pottery, and jewelry. Key works and developments are described for each period.
The document discusses Etruscan art from 650 BC to the 1st century BC, including examples of fibulae, temple models, statues of gods, sarcophagi, tomb interiors and exteriors from sites like Cerveteri and Tarquinia. It also features the Porta Marzia gate from Perugia and the Aule Metele bronze statue from Cortona.
…if one of the primary purposes of education is to teach young .docxanhlodge
“…if one of the primary purposes of education is to teach young people the skills, knowledge, and critical awareness to become productive members of a diverse and democratic society, a broadly conceptualize multicultural education can have a decisive influence.” Textbook page 338.
What steps do you think schools can or should take to promote our democracy in today’s very diverse country?
Food festivals and celebrating a cultural holiday will not be accepted as an answer. Those are examples of tokenism to make the dominant culture feel like they are doing something. These two activities are fun and interesting, but not how we will strengthen our democracy.
.
✍Report OverviewIn this assignment, you will Document an.docxanhlodge
✍
Report Overview
In this assignment, you will
Document and reflect on your university education and on learning experiences outside of the university;
Articulate how your upper-level coursework is an integrated and individualized curriculum built around your interests; and
Highlight the experiences, skills, and projects that show what you can do.
A successful report submission will be the product of many hours of work over several weeks.
A report earning maximum available points will be a carefully curated and edited explanation of your work that provides tangible evidence of—and insights into—your competencies and capabilities over time. In each section of this report, you are (1) telling a story about your own abilities, and (2) providing specific examples and evidence that illustrate and support your claims.
✍
Required Report Sections
Here the sections are listed as they must appear in your final graded submission. You’ll arrange the sections in this order when
submitting
the final report BUT you won’t follow this order when
writing
drafts of each section.
Note that each section description contains a Pro Tip that tells you how to proceed with the work – what to attempt first, second, and third, etc.
❖ I. Statement of Purpose ❖
Step 1.
Read these four very different
examples of successful Statement of Purpose sections
.
Step 2.
Consider the differences in tone, style, level of detail etc. Your own statement of purpose may resemble one of these. Indeed, writing a first draft based on an example or combination of examples is a good idea. BUT don’t let these examples limit your thinking or personal expression. You may want to begin with a quote from a famous person, use a quote from your mom, or skip the quote. You may want to discuss your personal motivations or get right down to the facts. You may want to list your classes or discuss how your work-life led you to this path.
Step 3.
Write a rough draft – let’s call that Statement of Purpose 1.0. Write Statement of Purpose 1.0 as quickly as you can and then put it away until after you have completed most of the report. Forget about Statement of Purpose 1.0 until most of your report is at least in draft form.
Step 4.
Once you have a draft of all sections of your report, you are in a good position to revise Statement of Purpose 1. You are ready for Step 4. Take Statement of Purpose 1.0 out its dusty vault and hold it up to the sun. Ah. Now read your report draft and compare it to the claims you made in Statement of Purpose 1.0. Ask yourself these questions:
Does Statement of Purpose 1.0. accurately introduce my report?
Are there important ideas or representative experiences in the report that should be highlighted in the Statement of Purpose but aren’t? Remember this isn’t a treasure hunt where its your reader’s job to figure out what matters. It’s your job to show the reader what matters.
If Statement of Purpose 1.0. isn’t the best map it can be for th.
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The document provides an overview of ancient Greek art and architecture from the Geometric period through the Early Classical period. It discusses the development of representations of the human form in sculpture and vase painting over time. Key periods mentioned include the Geometric, Orientalizing, Archaic, and Classical periods. Significant works discussed include the Kritios Boy from the Acropolis and sculptures from temples such as the Temple of Zeus at Olympia and the Temple of Aphaia on Aegina. The document also outlines the emergence of architectural styles such as the Doric and Ionic orders and provides examples of major Greek temples.
This document contains images and descriptions of numerous artifacts from ancient Greece and Rome spanning from approximately 740 BCE to the 1st century CE. The artifacts include vases, sculptures, architectural remains, and mosaics showing figures from mythology and daily life. Many are original Greek sculptures that survive only in Roman marble copies. The structures highlighted include temples, treasuries and theaters from sites in Greece, Italy, Turkey and more. Together these artifacts provide insight into the art, architecture, and culture of classical antiquity.
The document summarizes the history and art of ancient Greece from the Geometric period through the Classical period. It describes how Greek art evolved from simple geometric shapes to more naturalistic and three-dimensional representations of the human form. Key developments included the emergence of temples as the dominant architectural form and the rise of naturalism in sculpture, as seen in the pediment figures of the Temple of Aphaia.
The document provides an overview of ancient Greek history from the collapse of the Mycenaean civilization in the 11th century BCE through the Peloponnesian Wars in the 5th century BCE. It describes the transition from the Mycenaean and Minoan periods to the Greek Dark Ages. Key periods discussed include the Geometric, Orientalizing, and Archaic periods. Major city-states like Athens and Sparta are mentioned. Important sites, artworks, and structures on the Acropolis like the Parthenon are summarized. The document also outlines philosophical thinkers and developments in science during this time period in Greece. It concludes with details about the Peloponnesian Wars between Athens and Sparta.
This Powerpoint slideshow presentation briefly sketches the development of sculpture in ancient Greece, from its humble beginning in the Greek islands to its zenith in the Hellenistic age. It maps out the milestones and advances made in stages, with the help of images of Greek masterpieces, like the Sulky Kore, the Kritios Boy, the Artemision Bronze, the Riace Bronzes etc. The Ancient Greece is unique amongst the ancient civilizations to develop such very level high of naturalism, with its expressive and life-like sculptures. According to some art historians they were driven largely by the spirit rooted in the belief that man is a free, indeed an exalted, being or simply their idea and love of beauty.
"Future ages will wonder at us, as the present age wonders at us now“
The document summarizes key aspects of ancient Greek art from the 9th to 5th centuries BCE. It discusses the Geometric and Orientalizing periods where Greek art was influenced by other cultures. During the Archaic period, Greek sculpture developed the kouros and kore styles. Architecture began using the Doric and Ionic orders. Black and red figure vase painting flourished. The Classical period saw a refinement of the human form in sculpture following Polykleitos' canon, as seen in the Temple of Zeus at Olympia.
The document provides an overview of ancient Greek art from the Classical period. It describes important temples like the Parthenon in Athens and sculptures found there. Key works discussed include the pediment sculptures and friezes from the Parthenon showing scenes like the birth of Athena. Famous sculptures of the era portrayed idealized human forms in a natural style, exemplified by the Riace bronzes, Charioteer of Delphi, and works by Phidias, Polykleitos, and Myron.
This document provides a summary of ancient Greek sculpture from 2500 BCE to 146 BCE. It describes the evolution from early Cycladic sculptures to the naturalism and realism of later Classical and Hellenistic works. Key developments included a shift from stiff archaic poses to more lifelike styles in the 5th century BCE, the emergence of bronze casting, and increasing attention to detail, emotion, and idealized forms under Hellenistic influence. Major artists such as Praxiteles, Lysippus, and the sculptors of the Laocoön group pushed sculpture to new levels of technical skill and expressiveness.
The document summarizes key events and developments in ancient Greece during the Classical period from 480 BCE to 323 BCE. It describes how the Greeks defeated the Persians at the Battle of Salamis in 480 BCE, saving Greece from Persian rule. This victory allowed Athens to emerge as a powerful city-state and ushered in the Classical period, a time of intellectual, artistic, and architectural achievements. The document focuses on Athens' cultural flowering under the patronage of Pericles, including the rebuilding of temples on the Acropolis such as the Parthenon with its sculptures and architectural refinements that embodied the ideals of balance, proportion, and order.
