This document provides details about several Greek sculptures from the 4th century BC including Eirene and Ploutos, Hermes and Dionysus, Aphrodite of Knidos, and The Raging Maenad. It describes the original sculptors and dates of the works, as well as new developments in sculpture during this period including a move towards depicting emotions and humanizing gods. Technical details are given about the poses, proportions, drapery, and facial expressions of the figures. The document also includes analysis of aesthetic qualities and techniques used by the sculptors.
This document provides summaries of various artworks from different time periods and cultures, including a Mother Goddess figure from France dated to 22,000-19,000 BC, bulls painted in the Lascaux Caves in France from 16,000-14,000 BC, a stone vase from Uruk, Iraq dated to 3500-3000 BC, the Palette of Narmer from Egypt dated to 3200 BC, an 8th century BC Dipylon Vase from Athens, the Kritios Boy statue from 480 BC, an Imperial Roman copy of the Aphrodite of Cnidus, the 2nd century AD Apollo Belvedere, the 1st century AD Laocoon and his Two Sons
The document summarizes the decoration and scenes depicted on the Francois Vase located in Florence, Italy. Dating to around 570 BCE, the vase depicts myths from Greek mythology painted in black figure technique across seven friezes. Major scenes include the wedding of Peleus and Thetis, the hunt for the Calydonian boar, Achilles' pursuit of Troilus, and the battle between the Lapiths and Centaurs. The vase provides important artistic and mythological details from the archaic period of ancient Greece.
Ancient pagan and modern christian symbolism, thomas inman and john newton @ ...Deepak-Atim Somaji-Sawant
This document discusses various religious symbols and emblems found across different cultures, including triangles, circles, sun discs, and phallic symbols. It notes that some symbols represented divine beings or deities and were used in religious rituals and worship. Some symbols depicted male and female principles or the union of masculine and feminine. The document also describes findings of some Hindu symbols in ancient Italy and considers possible connections between cultures.
Fareen Butt is a painter known for using gemstones and precious metals in her works. Her artistic journey began by learning to draw landscapes from her mother at a young age. She later apprenticed with jewelers and was inspired by her travels, seeing how local artisans used natural elements. Her early works were abstract spaces inspired by Vedic concepts of light, space, and creation. Her current works depict sacred landscapes using techniques from antiquity of painting with gemstone pigments. Her Mirage series uses minerals to visualize mountains, while acknowledging their mystical symbolism across cultures.
The document provides instructions for an activity where students will view Egyptian and Mesopotamian artifacts in a slideshow and identify which features of civilization each artifact exemplifies. It then lists several Egyptian and Mesopotamian artifacts, providing a brief description and image of each.
This krater from 550-40 BC depicts the return of Hephaistos from Mount Etna to Olympus, led by Dionysus. They are accompanied by satyrs and maenads. The krater was painted by Lydos, who was from Lydia but worked in Athens. His figures are larger than those of Kleitias but have a similar style. The krater shows developments from the Francois Vase, including a continuous theme around the vase and more lively gestures and movements to convey emotion.
The Philosophical Demotion of the Sacred Feminine Form in Classical Art Atyeb Atum RE
This presentation is an exploration of how the Greek classical arts and its mythology appropriated the feminine intuitive abilities from the sacred universal Mother Goddess and her daughters, both in the heavens and here on Earth. It charts how the patriarchal system became an institution that still plagues Humanity today with its Male Dominated ideologies adopted from many Greek philosophers and how they viewed women.
This document discusses classical concepts of art and beauty according to Plato and Aristotle. For Plato, ideal beauty is found in eternal, unchanging forms like geometric shapes and ratios that bring order and intelligibility. Inspiration involves transmitting emotions without knowledge. Aristotle viewed poetry as creative making that represents universal truths through characters and plots. For him, exemplars depict ideal species through harmonious combinations of traits, free from individuals' defects.
This document provides summaries of various artworks from different time periods and cultures, including a Mother Goddess figure from France dated to 22,000-19,000 BC, bulls painted in the Lascaux Caves in France from 16,000-14,000 BC, a stone vase from Uruk, Iraq dated to 3500-3000 BC, the Palette of Narmer from Egypt dated to 3200 BC, an 8th century BC Dipylon Vase from Athens, the Kritios Boy statue from 480 BC, an Imperial Roman copy of the Aphrodite of Cnidus, the 2nd century AD Apollo Belvedere, the 1st century AD Laocoon and his Two Sons
The document summarizes the decoration and scenes depicted on the Francois Vase located in Florence, Italy. Dating to around 570 BCE, the vase depicts myths from Greek mythology painted in black figure technique across seven friezes. Major scenes include the wedding of Peleus and Thetis, the hunt for the Calydonian boar, Achilles' pursuit of Troilus, and the battle between the Lapiths and Centaurs. The vase provides important artistic and mythological details from the archaic period of ancient Greece.