Ancient Greek sculpture began around 4000 years ago with simple white marble figures on the Greek islands. Over time, sculpture evolved from stiff, stylized works to highly naturalistic pieces that captured accurate proportions and movement in media like marble and bronze. Early Minoan and Mycenaean works were few, while Archaic sculptures from 700-500 BCE depicted gods and people in stiff poses. The Classical period from 480-336 BCE saw further realism and lifelike details. Finally, Hellenistic sculpture from 336-146 BCE was highly expressive and exaggerated emotions, showing the pinnacle of ancient Greek artistic achievement.
The document provides an overview of the development of ancient Greek art from c. 900-31 BCE. It covers major periods including the Geometric and Orientalizing styles from c. 900-600 BCE, the Archaic period from c. 600-480 BCE, the Classical period from c. 480-400 BCE, and the Hellenistic period from c. 323-30 BCE. Key developments in sculpture, architecture, and artistic styles are showcased through numerous examples of pottery, temples, statues, and more. The document traces the evolution of Greek art over nearly a millennium through its major historical phases.
The document discusses the art and culture of the Etruscans in Italy before the rise of Rome. It examines their origins, geographical locations, and art including architecture, sculpture, and funerary art. Some key aspects discussed include that Etruscan temple architecture differed from Greek temples in materials and placement of statuary. Etruscan tombs and sarcophagi provide insight into their funerary customs and beliefs. Their wall paintings depicted scenes of daily life and revealed social practices. Etruscan art was influenced over time by the Greeks and Romans through contact and eventual conquest.
This document provides information on numerous artworks from ancient Greece, Rome, and Etruria between approximately 580 BCE to 250 CE. It includes descriptions of sculptures, architectural structures like temples and forums, and sarcophagi. Many of the pieces are located in Greece, Italy, and Turkey and were created using materials like marble, stone, terra cotta, and concrete. The document focuses on the transition from archaic to classical Greek art and architecture, as well as Roman imperial art that was influenced by Greek precedents.
I remember well of my visit to the National Archaeological Museum in Athens. I stood in front of one of the Kouros (Archaic Youth) statue, feeling a bit small when confronted with thousands of years of history before me. I was captivated by his mesmerising and charming smile. I could see that the statue can be quite easily mistaken as a real person. I never quite understand what really drove the Greek to create these wonderful sculptures. They were simply thousands of year ahead of other civilisations, in sculpture.
This Powerpoint slideshow presentation briefly sketches the development of sculpture in ancient Greece, from its humble beginning in the Greek islands to its zenith in the Hellenistic age. It maps out the milestones and advances made in stages, with the help of images of Greek masterpieces, like the Sulky Kore, the Kritios Boy, the Artemision Bronze, the Riace Bronzes etc. The Ancient Greece is unique amongst the ancient civilizations to develop such very level high of naturalism, with its expressive and life-like sculptures. According to some art historians they were driven largely by the spirit rooted in the belief that man is a free, indeed an exalted, being or simply their idea and love of beauty.
1
Ancient Egyptian Art
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Ancient Egypt
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People, boats, and animals, detail of a watercolor copy of a wall painting from tomb 100 at Hierakonpolis, Egypt, Predynastic, ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X 3’ 7 3/8”. Egyptian Museum, Cairo.
Predynastic, Early Dynasties, and the Old Kingdom
3
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Stylistic Conventions of Egyptian Art
Palette of Narmer: a blueprint for a formula for figure representation and other conventions seen in Egyptian art for nearly 3000 years.
Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate, 2’ 1” high. Egyptian Museum, Cairo.
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Early Funerary Architectural Forms
Section (top), plan (center),and restored view (bottom) of typical Egyptian mastaba tombs.
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IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Restored view (top) and plan (bottom) of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Columnar entrance corridor to the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Detail of the facade of the north palace of the mortuary precinct of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
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Aerial view of the Fourth Dynasty pyramids (looking north), Gizeh, Egypt. From bottom: Pyramids of Menkaure, ca. 2490–2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca. 2551–2528 BCE.
The Pyramids
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Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty, ca. 2551–2528 BCE.
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Model of the pyramid complex, Gizeh, Egypt. Harvard University Semitic Museum, Cambridge. 1) Pyramid of Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre, 4) causeway, 5) Great Sphinx, 6) valley temple of Khafre, 7) Pyramid of Khufu, 8) pyramids of the royal family and mastabas of nobles.
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Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Diorite, 5’ 6” high. Egyptian Museum, Cairo.
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Sculptors at work, detail of the south wall of the main hall of the funerary chapel of Rekhmire, Thebes, Egypt, 18th Dynasty, ca. 1425 BCE.
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Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE. Sandstone, 65’ X 240’.
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Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston.
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Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca. 2500 BCE. Painted limestone, 1’ 9” high. Musée du Louvre, Paris.
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Ti watching a hippopotamus hunt, relief in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450–2350 BCE. Painted limestone, 4’ high.
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Goats treading seed and cattle fording a canal, reliefs in the mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450 – 2350 BCE. Painted limestone.
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Middle Kingdom
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The Aegean (Bronze Age) (Presentation) Author De Anza CollegeJoão Ramos
The Aegean (Bronze Age) (Presentation) Author De Anza College
Para compreender melhor a idade do Bronze, com base científica, para trabalhos académicos
The document summarizes the evolution of classical Greek art and architecture from 700 BCE to 30 BCE. It describes the key periods and styles including the Archaic, Classical and Hellenistic eras. Major works discussed include the Parthenon, sculptures like the Doryphorus, and artists such as Phidias who decorated Greek temples and captured ideal human forms.
The document provides an overview of ancient Greek art from the 9th century BCE to the Hellenistic period. It discusses the major periods and styles of Greek art including Geometric, Orientalizing, Archaic, Classical, and Hellenistic. The forms of art discussed include architecture, sculpture, painting, pottery, and jewelry. Key works and developments are described for each period.
The document discusses Etruscan art from 650 BC to the 1st century BC, including examples of fibulae, temple models, statues of gods, sarcophagi, tomb interiors and exteriors from sites like Cerveteri and Tarquinia. It also features the Porta Marzia gate from Perugia and the Aule Metele bronze statue from Cortona.
Similar to ‘8 Sentence Body Paragraph’ Essay Template (22-sentence)Introducti.docx (20)
…if one of the primary purposes of education is to teach young .docxanhlodge
“…if one of the primary purposes of education is to teach young people the skills, knowledge, and critical awareness to become productive members of a diverse and democratic society, a broadly conceptualize multicultural education can have a decisive influence.” Textbook page 338.
What steps do you think schools can or should take to promote our democracy in today’s very diverse country?
Food festivals and celebrating a cultural holiday will not be accepted as an answer. Those are examples of tokenism to make the dominant culture feel like they are doing something. These two activities are fun and interesting, but not how we will strengthen our democracy.
.
✍Report OverviewIn this assignment, you will Document an.docxanhlodge
✍
Report Overview
In this assignment, you will
Document and reflect on your university education and on learning experiences outside of the university;
Articulate how your upper-level coursework is an integrated and individualized curriculum built around your interests; and
Highlight the experiences, skills, and projects that show what you can do.
A successful report submission will be the product of many hours of work over several weeks.
A report earning maximum available points will be a carefully curated and edited explanation of your work that provides tangible evidence of—and insights into—your competencies and capabilities over time. In each section of this report, you are (1) telling a story about your own abilities, and (2) providing specific examples and evidence that illustrate and support your claims.
✍
Required Report Sections
Here the sections are listed as they must appear in your final graded submission. You’ll arrange the sections in this order when
submitting
the final report BUT you won’t follow this order when
writing
drafts of each section.