Ancient pagan and modern christian symbolism, thomas inman and john newton @ ...Deepak-Atim Somaji-Sawant
This document discusses various religious symbols and emblems found across different cultures, including triangles, circles, sun discs, and phallic symbols. It notes that some symbols represented divine beings or deities and were used in religious rituals and worship. Some symbols depicted male and female principles or the union of masculine and feminine. The document also describes findings of some Hindu symbols in ancient Italy and considers possible connections between cultures.
Fareen Butt is a painter known for using gemstones and precious metals in her works. Her artistic journey began by learning to draw landscapes from her mother at a young age. She later apprenticed with jewelers and was inspired by her travels, seeing how local artisans used natural elements. Her early works were abstract spaces inspired by Vedic concepts of light, space, and creation. Her current works depict sacred landscapes using techniques from antiquity of painting with gemstone pigments. Her Mirage series uses minerals to visualize mountains, while acknowledging their mystical symbolism across cultures.
The document provides instructions for an activity where students will view Egyptian and Mesopotamian artifacts in a slideshow and identify which features of civilization each artifact exemplifies. It then lists several Egyptian and Mesopotamian artifacts, providing a brief description and image of each.
This krater from 550-40 BC depicts the return of Hephaistos from Mount Etna to Olympus, led by Dionysus. They are accompanied by satyrs and maenads. The krater was painted by Lydos, who was from Lydia but worked in Athens. His figures are larger than those of Kleitias but have a similar style. The krater shows developments from the Francois Vase, including a continuous theme around the vase and more lively gestures and movements to convey emotion.
The Philosophical Demotion of the Sacred Feminine Form in Classical Art Atyeb Atum RE
This presentation is an exploration of how the Greek classical arts and its mythology appropriated the feminine intuitive abilities from the sacred universal Mother Goddess and her daughters, both in the heavens and here on Earth. It charts how the patriarchal system became an institution that still plagues Humanity today with its Male Dominated ideologies adopted from many Greek philosophers and how they viewed women.
This document discusses classical concepts of art and beauty according to Plato and Aristotle. For Plato, ideal beauty is found in eternal, unchanging forms like geometric shapes and ratios that bring order and intelligibility. Inspiration involves transmitting emotions without knowledge. Aristotle viewed poetry as creative making that represents universal truths through characters and plots. For him, exemplars depict ideal species through harmonious combinations of traits, free from individuals' defects.
This document discusses various ancient symbols and their meanings. It analyzes 17 figures depicting pagan symbols representing concepts like the trinity, male and female principles, and fertility. Many of the symbols incorporate pillars, serpents, trees, moons, and suns to represent concepts like the linga, yoni, and various triads or trinities found in ancient cultures from Egypt, Greece, India, and Central America. The document seeks to interpret the symbolic meanings and origins of these figures.
Please Very Sorry . Their's Zodiac Signs @ Different Astronomy Findings . Very Sorry All @ World-Wide . The Myths Likes Data are Stage - Activities . They Regain Life Again from Injuries .
( Please Communicate @Telecommuncation Terminal Messaging ; Its for the Astronomy-Data Need To Be Removed from Slideshare ).
This belly amphora from 550-40 BC was painted by Exekias, one of the greatest artists of the black-figure technique. On side A it depicts Achilles and Ajax playing a board game. On side B it shows the return of Castor and Pollux to their parents Leda and Tyndareas. Exekias was skilled at using details and composition to create naturalistic scenes. He arranged the figures and spears in an inverted composition to balance the material and highlight the shape of the vase. The anatomical details and folds of clothing conveyed movement, narrative, and mood.
Picatrix and the decans of the salone dei mesiCatarina Labisa
This document provides a summary of descriptions from the medieval Arabic text Picatrix of the decans (threefold divisions) of the twelve signs of the zodiac and compares them to frescoes depicting the decans in the Salone dei Mesi (Hall of the Months) in the Palazzo Schifanoia in Ferrara, Italy. The document includes tables that list each zodiac sign and its three decans, with the description of each from Picatrix and a corresponding fresco from the Salone dei Mesi. Overall, the document shows close similarities between the descriptions of the decans from Picatrix and their depiction in the fresco cycles, suggesting the frescoes were directly inspired by
1. This hydriai dates to 410 BC and was painted by the Meidias Painter.
2. The upper frieze depicts the abduction of the daughters of Leukippos by Castor and Pollux, while the lower frieze shows Heracles seeking the golden apples of the Hesperides.
3. The Meidias Painter demonstrates great skill in arranging the complex compositions to fit the shape of the vase, using different figure levels to suggest depth and space.
The document summarizes the major gods and goddesses of ancient Greek religion. It describes Zeus as the supreme god who ruled over the sky and justice. It also describes other major deities like Hera, Poseidon, Demeter, Hades, Athena, Apollo, Artemis, Hermes, Aphrodite, Ares, Hephaestus, and Dionysus. For each deity, it provides details on their parentage, domains of influence, attributes, sacred animals, and important places of worship.
The document discusses various sacred stones from different ancient cultures that were considered the "navel of the world" or axis mundi. These stones, such as the omphalos stone from Delphi and the Shiva linga in Hinduism, were seen as the first land to emerge from primordial waters and the connection between heaven and earth. They were often associated with birds, serpents, and world trees and seen as places of divine power and prophecy. Coins from ancient times depicted these sacred stones and the symbols connected with them, such as birds, serpents, and occasional mysterious internal structures or creases of unknown meaning.
~~ Mythology based ; the 27 nakshatras (www.galacticcenter.org) ~~Deepak Somaji Sawant
The document discusses the 27 Nakshatras, which are divisions of the sky used in Vedic astrology. It provides details on each Nakshatra, including its symbol, ruling deity, associated stars and mythology. Each Nakshatra is described in terms of the personality traits and indications associated with being born under its influence.
The document provides a color selection menu followed by multiple choice questions about Greek and Roman mythology. It asks to identify the goddess of love and beauty in Greek mythology (Aphrodite), the god of the sea (Poseidon), the messenger of the gods (Hermes), and the goddess associated with giving Athens the olive tree (Athena). For Roman mythology it asks to identify the goddess of the moon (Diana), the messenger of the gods (Mercury), and the goddess of chance and good luck (Fortuna). Feedback of correct or wrong is provided.
This document provides an overview of topics and themes that will be covered on an exam about ancient Greece. The exam will include image identifications, comparisons of image pairs illustrating themes, definitions of art and architectural terms, and an essay question. Image identification questions will require providing the identification, provenience, date, and interpretation for 3 images. Comparison questions will ask for the same details for 2 images and an analysis of how they illustrate a theme. Definition questions will define several terms related to Aegean and Greek art. The essay will ask an open-ended interpretive question about Greek art requiring a thesis and examples.
The document discusses the symbolism of lions across various contexts such as ancient history, spirituality, mythology, religion, astrology, dreams and more. Lions commonly symbolize strength, courage, power and leadership. In dreams, lions may represent feelings of strength or hidden anger and aggression. Across cultures, lions are seen as symbols of protection, wisdom and balance. Famous icons that feature lions include the MGM lion and depictions of lions in ancient Egyptian and Greek art.
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From answering simple questions to solving any possible issues, we're always here to help you in chat and on the phone. We've got you covered at any time, day or night.
Compare And Contrast Two Works Of Art
ARTW 101 Society and Visual Art
University of Redlands
Compare and Contrast Two Works Of Art
Greek culture is the source from which many of the characteristic elements of Western culture derive. Their explorations and innovations in art have both fascinated and inspired other civilizations for centuries. For this assignment I chose two Greek sculptures viewed at the Getty Museum. The first is Kouros circa 530 B.C. made of Dolomitic marble from Thasos and is approximately 200 cm (80 in) in height. The second is Cult Statue of a Goddess, (most likely Aphrodite) South Italy, 425 400 B.C. made of Limestone and marble. It stands at a height of 220 cm (86 5/8 in). There is some dispute to the authenticity of the Getty Kouros...show more content...The overall all renditions are block like and sculpted with geometric reduction of details. The anatomy is made up of planes, completely symmetrical. The hair, ears, and eyes have been reduced to simple shapes again, all identically symmetrical. Kouros is depicted nude, symbolic of Archaic Greece s emphasis on the ideal individual male and autonomous Greek citizen. In contrast, Aphrodite is a considerably large female (7 feet tall and substantially wider than the Kouros). Given the larger than real life scale, this statue probably served as a cult image in a temple. The statue s excellent state of conservation also suggests that it was kept indoors. It is free standing but also in an anatomical, not just mechanical sense. The pose is full and rounded, not solely frontal. You get a sense of the body being relaxed, with one hand extended in a gesture that gives a sense of it moving forward.