Note that each section description contains a Pro Tip that tells you how to proceed with the work – what to attempt first, second, and third, etc.
❖ I. Statement of Purpose ❖
Step 1.
Read these four very different
examples of successful Statement of Purpose sections
.
Step 2.
Consider the differences in tone, style, level of detail etc. Your own statement of purpose may resemble one of these. Indeed, writing a first draft based on an example or combination of examples is a good idea. BUT don’t let these examples limit your thinking or personal expression. You may want to begin with a quote from a famous person, use a quote from your mom, or skip the quote. You may want to discuss your personal motivations or get right down to the facts. You may want to list your classes or discuss how your work-life led you to this path.
Step 3.
Write a rough draft – let’s call that Statement of Purpose 1.0. Write Statement of Purpose 1.0 as quickly as you can and then put it away until after you have completed most of the report. Forget about Statement of Purpose 1.0 until most of your report is at least in draft form.
Step 4.
Once you have a draft of all sections of your report, you are in a good position to revise Statement of Purpose 1. You are ready for Step 4. Take Statement of Purpose 1.0 out its dusty vault and hold it up to the sun. Ah. Now read your report draft and compare it to the claims you made in Statement of Purpose 1.0. Ask yourself these questions:
Does Statement of Purpose 1.0. accurately introduce my report?
Are there important ideas or representative experiences in the report that should be highlighted in the Statement of Purpose but aren’t? Remember this isn’t a treasure hunt where its your reader’s job to figure out what matters. It’s your job to show the reader what matters.
If Statement of Purpose 1.0. isn’t the best map it can be for th.
☰Menu×NURS 6050 Policy and Advocacy for Improving Population H.docxanhlodge
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NURS 6050 Policy and Advocacy for Improving Population Health
Back to Course Home
Course Calendar
Syllabus
Course Information
Resource List
Support, Guidelines, and Policies
Module 1
Module 2
Module 3
Module 4
Module 5
Module 6
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▪ Learning Outcomes1.Understand the basic concepts and termin.docxanhlodge
▪
Learning Outcomes:1.
Understand the basic concepts and terminology used in Strategic Management. (Lo 1.2)2.
Understand the Corporation Social Responsibility
(Lo 1.4).3.
Explain how executive leadership is an important part of strategic management (Lo 3.4)
✓
Question 1
: How does strategic management typically evolve in a corporation? (
1Mark)
✓
Question 2
: Discuss the influence of globalization, social responsibility and environmental sustainability on strategic management of a corporation.(
2 Marks
)
✓
Question 3:
In what ways can a corporation’s structure and culture be internal strengths or weaknesses? Justify your answer by examples from real market. (
1Mark)
✓
Question 4:
When does a corporation need a board of directors? Justify your answer by an example from Saudi market.
(1 Mark)
Notes:
-
Your answers
(for the
4
questions)
MUST include at least
three scholarly peer-reviewed references
,
using a proper referencing style (APA).
Keep in mind that these scholarly references
can be found
in the
Saudi Digital Library (SDL).
-
Make sure to support your statements with logic and argument, citing all sources referenced.
Your answers should not include m
.
● What are some of the reasons that a MNE would choose internationa.docxanhlodge
● What are some of the reasons that a MNE would choose international expansion through an acquisition? An IJV? An alliance?
● What are the variables that would influence the decision?
● Which choice do you believe is best for the likely benefit of the firm? (Cite and reference).
.
▶︎ Prompt 1 Think about whether you identify with either Blue or .docxanhlodge
▶︎ Prompt 1:
Think about whether you identify with either Blue or Red or "Left vs. Right" characteristics of conservative or liberal, left or right America. Do you see yourself, or the people in the place you grew up, on either side of the divide, or perhaps in a different political category? Share some ways in which you identify with some of the descriptions, or ways in which they seem foreign to you.
I'll attach the picture below
.
⁞ InstructionsChoose only ONE of the following options .docxanhlodge
⁞ Instructions
Choose only
ONE
of the following options below and, in your post, write a paraphrase that avoids plagiarism of the paragraph you have chosen. Your paraphrase can be as long as the excerpt you have chosen, but should not duplicate any phrasing from the excerpt. If you must, you can quote up to three words in a phrase.
Choose to paraphrase ONE of the excerpts below:
Option 1
Morrison began writing Sula in 1969, a time of great activism among African Americans and others who were working toward equal civil rights and opportunities. The book addresses issues of racism, bigotry, and suppression of African Americans; it depicts the despair people feel when they can't get decent jobs, and the determination of some to survive. Eva, for example, cuts off her leg in order to get money to raise her family. Morrison shows how, faced with racist situations, some people had to grovel to whites simply to get by, as Helene does on a train heading through the South. Others, however, fought back, as Sula does when she threatens some white boys who are harassing her and Nel.
or
Option 2
In 1993, Morrison was awarded the Nobel Prize for literature, and thus became the first African American and only the eighth woman ever to win the award. According to Maureen O'Brien in Publishers Weekly, Morrison said, "What is most wonderful for me personally is to know that the Prize has at last been awarded to an African American. I thank God that my mother is alive to see this day." In 1996, she received the National Book Foundation Medal for Distinguished Contribution to American Letters.
.
⁞ InstructionsChoose only ONE of the following options below.docxanhlodge
⁞ Instructions
Choose only
ONE
of the following options below and, in your post, write a paraphrase that avoids plagiarism of the paragraph you have chosen. Your paraphrase can be as long as the excerpt you have chosen, but should not duplicate any phrasing from the excerpt. If you must, you can quote up to three words in a phrase.
When you are done posting your paraphrase, reply to at least one classmate’s paraphrase, commenting on what s/he has done well and what s/he can improve with the wording. Your response should be written in no fewer than 75 words.
Choose to paraphrase ONE of the excerpts below:
Option 1
Morrison began writing Sula in 1969, a time of great activism among African Americans and others who were working toward equal civil rights and opportunities. The book addresses issues of racism, bigotry, and suppression of African Americans; it depicts the despair people feel when they can't get decent jobs, and the determination of some to survive. Eva, for example, cuts off her leg in order to get money to raise her family. Morrison shows how, faced with racist situations, some people had to grovel to whites simply to get by, as Helene does on a train heading through the South. Others, however, fought back, as Sula does when she threatens some white boys who are harassing her and Nel.
or
Option 2
In 1993, Morrison was awarded the Nobel Prize for literature, and thus became the first African American and only the eighth woman ever to win the award. According to Maureen O'Brien in Publishers Weekly, Morrison said, "What is most wonderful for me personally is to know that the Prize has at last been awarded to an African American. I thank God that my mother is alive to see this day." In 1996, she received the National Book Foundation Medal for Distinguished Contribution to American Letters.
Your discussion post will be graded according to the following criteria:
- Clear paraphrase the selected text in your own words with minimal use of quotations
.
⁞ InstructionsAfter reading The Metamorphosis by Frank .docxanhlodge
⁞ Instructions
After reading
The Metamorphosis
by Frank Kafka , choose
one
of the following assertions and write a 200-word response supporting why you agree or disagree with it.
Gregor’s transformation highlights his isolation and alienation before his metamorphosis.
Or
Despite having become an insect, Gregor is more humane and sensitive than his family.
Or
If Gregor had been a stronger person, he would have been able to avoid all of the suffering and alienation he endures.
.
⁞ InstructionsAfter reading all of Chapter 5, please se.docxanhlodge
⁞ Instructions:
After reading all of
Chapter 5
, please select
ONE
of the following
primary source readings
:
“Utilitarianism” by John Stuart Mill
(starting on page 111)
-or-
“A Theory of Justice” by John Rawls
(starting on page 115)
-or-
“The Entitlement Theory of Justice” by Robert Nozick
(starting on page 122)
Write a short, objective summary of
250-500 words
which summarizes the main ideas being put forward by the author in this selection. Your summary should include no direct quotations from any author. Instead, summarize in your own words, and include a citation to the original. Format your Reading Summary assignment according to either MLA or APA formatting standards, and attach as either a .doc, .docx, or .rtf filetype. Other filetypes, or assignments that are merely copy/pasted into the box will be returned ungraded.
.
⁞ InstructionsAfter reading all of Chapter 2, please select.docxanhlodge
⁞ Instructions:
After reading all of
Chapter 2
, please select
ONE
of the following
primary source readings
:
“Anthropology and the Abnormal” by Ruth Benedict
(starting on page 33)
-or-
“Trying Out One’s New Sword” by Mary Midgley
(starting on page 35)
Write a short, objective summary of
250
which summarizes the main ideas being put forward by the author in this selection.
Write a short summary that identifies the thesis and outlines the main argument.
Reading summaries are not about your opinion or perspective – they are expository essays that explain the content of the reading.
All reading summaries must include substantive content based on the students reading of the material.
Reading Material: Doing Ethics
ORIGINIAL WORK. NO PLAGIARISM
.
⁞ Instructions After reading all of Chapter 9, please .docxanhlodge
⁞ Instructions:
After reading all of
Chapter 9
, please select the following
primary source reading
:
“A Defense of Abortion” by Judith Jarvis Thomson
(starting on page 237)
Write a short, objective summary of
250-500 words
which summarizes the main ideas being put forward by the author in this selection. Your summary should include no direct quotations from any author. Instead, summarize in your own words, and include a citation to the original. Format your Reading Summary assignment according to either MLA or APA formatting standards, and attach as either a .doc, .docx, or .rtf filetype. Other filetypes, or assignments that are merely copy/pasted into the box will be returned ungraded.
.
…Multiple intelligences describe an individual’s strengths or capac.docxanhlodge
“…Multiple intelligences describe an individual’s strengths or capacities; learning styles describe an individual’s traits that relate to where and how one best learns” (textbook quote, [H2] Learning Styles].
This week you’ve read about the importance of getting to know your students in order to create relevant and engaging lesson plans that cater to multiple intelligences and are multimodal.
Assignment Instructions:
A. Using
SurveyMonkey
, create a survey that has:
At least five questions based on Gardner’s theory
Five questions on individual learning style inventory
A specific targeted student population grade level (elementary/ middle/ high school/adults)
Include the survey link for your peers
B. Post a minimum 150 word introduction to your survey, using at least one research-based article (cited in APA format) explaining how it will:
Evaluate students’ readiness
Assist in the creation of differentiated lesson plans.
.
••• JONATHAN LETHEM CRITICS OFTEN USE the word prolifi.docxanhlodge
- Jonathan Lethem is known for publishing many novels, stories, essays and other works across different genres. He is described as a "protean" or shape-shifting writer.
- Lethem believes creativity comes from influence and interaction with other works, not isolated originality. He celebrates the "ecstasy of influence" where culture is built upon what came before through borrowing and remixing.
- Many artists, including musicians, visual artists and writers, engage in practices that borrow and reuse elements from other works but these practices are seen as essential to creativity rather than plagiarism. Appropriation and remixing are at the core of cultural production.
•••••iA National Profile ofthe Real Estate Industry and.docxanhlodge
•••••i
A National Profile of
the Real Estate Industry and
the Appraisal Profession
by J. Reid Cummings and Donald R. Epley, PhD, MAI, SRA
FEATURES
T
J- he
he real estate industry has been devastated on many fronts' in the years
following the Great Recession, whieh began in 2007^ due to the bursting of the
housing bubble and the subsequent finaneial crisis relating to the mortgage
market meltdown.' The implosion of the mortgage markets initially began when
two Bear Stearns mortgage-backed securities hedge funds, holding nearly $10
billion in assets, disintegrated into nothing.* Panie quickly spread to financial
institutions that could not hide the extent of their toxic, subprime exposures, and
a massive, worldwide credit squeeze ensued; outright fear soon replaced panic.
Subsequent eredit tightening and substantial illiquidity in the financial markets
rapidly and severely affected the housing and construction markets.' Throughout
the United States, properties of all kinds saw dramatic value declines.
In thousands of cases, real estate foreclosures disrupted people's lives,
forced businesses to close, eaused financial institutions to falter, capsized wbole
market segments, devastated entire industries, and squeezed municipal and state
government budgets dependent upon use and property tax revenues.* While the
effeets of property value declines and the waves of foreclosures in markets across
the country captured most of the headlines, one significant impact of the upheaval
in US real estate markets has gone largely unreported: its impact on employment
in the real estate industry, and specifically, the real estate appraisal profession.
This article presents a
current employment
profile of the US real
estate industry, with
special attention given
to appraisal profes-
sionals. It serves as an
informative picture of
the appraisal profession
for use as a benchmark
for future assessment
of growth. As a
component of the real
estate industry, the
appraisal profession
ranks as the smallest
in employment, is
highly correlated to
movements in empioy-
ment of brokers and
agents, and relies on
commerciai banking,
credit, and real estate
lessors and managers
to deliver its products.
1. James R. DeLisle, "At the Crossroads of Expansion and Recession," TheAppraisalJournal 75, no. 4 (Fall 2007):
314-322; James R. DeLisle, "The Perfect Storm Rippiing Over to Reai Estate," The Appraisal Journal 76, no,
3 (Summer 2008): 200-210.
2. Randaii W. Eberts, "When Wiii US Empioyment Recover from tiie Great Recession?" International Labor Brief
9, no. 2 (2011): 4-12 (W. E. Upjohn Institute for Employment Research): Chad R. Wilkerson, "Recession and
Recovery Across the Nation: Lessons from History," Economic Review 94, no. 2 (2009): 5-24.
3. Kataiina M. Bianco, The Subprime Lending Crisis: Causes and Effects of the Mortgage Meltdown (New York:
CCH, inc., 2008): Lawrence H. White, "Fédérai Reserve Policy and the Housing Bubbie," in Lessons Fro.
Let us consider […] a pair of cases which I shall call Rescue .docxanhlodge
“Let us consider […] a pair of cases which I shall call Rescue I and Rescue II. In the first Rescue story we are hurrying in our jeep to save some people – let there be five of them – who are imminently threatened by the ocean tide. We have not a moment to spare, so when we hear of a single person who also needs rescuing from some other disaster we say regretfully that we cannot rescue him, but must leave him to die. To most of us, this seems clear […]. This is Rescue I and with it I contrast Rescue II. In this second story we are again hurrying to the place where the tide is coming in in order to rescue the party of people, but this time it is relevant that the road is narrow and rocky. In this version, the lone individual is trapped (do not ask me how) on the path. If we are to rescue the five we would have to drive over him. But can we do so? If we stop he will be all right eventually: he is in no danger unless from us. But of course, all five of the others will be drowned. As in the first story, our choice is between a course of action that will leave one man dead and five alive at the end of the day and a course of action which will have the opposite result. (Philippa Foot, “Killing and Letting Die,” from Abortion and Legal Perspectives, eds. Garfield and Hennessey, 2004, University of Massachusetts Press)
1. What would Mill tell the rescuer to do, in Rescue I and Rescue II, according to his theory of utilitarianism? Be clear in explaining Mill’s recommendation, and how he would justify it. In doing so, you must include a discussion of the following:
o The Principle of Utility and how it would specifically apply in this situation—who gets “counted” and how?