One foot is a
Student’s Last Name 1Student’s Last Name 2Student’s Na.docxdeanmtaylor1545
Student’s Last Name 1
Student’s Last Name 2
Student’s Name
Instructor’s Name
Course Name
Date
The Sculptures of Gods
An ongoing exhibition of Greek and Roman sculpture in the Getty Villa provides a splendid selection for the formal analysis. Among the particular objects of interest is The Lansdowne Dionysos, A.D. 1-200 (see Appendix A). It is a curious example of the Roman copies of the Greek original statues. Another item from the Roman collection is the Herm of Hermes, second half of the 1st century A.D (see Appendix B), created in the image of Hermes Propylaios authored by the Greek sculptor Alkamenes around 430–420 B.C. Both artworks belong to the same art canon and share the cultural origin. Both are Roman imitations of the Greek tradition. Both are made of marble. Yet, the two art objects under analysis differ between one another considerably in terms of their sculptural formal aspects, as well as both diverge from the Greek canons they imitate in terms of functional purpose and symbolic meaning.
Seeming to a contemporary’s eye as fractured body fragments or unfinished works, the items under consideration are, in fact, canonical artistic renditions of the divine image within the succession of two cultures, the Roman one adopting the shapes of and being evidently inspired by the preceding Greek heritage. The sculptures on display – lacking limbs and being decapitated, as exemplified by the Dionysos, or being represented by a sole head, like Hermes – are the body parts and shapes as originally intended by their creators and not the result of being age-worn and subject to breakage accidents. A headless statue (torso) is an interesting feature of the Greek tradition and its Roman rendition, since the identity of the art character is supposedly guessed rather than recognized. A face is typically considered the foremost important part for observation, recognition and art focus overall. Contrary to this human logic yet typical of the Greek art, the headless and faceless Roman Dionysos is “guessed” by the animal skin half-covering his body, being yet another reference to a canonical, generally recognized image from the past art tradition of portrayal. In contrast, god Hermes is performed in the form of a head mounted on a pillar in the shape of a vertically standing cuboid. This combination forms a typical Greek architectural ensemble called the herm. In fact, the art term itself was derived from the cult of Hermes. This logically leads the analysis to further considering subject and content in more detail.
In terms of subject and content matter, the two statues do not differ among each other as much as they differ from the Greek origin after which they were created. For example, the original Hermes herm was positioned near the entrance of the Athenian Acropolis, thus, guarding it and forming a symbolic threshold at the sacred zone. Yet, its Roman rendition already lost its sacred functional purpose, being reported to serve as a decor.
The document provides an overview of ancient Greek art from the Geometric period through the Late Classical period. It discusses the evolution of sculpture and architecture, including the development of the human form in art and the rise of temples like the Parthenon. Key artists and their styles are also mentioned, such as Praxiteles, Lysippos, and Polykleitos.
The Meidias Painter created a hydria depicting the abduction of the daughters of Leucippus by Castor and Polydeuces on the upper frieze. On the lower frieze is shown Herakles' retrieval of the golden apples from the garden of the Hesperides. The painter skillfully arranged the compositions to fit the vase shape and used different groundlines, graceful figures, and elaborate drapery to highlight the elegance and beauty of the scenes.
The Meidias Painter created a hydria depicting the abduction of the daughters of Leucippus by Castor and Polydeuces. His figures are tall, slim and beautiful. In the upper frieze, various gods watch as the brothers abduct the women. The lower frieze shows the garden of Hesperides where Herakles collects the golden apples as part of his labors, watched by graceful female figures. The Meidias Painter was skilled at depicting drapery and movement to accentuate the elegance and poses of the figures.
Greek sculpture evolved over three main periods from the archaic to the classical and Hellenistic eras. In the archaic period, sculptures like kouroi and korai were rigid and geometric. The classical period saw a focus on idealized human beauty and proportions under artists like Polykleitos, Phidias, and Praxiteles. Finally, Hellenistic sculpture moved towards realism, emotion, and a variety of subjects influenced by the wider Hellenistic world.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
This document discusses various ancient symbols and their meanings. It analyzes 17 figures depicting pagan symbols representing concepts like the trinity, male and female principles, and fertility. Many of the symbols incorporate pillars, serpents, trees, moons, and suns to represent concepts like the linga, yoni, and various triads or trinities found in ancient cultures from Egypt, Greece, India, and Central America. The document seeks to interpret the symbolic meanings and origins of these figures.
Please Very Sorry . Their's Zodiac Signs @ Different Astronomy Findings . Very Sorry All @ World-Wide . The Myths Likes Data are Stage - Activities . They Regain Life Again from Injuries .
( Please Communicate @Telecommuncation Terminal Messaging ; Its for the Astronomy-Data Need To Be Removed from Slideshare ).
This belly amphora from 550-40 BC was painted by Exekias, one of the greatest artists of the black-figure technique. On side A it depicts Achilles and Ajax playing a board game. On side B it shows the return of Castor and Pollux to their parents Leda and Tyndareas. Exekias was skilled at using details and composition to create naturalistic scenes. He arranged the figures and spears in an inverted composition to balance the material and highlight the shape of the vase. The anatomical details and folds of clothing conveyed movement, narrative, and mood.
Picatrix and the decans of the salone dei mesiCatarina Labisa
This document provides a summary of descriptions from the medieval Arabic text Picatrix of the decans (threefold divisions) of the twelve signs of the zodiac and compares them to frescoes depicting the decans in the Salone dei Mesi (Hall of the Months) in the Palazzo Schifanoia in Ferrara, Italy. The document includes tables that list each zodiac sign and its three decans, with the description of each from Picatrix and a corresponding fresco from the Salone dei Mesi. Overall, the document shows close similarities between the descriptions of the decans from Picatrix and their depiction in the fresco cycles, suggesting the frescoes were directly inspired by
1. This hydriai dates to 410 BC and was painted by the Meidias Painter.
2. The upper frieze depicts the abduction of the daughters of Leukippos by Castor and Pollux, while the lower frieze shows Heracles seeking the golden apples of the Hesperides.
3. The Meidias Painter demonstrates great skill in arranging the complex compositions to fit the shape of the vase, using different figure levels to suggest depth and space.
The document summarizes the major gods and goddesses of ancient Greek religion. It describes Zeus as the supreme god who ruled over the sky and justice. It also describes other major deities like Hera, Poseidon, Demeter, Hades, Athena, Apollo, Artemis, Hermes, Aphrodite, Ares, Hephaestus, and Dionysus. For each deity, it provides details on their parentage, domains of influence, attributes, sacred animals, and important places of worship.
The document discusses various sacred stones from different ancient cultures that were considered the "navel of the world" or axis mundi. These stones, such as the omphalos stone from Delphi and the Shiva linga in Hinduism, were seen as the first land to emerge from primordial waters and the connection between heaven and earth. They were often associated with birds, serpents, and world trees and seen as places of divine power and prophecy. Coins from ancient times depicted these sacred stones and the symbols connected with them, such as birds, serpents, and occasional mysterious internal structures or creases of unknown meaning.
~~ Mythology based ; the 27 nakshatras (www.galacticcenter.org) ~~Deepak Somaji Sawant
The document discusses the 27 Nakshatras, which are divisions of the sky used in Vedic astrology. It provides details on each Nakshatra, including its symbol, ruling deity, associated stars and mythology. Each Nakshatra is described in terms of the personality traits and indications associated with being born under its influence.
The document provides a color selection menu followed by multiple choice questions about Greek and Roman mythology. It asks to identify the goddess of love and beauty in Greek mythology (Aphrodite), the god of the sea (Poseidon), the messenger of the gods (Hermes), and the goddess associated with giving Athens the olive tree (Athena). For Roman mythology it asks to identify the goddess of the moon (Diana), the messenger of the gods (Mercury), and the goddess of chance and good luck (Fortuna). Feedback of correct or wrong is provided.
This document provides an overview of topics and themes that will be covered on an exam about ancient Greece. The exam will include image identifications, comparisons of image pairs illustrating themes, definitions of art and architectural terms, and an essay question. Image identification questions will require providing the identification, provenience, date, and interpretation for 3 images. Comparison questions will ask for the same details for 2 images and an analysis of how they illustrate a theme. Definition questions will define several terms related to Aegean and Greek art. The essay will ask an open-ended interpretive question about Greek art requiring a thesis and examples.
The document discusses the symbolism of lions across various contexts such as ancient history, spirituality, mythology, religion, astrology, dreams and more. Lions commonly symbolize strength, courage, power and leadership. In dreams, lions may represent feelings of strength or hidden anger and aggression. Across cultures, lions are seen as symbols of protection, wisdom and balance. Famous icons that feature lions include the MGM lion and depictions of lions in ancient Egyptian and Greek art.
Paper Writing Service - HelpWriting.net 👈
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You get an original and high-quality paper based on extensive research. The completed work will be correctly formatted, referenced and tailored to your level of study.
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We value your privacy. We do not disclose your personal information to any third party without your consent. Your payment data is also safely handled as you process the payment through a secured and verified payment processor.
✅ Originality
Every single order we deliver is written from scratch according to your instructions. We have zero tolerance for plagiarism, so all completed papers are unique and checked for plagiarism using a leading plagiarism detector.
✅ On-time delivery
We strive to deliver quality custom written papers before the deadline. That's why you don't have to worry about missing the deadline for submitting your assignment.