2. What would Kant tell the rescuer to do, in Rescue I and Rescue II, according to his deontological theory? Be clear in explaining Kant’s recommendation and how he would justify it. In doing so, you must include a discussion of the following:
o The first version of the Categorical Imperative and how it would specifically apply in these two situations (hint, you have to say what the maxim would be and what duty would be generated according to it).
o The second version of the Categorical Imperative and how it would specifically apply in this situation.
3. Explain one criticism of both Mill and Kant. Afterward, argue for which ethical approach, on your view is superior. Be specific and provide reasons for your claim.
.
• Enhanced eText—Keeps students engaged in learning on th.docxanhlodge
• Enhanced eText—Keeps students engaged in learning on their own time,
while helping them achieve greater conceptual understanding of course
material. The worked examples bring learning to life, and algorithmic practice
allows students to apply the very concepts they are reading about. Combining
resources that illuminate content with accessible self-assessment, MyLab
with Enhanced eText provides students with a complete digital learning
experience—all in one place.
• MediaShare for Business—Consisting of a curated collection of business
videos tagged to learning outcomes and customizable, auto-scored
assignments, MediaShare for Business helps students understand why they
are learning key concepts and how they will apply those in their careers.
Instructors can also assign favorite YouTube clips or original content and
employ MediaShare’s powerful repository of tools to maximize student
accountability and interactive learning, and provide contextualized feedback
for students and teams who upload presentations, media, or business plans.
• Writing Space—Better writers make great
learners who perform better in their courses.
Designed to help you develop and assess concept
mastery and critical thinking, the Writing Space
offers a single place to create, track, and grade
writing assignments, provide resources, and
exchange meaningful, personalized feedback with
students, quickly and easily. Thanks to auto-graded, assisted-graded, and create-your-own assignments, you
decide your level of involvement in evaluating students’ work. The auto-graded option allows you to assign
writing in large classes without having to grade essays by hand. And because of integration with Turnitin®,
Writing Space can check students’ work for improper citation or plagiarism.
• Branching, Decision-Making Simulations—Put your students in the
role of manager as they make a series of decisions based on a realistic
business challenge. The simulations change and branch based on their
decisions, creating various scenario paths. At the end of each simulation,
students receive a grade and a detailed report of the choices they made
with the associated consequences included.
Engage, Assess, Apply
• Learning Catalytics™—Is an interactive, student response tool that
uses students’ smartphones, tablets, or laptops to engage them in
more sophisticated tasks and thinking. Now included with MyLab
with eText, Learning Catalytics enables you to generate classroom
discussion, guide your lecture, and promote peer-to-peer learning
with real-time analytics.
• LMS Integration—You can now link from Blackboard Learn, Brightspace
by D2L, Canvas, or Moodle to MyManagementLab. Access assignments,
rosters, and resources, and synchronize grades with your LMS gradebook.
For students, single sign-on provides access to all the personalized
learning resources that make studying more efficient and effective.
• Reporting Dashboard—View, analyze, and re.
• Here’s the approach you can take for this paperTitle.docxanhlodge
This document outlines the structure for a 15-20 page paper on risk management for an organization. It should include an introduction providing background on the selected organization, descriptions of 3 risks with their impacts and recommendations for managing each risk, a conclusion, and references. The paper needs a title page and should follow APA style formatting.
•Your team will select a big data analytics project that is intr.docxanhlodge
•Your team will select a big data analytics project that is introduced to an organization of your choice … please address the following items:
•Provide a background of the company chosen.
•Determine the problems or opportunities that that this project will solve. What is the value of the project?
•Describe the impact of the problem. In other words, is the organization suffering financial losses? Are there opportunities that are not exploited?
•Provide a clear description regarding the metrics your team will use to measure performance. Please include a discussion pertaining to the key performance indicators (KPIs).
•Recommend a big data tool that will help you solve your problem or exploit the opportunity, such as Hadoop, Cloudera, MongoDB, or Hive.
•Evaluate the data requirements. Here are questions to consider: What type of data is needed? Where can you find the data? How can the data be collected? How can you verify the integrity of the data?
•Discuss the gaps that you will need to bridge. Will you need help from vendors to do this work? Is it necessary to secure the services of other subject matter experts (SMEs)?
•What type of project management approach will you use this initiative? Agile? Waterfall? Hybrid? Please provide a justification for the selected approach.
•Provide a summary and conclusion.
.
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1. ‘8 Sentence Body Paragraph’ Essay Template (22-sentence)
Introduction ¶(Includes thesis)
Body ¶ #1
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact )(In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Body ¶ #2
Topic Sentence
Concrete Detail #1 (fact) (For example)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concrete Detail #2 (fact) (In addition,)
Commentary (explain or comment) (This shows that)
Commentary (explain or comment) (This is because)
Concluding Sentence (As a result,)
Conclusion ¶(Includes summary)
1
Ancient Greek Art
1
2
The Greek World
Map 5-1 The Greek world.
2. 2
3
Geometric krater, from the Dipylon cemetery, Athens, Greece,
ca. 740 BCE. 3’ 4 1/2” high. Metropolitan Museum of Art, New
York.
Geometric Period
(9th – 8th centuries BCE)
3
DIPYLON PAINTER, Geometric amphora with mourning scene,
from the Dipylon cemetery, Athens, Greece, ca. 750 BCE. 5’ 1”
high. National Archaeological Museum, Athens.
4
7
Hero and centaur (Herakles and Nessos?), from
Olympia,Greece, ca. 750–730 BCE. Bronze, 4 1/2” high.
Metropolitan Museum of Art, New York (gift of J. Pierpont).
3. 7
8
Mantiklos Apollo, statuette of a youth dedicated by Mantiklos
to Apollo, from Thebes, Greece, ca. 700–680 BCE. Bronze, 8”
high. Museum of Fine Arts, Boston.
8
Eleusis Amphora – front, 675-650 BCE
10
Corinthian black-figure amphora with animal friezes, from
Rhodes, Greece, ca. 625–600 BCE. 1’ 2” high. British Museum,
London.
Observe the creatures on this black-figure amphora. Are there
any precedents for such composite creatures?
Orientalizing Period (7th century BCE)
10
11
Lady of Auxerre, from Crete, probably Eleutherna, Greece, ca.
4. 650–625 BCE. Limestone, 2’ 1 1/2” high. Musée du Louvre,
Paris.
11
12
kouros (male youth)/kouroi (pl.)
kore (maiden)/korai (pl.).
Archaic Period (6th century BCE)
12
13
Kouros, from Attica, possibly Anavysos, Greece, ca. 600 BCE.
Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York.
13
14
14
15
Kroisos, from Anavysos, Greece, ca. 530 BCE. Marble, 6’ 4”
5. high. National Archaeological Museum, Athens.
Why did Greek artists render the male form in the nude?
15
16
Calf Bearer, dedicated by Rhonbos on the Acropolis, Athens,
Greece, ca. 560 BCE. Marble, restored height 5’ 5”; fragment 3’
11 1/2” high. Acropolis Museum, Athens.
16
17
Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE.
Marble, 4’ high. Acropolis Museum, Athens.
Notice traces of encaustic paint on the Peplos Kore. Most Greek
stone statues were painted.
Notice also that the Peplos Kore is clothed.
17
18
Kore in Ionian dress, from the Acropolis, Athens, Greece, ca.
520–510 BCE. Marble, 1’ 9” high. Acropolis Museum, Athens.
6. 18
Plan of a typical peripteral Greek temple.
19
Peripteral Greek Temple
20
Elevations of the Doric and Ionic orders (John Burge).
20
Compare Doric and Ionic Orders
21
21
Temple of Hera I (“Basilica”), Paestum, Italy, ca. 550 BCE.
22
22
Plan of the Temple of Hera I, Paestum, Italy, ca. 550 BCE.
7. 23
23
West pediment from the Temple of Artemis, Corfu, Greece, ca.
600–580 BCE. Limestone, greatest height 9’ 4”. Archaeological
Museum, Corfu.
24
Aerial view of the sanctuary of Apollo, Delphi, Greece, with the
temple of Apollo, begun 548 BCE, and Archaic treasuries.
24
25
Reconstruction drawing of the Siphnian Treasury, Delphi,
Greece, ca. 530 BCE (John Burge).
26
26
Gigantomachy, detail of the north frieze of the Siphnian
Treasury, Delphi, Greece, ca. 530 BCE. Marble, 2’ 1” high.
Archaeological Museum, Delphi.
8. 27
27
KLEITIAS and ERGOTIMOS, François Vase (Athenian black-
figure volute krater), from Chiusi, Italy, ca. 570 BCE. 2’ 2”
high. Museo Archeologico, Florence.
29
KLEITIAS and ERGOTIMOS, centauromachy, François Vase
(Athenian black-figure volute krater), from Chiusi, Italy, ca.
570 BCE. Museo Archeologico, Florence.
28
29
EXEKIAS, Achilles and Ajax playing a dice game (detail from
an Athenian black-figure amphora), from Vulci, Italy, ca. 540–
530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei
Vaticani, Rome.
31
EXEKIAS, Achilles killing Penthesilea (Athenian black-figure
amphora), from Vulci, Italy, ca. 540–530 BCE. 1’ 4 3/8” high.
British Museum, London.
30
9. 31
LEFT: LYSIPPIDES PAINTER, Achilles and Ajax playing a
dice game (black-figure side of an Athenian bilingual amphora),
from Orvieto, Italy, ca. 525–520 BCE. 1’ 9” high. Museum of
Fine Arts, Boston.
RIGHT: ANDOKIDES PAINTER, Achilles and Ajax playing a
dice game (red-figure side of the same Athenian bilingual
amphora).
33
32
EUPHRONIOS, Herakles wrestling Antaios (detail of an
Athenian red-figure calyx krater), from Cerveteri, Italy, ca. 510
BCE. Whole vessel 1’ 7” high; detail 7 3/4” high.Musée du
Louvre, Paris.
34
Euphronios, Death of Sarpedon, ca. 515 BCE
33
34
EUTHYMIDES, Three revelers (Athenian red-figure amphora),
from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche
10. Antikensammlungen, Munich.
36
ONESIMOS, Girl preparing to bathe (interior of an Athenian
red-figure kylix), from Chiusi, Italy, ca. 490 BCE. Tondo 6” in
diameter. Musées Royaux des Beaux-Arts de Belgique,
Brussels.
35
36
Temple of Aphaia (looking southwest), Aegina, Greece, ca.
500–490 BCE.
39
Model of the Temple of Aphaia, Aegina, Greece, ca. 500-490
BCE, showing internal elevation (top) and plan (bottom).
Glyptothek, Munich.
37
38
GUILLAUME-ABEL BLOUET’S 1828 restored view of the
façad of the Temple of Aphaia, Aegina, Greece, ca. 500–490
11. BCE.
41
39
Dying warrior, from the west pediment of the Temple of
Aphaia, Aegina, Greece, ca. 500–490 BCE. Marble, 5’ 2 1/2”
long. Glyptothek, Munich.
42
40
Figure 5-29 Dying warrior, from the east pediment of the
Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1”
long. Glyptothek, Munich.
43
41
Temple of Hera II or Apollo (looking northeast), Paestum, Italy,
ca. 460 BCE.
44
12. 42
Athena, Herakles, and Atlas with the apples of the Hesperides,
metope from the Temple of Zeus, Olympia, Greece, ca. 470–456
BCE. Marble, 5’ 3” high. Archaeological Museum, Olympia.
45
43
Chariot race of Pelops and Oinornaos, east pediment from the
Temple of Zeus, Olympia, Greece, ca. 470–456 BCE. Marble,
87’ wide. Archaeological Museum, Olympia.
46
Centauromachy, west pediment from the Temple of Zeus,
Olympia, Greece, ca. 470–456 BCE. Marble, Apollo (central
figure), 10’ 8” high. Archaeological Museum, Olympia.
44
45
Seer, from the east pediment of the Temple of Zeus, Olympia,
Greece, ca. 470–456 BCE. Marble, full figure 4’ 6” high; detail
3’ 2 1/2” high. Archaeological Museum, Olympia.
13. 48
Apollo, from the west pediment of the Temple of Zeus,
Olympia, Greece, ca. 470-456 BCE. Marble, restored height 10’
8”. Archaeological Museum, Olympia.
46
47
Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE.
Marble, 2’ 10” high. Acropolis Museum, Athens.
Kritios Boy is the earliest known example of contrapposto, a
relaxed and natural stance.
Notice how his weight shifts to his left leg and how his head
turns slightly to his right.
Notice absence of Archaic smile
50
48
Warrior, from the sea off Riace, Italy, ca. 460–450 BCE.
Bronze, 6’ 6” high. Museo Archeologico Nazionale, Reggio
Calabria.
This Riace Warrior, like most Classical Greek statues, was
sculpted in bronze. Most Classical bronzes have not survived.
Much of the Classical Greek sculptures today are Roman marble
copies.
14. 51
Charioteer, from a group dedicated by Polyzalos pf Gela in the
sanctuary of Apollo, Delphi, Greece, ca. 470 BCE. Bronze, 5’
11” high. Archeological Museum, Delphi.
49
50
Zeus (or Poseidon?), from the sea off Cape Artemision, Greece,
ca. 460–450 BCE. Bronze, 6’ 10” high. National Archaeological
Museum, Athens.
54
51
MYRON, Diskobolos (Discus Thrower). Roman marble copy of
a bronze original of ca. 450 BCE, 5’ 1” high. Museo Nazionale
Romano—Palazzo Massimo alle Terme.
55
52
POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble
copy from Pompeii, Italy, after a bronze original of ca. 450–440
BCE, 6’ 11” high. Museo Archeologico Nazionale, Naples.
Doryphoros (Spear Thrower), POLYKEITOS
15. Originally titled Canon
Established Polykleitos’ canon of proportions, setting ideal
correlations among body parts
Contrapposto
Notice the harmony of opposites
56
53
KRESILAS, Pericles. Roman marble herm copy of a bronze
original of ca. 429 BCE. Full herm 6’ high; detail 4’ 6 1/2”
high. Musei Vaticani, Rome.
Pericles:
Elected stratego, general of Athens 15X
Instrumental in rebuilding and beautifying Athens after second
Persian invasion
Notice his idealized appearance
The Acropolis of Pericles
57
54
Aerial view of the Acropolis looking southeast, Athens, Greece.
58
Restored view of the Acropolis, Athens, Greece (John Burge).
16. (1) Parthenon, (2) Propylaia, (3) pinakotheke, (4) Erechtheion,
(5) Temple of Athena Nike.
55
56
IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena
Parthenos, looking southeast), Acropolis, Athens, Greece, 447–
438 BCE.
60
57
Plan of the Parthenon, Acropolis, Athens, Greece, with diagram
of sculptural program (after Andrew Stewart), 447–432 BCE.
61
58
PHIDIAS, Athena Parthenos, in the cella of the Parthenon,
Acropolis, Athens, Greece, ca. 438 BCE. Model of the lost
chryselephantine statue. Royal Ontario Museum, Toronto.
62
Lapith versus centaur, metope from the south side of the
17. Parthenon, Acropolis, Athens, Greece, ca. 447-438 BCE.
Marble, 4’ 8” high. British Museum, London.
59
60
Helios and his horses, and Dionysos (Herakles?), from the east
pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–
432 BCE. Marble, greatest height 4’ 3”. British Museum,
London.