✅ Free revisions
You can ask to revise your paper as many times as you need until you're completely satisfied with the result. Provide notes about what needs to be changed, and we'll change it right away.
✅ 24/7 Support
From answering simple questions to solving any possible issues, we're always here to help you in chat and on the phone. We've got you covered at any time, day or night.
Compare And Contrast Two Works Of Art
ARTW 101 Society and Visual Art
University of Redlands
Compare and Contrast Two Works Of Art
Greek culture is the source from which many of the characteristic elements of Western culture derive. Their explorations and innovations in art have both fascinated and inspired other civilizations for centuries. For this assignment I chose two Greek sculptures viewed at the Getty Museum. The first is Kouros circa 530 B.C. made of Dolomitic marble from Thasos and is approximately 200 cm (80 in) in height. The second is Cult Statue of a Goddess, (most likely Aphrodite) South Italy, 425 400 B.C. made of Limestone and marble. It stands at a height of 220 cm (86 5/8 in). There is some dispute to the authenticity of the Getty Kouros...show more content...The overall all renditions are block like and sculpted with geometric reduction of details. The anatomy is made up of planes, completely symmetrical. The hair, ears, and eyes have been reduced to simple shapes again, all identically symmetrical. Kouros is depicted nude, symbolic of Archaic Greece s emphasis on the ideal individual male and autonomous Greek citizen. In contrast, Aphrodite is a considerably large female (7 feet tall and substantially wider than the Kouros). Given the larger than real life scale, this statue probably served as a cult image in a temple. The statue s excellent state of conservation also suggests that it was kept indoors. It is free standing but also in an anatomical, not just mechanical sense. The pose is full and rounded, not solely frontal. You get a sense of the body being relaxed, with one hand extended in a gesture that gives a sense of it moving forward.
One foot is a
Student’s Last Name 1Student’s Last Name 2Student’s Na.docxdeanmtaylor1545
Student’s Last Name 1
Student’s Last Name 2
Student’s Name
Instructor’s Name
Course Name
Date
The Sculptures of Gods
An ongoing exhibition of Greek and Roman sculpture in the Getty Villa provides a splendid selection for the formal analysis. Among the particular objects of interest is The Lansdowne Dionysos, A.D. 1-200 (see Appendix A). It is a curious example of the Roman copies of the Greek original statues. Another item from the Roman collection is the Herm of Hermes, second half of the 1st century A.D (see Appendix B), created in the image of Hermes Propylaios authored by the Greek sculptor Alkamenes around 430–420 B.C. Both artworks belong to the same art canon and share the cultural origin. Both are Roman imitations of the Greek tradition. Both are made of marble. Yet, the two art objects under analysis differ between one another considerably in terms of their sculptural formal aspects, as well as both diverge from the Greek canons they imitate in terms of functional purpose and symbolic meaning.
Seeming to a contemporary’s eye as fractured body fragments or unfinished works, the items under consideration are, in fact, canonical artistic renditions of the divine image within the succession of two cultures, the Roman one adopting the shapes of and being evidently inspired by the preceding Greek heritage. The sculptures on display – lacking limbs and being decapitated, as exemplified by the Dionysos, or being represented by a sole head, like Hermes – are the body parts and shapes as originally intended by their creators and not the result of being age-worn and subject to breakage accidents. A headless statue (torso) is an interesting feature of the Greek tradition and its Roman rendition, since the identity of the art character is supposedly guessed rather than recognized. A face is typically considered the foremost important part for observation, recognition and art focus overall. Contrary to this human logic yet typical of the Greek art, the headless and faceless Roman Dionysos is “guessed” by the animal skin half-covering his body, being yet another reference to a canonical, generally recognized image from the past art tradition of portrayal. In contrast, god Hermes is performed in the form of a head mounted on a pillar in the shape of a vertically standing cuboid. This combination forms a typical Greek architectural ensemble called the herm. In fact, the art term itself was derived from the cult of Hermes. This logically leads the analysis to further considering subject and content in more detail.
In terms of subject and content matter, the two statues do not differ among each other as much as they differ from the Greek origin after which they were created. For example, the original Hermes herm was positioned near the entrance of the Athenian Acropolis, thus, guarding it and forming a symbolic threshold at the sacred zone. Yet, its Roman rendition already lost its sacred functional purpose, being reported to serve as a decor.
The document provides an overview of ancient Greek art from the Geometric period through the Late Classical period. It discusses the evolution of sculpture and architecture, including the development of the human form in art and the rise of temples like the Parthenon. Key artists and their styles are also mentioned, such as Praxiteles, Lysippos, and Polykleitos.
The Meidias Painter created a hydria depicting the abduction of the daughters of Leucippus by Castor and Polydeuces on the upper frieze. On the lower frieze is shown Herakles' retrieval of the golden apples from the garden of the Hesperides. The painter skillfully arranged the compositions to fit the vase shape and used different groundlines, graceful figures, and elaborate drapery to highlight the elegance and beauty of the scenes.
The Meidias Painter created a hydria depicting the abduction of the daughters of Leucippus by Castor and Polydeuces. His figures are tall, slim and beautiful. In the upper frieze, various gods watch as the brothers abduct the women. The lower frieze shows the garden of Hesperides where Herakles collects the golden apples as part of his labors, watched by graceful female figures. The Meidias Painter was skilled at depicting drapery and movement to accentuate the elegance and poses of the figures.
Greek sculpture evolved over three main periods from the archaic to the classical and Hellenistic eras. In the archaic period, sculptures like kouroi and korai were rigid and geometric. The classical period saw a focus on idealized human beauty and proportions under artists like Polykleitos, Phidias, and Praxiteles. Finally, Hellenistic sculpture moved towards realism, emotion, and a variety of subjects influenced by the wider Hellenistic world.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
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A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
6. New sculptural ideas New age of philosophy Ingenious plans to embody an idea or thought in a statue, prime example: Eirene and Ploutos, a relief or a painting. Peace believed to nurture wealth, if one is peaceful, wealth will naturally follow.
7. AO1 Details Intimate relationship between Eirene and Ploutos suggested by the way Ploutos leans eagerly towards Eirene and also by the smooth right tilt of Eirene’s head in the direction of the baby. Eirene: anatomy is highly naturalistic, weight leaning on right leg makes her look relaxed and at ease. Her left knee can be seen underneath the drapery which gives a strong sense of the body underneath. CONTRAST to hidden right leg which is covered by various vertical lines of drapery which reach the floor. Both feet can be seen peeping at the bottom of the drapery again showing the body underneath. Eirene wears a chiton which is highly sophisticatedly and hangs around the torso in thin catenaries. The ruffles beneath the waist give a sense of depth to the drapery, showing it has different layers and thicknesses again adding to its naturalism. Her hair falls in tight curls around her shoulders and waves around her forehead and smooth waves on the top of her head. Ploutos: body twisted around in a very naturalistic manner showing the eagerness of youth . Contrast in both statues of drapery to smoothness of sculpted marble bodies – especially with Ploutos. Hair is a little like Eirene’s – tight curls and low relief waves on top of head.
8. AO2 Details I think drapery adds interest to the shape of the body and overall effect of the statues as there are many contrasting vertical and horizontal lines which cling to the body achieving the wet look. I find Eirene’s hair aesthetically pleasing due to the way it falls so evenly in ringlets. The way it rests on her shoulders contrasts very effectively with her silken looking neck. I like the fact both statues show an idea that has been conveyed in human form –a gentle tenderness is shown in the way the two statues interact, their eyes meeting in an intrigued gaze which fits well with the idea that peace and wealth flourish together. I see the facial expression of Eirene as serene and tender which I think adds beauty to her overall domineer. In contrast Ploutos has an intrigued expression on his face adding naturalism and life to his body.
13. AO1 Details Great anatomical accuracy and movement of Hermes – his weight is shifted onto his right leg and his body swerves in an ‘S’ shape adding complexity to his otherwise static position. COMPARE to Riace Bronze, Spear Bearer and Diadoumenos. BUT right hip is too emphasised. Huge contrast between great expanse of smooth curved marble bodies and drapery falling in huge ruffles at a parallel. Unlike Spear Bearer (Doryphorus) and (Diadoumenos) who were sculpted using canon laws by Polykleitos and were well built and masculine, Hermes has been sculpted to new dimensions: he is tall with an elegant build. His head is small and triangular UNLIKE square heads of Skopas’ sculptures. Dionysus: very out of proportion – should be much larger. Head and body seem strangely small and look at complete odds with Hermes size. The Gods face each other like Eirene and Ploutos and seem to have a close bond by the fact Hermes tilts his head, like Eirene towards the baby who is interacting with him, lifting his hand upwards towards Hermes face and presumably the grapes. To support the weight and height of Hermes, he rests his left thigh on a tree trunk which is then discretely hidden behind the drapery.