64
61
Three goddesses (Hestia, Dione, and Aphrodite?), from the east
pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–
432 BCE. Marble, greatest height 4’ 5”. British Museum,
London.
65
62
Details of the Panathenaic Festival procession frieze, from the
Parthenon, Acropolis, Athens, Greece, ca. 447–438 BCE.
Marble, 3’ 6” high. Horsemen of north frieze (top), British
Museum, London; seated gods and goddesses (Poseidon, Apollo,
and Artemis) of east frieze (center), Acropolis Museum, Athens;
and elders and maidens of east frieze (bottom), Musée du
Louvre, Paris.
18. 66
63
MNESIKLES, Propylaia (looking southwest), Acropolis,
Athens, Greece, 437–432 BCE.
67
64
Erechtheion (looking northwest), Acropolis, Athens, Greece, ca.
421–405 BCE.
68
65
Plan of the Erechtheion, Acropolis, Athens, Greece, ca. 421–
405 BCE.
69
66
19. Caryatids of the south porch of the Erechtheion, Acropolis,
Athens, Greece, ca. 421–405 BCE. Marble, 7’ 7” high.
70
67
KALLIKRATES, Temple of Athena Nike (looking southwest),
Acropolis, Athens, Greece, ca. 427–424 BCE.
71
68
Nike adjusting her sandal, from the south side of the parapet of
the Temple of Athena Nike, Acropolis, Athens, Greece, ca. 410
BCE. Marble, 3’ 6” high. Acropolis Museum, Athens.
72
Late Classical Period (4th century BCE)
Late 5th century was marked by the devastating Peloponnesian
War between Athens and Sparta
Macedonians invade Greece and defeat the united city states at
the Battle of Chaeronea in 338 BCE.
4th century Greece – political turmoil
Affected appearance of art
69
20. 73
69
PRAXITELES, Aphrodite of Knidos. Roman marble copy of an
original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome.
Aphodite of Knidos, PRAXITELES
Bold step to render a goddess in the nude
Sensuous and humanizing qualities – different from the cold,
aloof gods and athletes of the High Classical
74
70
PRAXITELES(?), Hermes and the infant Dionysos, from the
Temple of Hera, Olympia, Greece. Copy of a statue by
Praxiteles of ca. 340 BCE or an original work of ca. 330–270
BCE by a son or grandson. Marble, 7’ 1” high. Archaeological
Museum, Olympia
Hermes and the infant Dionysus
By follower of Praxiteles (son or grandson possibly)
Notice S-curve of the body (pronounced contrapposto)
New standard of adult and child interaction
75
71
LYSIPPOS, Apoxyomenos (Scraper). Roman marble copy of a
21. bronze original of ca. 330 BCE, 6’ 9” high. Musei Vaticani,
Rome.
Apoxyomenos, LYSIPPOS
Established a different canon of proportions from that of
Polykleitos
76
72
LYSIPPOS, Weary Herakles (Farnese Herakles). Roman marble
copy from Rome, Italy, signed by GLYKON OF ATHENS, of a
bronze original of ca. 320 BCE. 10 ‘ 5” high. Museo
Archeologico Nazionale, Naples.
77
73
Head of Alexander the Great, from Pella, Greece, third century
BCE. Marble, 1’ high. Archaeological Museum, Pella.
78
74
PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE.
Roman copy (Alexander Mosaic) from the House of the Faun,
Pompeii, Italy, late second or early first century BCE. Tessera
22. mosaic, approx. 8’ 10” X 16’ 9”. Museo Archeologico
Nazionale, Naples.
79
75
Hellenistic Period (323 – 30 BCE)
Begins after the death of Alexander the Great (323 BCE); lasts
through the defeat of Cleopatra and Mark Anthony by the
Romans at the Battle of Actium (30 BCE)
80
76
POLYKLEITOS THE YOUNGER, Corinthian capital, from the
tholos, Epidauros, Greece, ca. 350 BCE. Archaeological
Museum, Epidauros.
81
77
Reconstructed west front of the Altar of Zeus, Pergamon,
Turkey, ca. 175 BCE.Pergamonmuseum, Staatliche Museen zu
Berlin, Berlin.
23. 82
78
Athena battling Alkyoneos, detail of the gigantomachy frieze,
from the Altar of Zeus, Pergamon, Turkey ca. 175 BCE. Marble,
7’ 6” high. Pergamonmuseum, Staatliche Museen zu Berlin,
Berlin.
83
79
EPIGONOS(?), Gallic chieftain killing himself and his wife.
Roman marble copy of a bronze original of ca. 230–220 BCE, 6’
11” high. Museo Nazionale Romano–Palazzo Altemps, Rome.
84
80
EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze
original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino,
Rome.
85
81
24. Nike alighting on a warship (Nike of Samothrace), from
Samothrace, Greece, ca. 190 BCE. Marble, figure 8’ 1” high.
Musée du Louvre, Paris.
86
82
ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite
(Venus de Milo), from Melos, Greece, ca. 150–125 BCE.
Marble, 6’ 7” high. Louvre, Paris.
87
Aphrodite, Eros, and Pan, from Delos, Greece, ca. 100 BCE.
Marble, 4’ 4” high. National Archaeological Museum, Athens.
83
84
Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230–200
BCE. Marble, 7’ 1” high. Glyptothek, Munich.
89
Sleeping Eros, from Rhodes, ca. 150–100 BCE. Bronze, 2’ 9
25. 1/2" long. Metropolitan Museum of Art, New York (Rogers
Fund, 1943).
85
86
Seated boxer, from Rome, Italy, ca. 100–50 BCE. Bronze, 4’ 2”
high. Museo Nazionale Romano–Palazzo Massimo alle Terme,
Rome.
91
87
Old market woman, ca. 150–100 BCE. Marble, 4’ 1/2” high.
Metropolitan Museum of Art, New York.
92
88
POLYEUKTOS, Demosthenes. Roman marble copy of a bronze
original of ca. 280 BCE. 6’ 7 1/2” high. Ny Carlsberg
Glyptotek, Copenhagen.
93
26. 89
ATHANADOROS, HAGESANDROS, and POLYDOROS OF
RHODES, Laocoön and his sons, from Rome, Italy, early first
century CE Marble, 7’ 10 1/2” high. Musei Vaticani, Rome.
94
90
ATHANADOROS, HAGESANDROS, and POLYDOROS OF
RHODES, head of Odysseus, from Sperlonga, Italy, early first
century CE. Marble, 2’ 1 1/4” high. Museo Archeologico,
Sperlonga.
95
1
Ancient Egyptian Art
1
2
Ancient Egypt
2
27. 3
People, boats, and animals, detail of a watercolor copy of a wall
painting from tomb 100 at Hierakonpolis, Egypt, Predynastic,
ca. 3500–3200 BCE. Paint on plaster, entire painting 16’ 4” X
3’ 7 3/8”. Egyptian Museum, Cairo.
Predynastic, Early Dynasties, and the Old Kingdom
3
4
Stylistic Conventions of Egyptian Art
Palette of Narmer: a blueprint for a formula for figure
representation and other conventions seen in Egyptian art for
nearly 3000 years.
Palette of King Narmer (left, back; right, front), from
Hierakonpolis, Egypt, Predynastic, ca. 3000–2920 BCE. Slate,
2’ 1” high. Egyptian Museum, Cairo.
4
5
Early Funerary Architectural Forms
Section (top), plan (center),and restored view (bottom) of
typical Egyptian mastaba tombs.
28. 5
6
IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser,
Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
6
7
Restored view (top) and plan (bottom) of the mortuary precinct
of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
7
Columnar entrance corridor to the mortuary precinct of Djoser,
Saqqara, Egypt, Third Dynasty, ca. 2630–2611 BCE.
8
9
Detail of the facade of the north palace of the mortuary precinct
of Djoser, Saqqara, Egypt, Third Dynasty, ca. 2630–2611
BCE.
29. 9
11
Aerial view of the Fourth Dynasty pyramids (looking north),
Gizeh, Egypt. From bottom: Pyramids of Menkaure, ca. 2490–
2472 BCE; Khafre, ca. 2520–2494 BCE; and Khufu, ca. 2551–
2528 BCE.
The Pyramids
11
13
Section of the Pyramid of Khufu, Gizeh, Egypt, Fourth Dynasty,
ca. 2551–2528 BCE.
13
14
Model of the pyramid complex, Gizeh, Egypt. Harvard
University Semitic Museum, Cambridge. 1) Pyramid of
Menkaure, 2) Pyramid of Khafre, 3) mortuary temple of Khafre,
4) causeway, 5) Great Sphinx, 6) valley temple of Khafre, 7)
Pyramid of Khufu, 8) pyramids of the royal family and mastabas
of nobles.
30. 14
15
Khafre enthroned, from Gizeh, Egypt, Fourth Dynasty, ca.
2520–2494 BCE. Diorite, 5’ 6” high. Egyptian Museum, Cairo.
15
Sculptors at work, detail of the south wall of the main hall of
the funerary chapel of Rekhmire, Thebes, Egypt, 18th Dynasty,
ca. 1425 BCE.
16
17
Great Sphinx (with Pyramid of Khafre in the background at
left), Gizeh, Egypt, Fourth Dynasty, ca. 2520–2494 BCE.
Sandstone, 65’ X 240’.
17
18
Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth
Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high.
31. Museum of Fine Arts, Boston.
18
19
Seated scribe, from Saqqara, Egypt, Fourth Dynasty, ca. 2500
BCE. Painted limestone, 1’ 9” high. Musée du Louvre, Paris.
19
20
Ti watching a hippopotamus hunt, relief in the mastaba of Ti,
Saqqara, Egypt, Fifth Dynasty, ca. 2450–2350 BCE. Painted
limestone, 4’ high.
20
Goats treading seed and cattle fording a canal, reliefs in the
mastaba of Ti, Saqqara, Egypt, Fifth Dynasty, ca. 2450 – 2350
BCE. Painted limestone.
21
21
32. 22
Middle Kingdom
23
24
Painted sandstone seated statue of Mentuhotep II, 11th Dynasty,
c. 2061–2010 BC, Egyptian Museum, Cairo.
24
25
Mortuary temple of Hatshepsut (looking southwest), Deir el-
Bahri, Egypt, 18th Dynasty, ca. 1473–1458 BCE.
New Kingdom
25
26
Hatshepsut with offering jars, from the upper court of her
mortuary temple, Deir el-Bahri, Egypt, 18th Dynasty, ca. 1473–
1458 BCE. Red granite, 8’ 6” high. Metropolitan Museum of
Art, New York.
33. 26
27
King and queen of Punt and attendants, relief from the
mortuary temple of Hatshepsut, Deir el-Bahri, Egypt, 18th
Dynasty, ca. 1473–1458 BCE. Painted limestone, 1’ 3” high.
Egyptian Museum, Cairo.
28
29
Aerial view of the temple of Amen-Re (looking north), Karnak,
Egypt, major construction 15th – 13th centuries BCE (Jean
Claude Golvin).
30
3-24A Aerial view of the temple of Amen-Re, Mut, and Khonsu
(looking east), Luxor, Egypt, 18th and 19th Dynasties, begun
early 14th century BCE.
31
34. 33
Relief showing the sacred bark procession, in the sanctuary of
Philip Arrhidaeus at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
34
Columns and clerestory of the hypostyle hall of the temple of
Amen-Re, Karnak, Egypt, 19th Dynasty, ca. 1290–1224 BCE.
34
Model of the hypostyle hall, temple of Amen-Re, Karnak,
Egypt, 19th Dynasty, ca. 1290 – 1224 BCE. Metropolitan
Museum of Art, New York.
35
35
37
35. Figure 3-28 Fowling scene, from the tomb of Nebamun,
Thebes, Egypt, 18th Dynasty, ca. 1400–1350 BCE. Fresco
secco, 2’ 8” high. British Museum, London.
37
38
Musicians and dancers, detail of a mural from the tomb of
Nebamun, Thebes, Egypt, 18th Dynasty, ca. 1400-1350 BCE.
Fresco secco, 1’ x 2’ 3”. British Museum, London.
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Akhenaton, colossal statue from the temple of Aton, Karnak,
Egypt, 18th Dynasty, ca. 1353–1335 BCE. Sandstone, 13’ high.
Egyptian Museum, Cairo.
Akhenaton and
the Amarna Period
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36. Akhenaton, Nefertiti, and three daughters, from Amarna, Egypt,
18th Dynasty, ca. 1353–1335 BCE. Limestone, 1’ 1/4” high.
Ägyptisches Museum, Staatliche Museen zu Berlin, Berlin.
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42
Tomb of Ramose, Private Tomb ("Tombs of the Nobles") at
Sheikh Abd el-Qurna
18th Dynasty, ca 1375 BCE
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THUTMOSE, bust of Nefertiti, from Amarna, Egypt, 18th
Dynasty, ca. 1353–1335 BCE. Painted limestone, 1’ 8” high.
Ägyptisches Museum, Staatliche Museen zu Berlin, Berlin.
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Portrait of Tiye, from Ghurab, Egypt, 18th Dynasty, ca. 1353–
1335 BCE. Yew wood, gold, silver, alabaster, faience, and lapis
lazuli, 8 7/8” high. Ägyptisches Museum, Staatliche Museen zu
Berlin, Berlin.
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Figure 3-35 Death mask of Tutankhamen, from the innermost
coffin in his tomb at Thebes, Egypt, 18th Dynasty, ca. 1323
BCE. Gold with inlay of semiprecious stones, 1’ 9 1/4” high.
Egyptian Museum, Cairo.
King Tut
reverts back to the earlier conventions
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Innermost coffin of Tutankhamen, from his tomb at Thebes,
Egypt, 18th Dynasty, ca. 1323 BCE. Gold with inlay of enamel
and semiprecious stones, 6’ 1” long. Egyptian Museum, Cairo.
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Throne with footstool, from the Tomb of Tutankhamen, Thebes,
Egypt, 18th Dynasty, ca. 1333–1323 BCE. Gold with enamel
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38. Painted chest, from the Tomb of Tutankhamen, Thebes, Egypt,
18th Dynasty, ca. 1333–1323 BCE. Wood, 1’ 8” long. Egyptian
Museum, Cairo.
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Continuity of Ancient Egyptian Art
Despite some alterations and short deviations (Amarna) from
their artistic tradition, why did Egyptians maintain such
continuity in their art (statue of Mentuemhet, ca. 650 BCE) and
architecture (Temple of Horus, ca. 237 – 47 BCE)?
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Portrait statue of Mentuemhet, from Karnak, Egypt, 26th
Dynasty, ca. 660–650 BCE. Granite, 4’ 5” high. Egyptian
Museum, Cairo.
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2490–2472 BCE
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Relief showing the sacred bark procession, in the sanctuary of
Philip Arrhidaeus at the temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
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Fragment from bark shrine of Philip Arrhidaeus at the temple of
Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
Purification and Crowning of the king by Thoth & Horus, at the
temple of Amon, Karnak, Egypt
Macedonian Dynasty, reign of Philip, 332–316 B.C.
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Temple of Horus (looking east), Edfu, Egypt, ca. 237 – 47 BCE.
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