14. AO2 Details I like the figure proportions for Hermes, although Polykleitos has created effective masculine bodies, Praxiteles’ sculpture is more beautiful as it shows a masculine figure but with delicate features. The ‘S’ movement through the body is very naturalistic, I think more so than the Riace bronze as it is more subtle and natural looking. I think the small proportions of the baby is disappointing as it make the sculpture as a whole less sophisticated and impressive. I find the drapery extremely beautiful in the way it falls the whole height of Hermes’ body – each fold being different in the way it falls and folds adds a new dimension to the otherwise smooth sculpture. The mottled effect of the hair is another contrast to the slender body and adds variety to Hermes’ body.
15.
16. c. 375-350 BC originally sculpted by Praxiteles.A different copy
17. New Developments Another example of an immortal sculpted in human form. Seems to be simply about to take a bath however symbolic of Aphrodite’s ritual bathing. Not devalued but mixed in more with humanity. First female nude statue. Other statues made of Aphrodite existed but had always been clothed. Originally intended to be an athletic male - adapted to show a female that could be appreciated for her beautiful nude form. Admired by numerous people including poets. One poet said: ‘Who gave a soul to marble?...’ Some believed it to be the exact likeness of Aphrodite. Only copies exist today, all differing slightly, hard to therefore appreciate how beautiful she actually was.
18. Details AO1 Aphrodite is shown in a tranquil environment however she is momentarily taken aback by someone startling her behind her left shoulder. There is a slightly less emphasised ‘S’ shape running through her body than Hermes and her weight is on her right leg. The curve and raise of her right hip directly contrasts with her lowered right shoulder creating a smooth arch. There is a sense of symmetry also by the way her right arm bends outwards and her hip bends inwards. Her face is quite sharply turned to the left and she looks momentarily unsettledgiving a aspect of life to the stillness of the statue. Her clothing is held in her left hand and falls in deeply sculpted folds down to her knee and then onto a hydria filled with water which she will later use for washing. The drapery which runs vertically down to Aphrodite’s knee is disrupted by the hydria and moves over its body creating variety and naturalism. The hydrias body is decorated with a motif which breaks up the solid expanse of marble. The drapery and pot as well as the body of Aphrodite all contrast with one another, creating a variety of textures, patterns and shapes. Aphrodite’s body is not curvaceous or particularly feminine due to the lack of difference between waist and hips and small breasts however the way she stands gives away her gender. She delicately holds her drapery with two fingers of her left hand curled around it and her thumb, forefinger and little finger resting gently on it. Her right hand has her fingers spread out and are covering her genitals modestly. The way her left leg overlaps her right also shows her feminine modesty and is a sophisticatedly sculpted.
19. AO2 Details I very much like the subtle look of the statue – Aphrodite is not posing in an extravagant manner but rather a sophisticatedly modest one. There is complexity however to her position but this is subtly noticed e.g. The contrast of curves shown on her right shoulder and her right hip. I like this because there is no clear symmetry in her body which is very naturalistic. I don not think the tightly sculpted drapery works well with the overall look, I think the eye is drawn too much to this aspect of the sculpture due to the shadows and different textures created by the drapery. I think the position of Aphrodite is very beautiful as it is feminine and elegant yet also naturalistic. I think more of an emphasis should have been made on the nude female form as Aphrodite’s body is quite masculine due to its lack of bust and curves. Her face is generically beautiful however not very feminine which undermines the objective of showing off nude female forms for the first time.
20. The Raging Maenad Reconstruction of what it may have looked like Roman statuette Copy What it may have looked like originally Roman statuette copy
24. AO1 Details The maenad is cleverly shown in a wild frenzy, disturbed and irrational. Some say she held a dead beast in her hands, a victim of her rage. Her head is square shaped and flung back dramatically. A clear arch runs from her head through her torso and down her left leg. This is paralleled by the arch running down her back and again left leg. The wide spread of the legs shows the maenad in full movement and her drapery clings to her legs and torso and billows in the wind showing the speed at which she moves and rages. Her facial expression (from what remains on the Roman copy) is manic – wild eyed and parted mouth., typical of Skopas’ design. The chiton is tied in a neat bow around the maenad’s waist which contrasts with her mood which is violent and disorderly. The bow although still done up is not preventing the chiton from revealing the left side of her naked body. Her hair runs in wild waves down the maenad’s back and a few rest on her shoulder adding naturalism through variety of positioning.
25. AO2 Details I like the great arch created by the body’s positioning as it makes the sculpture into a piece of art. I think the billowing drapery around the left side of the body is highly effective in showing the mad rage of the maenad and brings to life the solid marble. I think the head is too shaped, it lacks a smooth finish as it is too squared off. I think there is too much contrast between the clinging drapery and bare flesh, it seems strange that the chiton would cover so little flesh. I like the wavy hair as it adds more character to the maenad making her seem beautiful yet terrifyingly untamed.