This document provides guidance on describing works of art. It discusses the four components of a visual description: identification, subject matter description, stylistic analysis, and contextual analysis. For subject matter description, it emphasizes using descriptive details to allow the reader to visualize the work. A good description should go beyond just listing details to reveal something deeper about the "personality" of the work. It provides an example description and analyzes how it effectively portrays the subject as majestic through selective details and persuasive language. The document also briefly introduces stylistic analysis but notes further discussion will come later after students learn more.
Building integrated PV - technical issues - part 1ENBC
Building integrated PV - technilacl issue. Part 1
The presentation gives a short overview of the technical issues to be considered in designing a building integrated PV system.
Brief overview of photovoltaic materials and modules is given.
What is Carbon Footprint and how to measure it - general knowledgeENBC
The presentation describes the main points and steps in development of a Carbon Footprint as: what is carbon footprint | CO2, Kyoto gases and GHG emission assessment | Organizational assessment | Boundaries and scopes | Reporting standards | Emission factors | Assessment levels
Building integrated PV - technical issues - part 1ENBC
Building integrated PV - technilacl issue. Part 1
The presentation gives a short overview of the technical issues to be considered in designing a building integrated PV system.
Brief overview of photovoltaic materials and modules is given.
What is Carbon Footprint and how to measure it - general knowledgeENBC
The presentation describes the main points and steps in development of a Carbon Footprint as: what is carbon footprint | CO2, Kyoto gases and GHG emission assessment | Organizational assessment | Boundaries and scopes | Reporting standards | Emission factors | Assessment levels
A slideshow connected to a lecture of Art Since 1950 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Virginia Spivey.
A slideshow connected to a lecture of Art Since 1950 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Virginia Spivey.
ART HISTORY Notes through October 27, 2016 Greek Art. Min.docxdavezstarr61655
ART HISTORY Notes through October 27, 2016
Greek Art.
Minoan Civilization ( p. 114-116)
The Palace at Knossos
*Looks confusing so people trying to get in got lost and confused
* Civilization was very successful and was the most advanced of their time
* The palace complex was a language of Community. Not one building stood out.
* the middle area is open yard
* No Walls-peaceful and did not think of needing walls for protection
* Advanced navy
* Bull was the animal of their culture and horns are often seen in their architecture—the myth of the Minotaur. The Queen’s megaron in the palace has a fresco painting of the leaping bull. The sacrifice of the bull or athletes or both.
Boxing Children (p. 120) fresco. Painted eyes are still frontal. Curved lines. ? What is significance. Maybe a painting of a coming-of-age ritual?
Mycenaean Civilization (p. 121)
MEGARON- Greek palace. (figure 4.17)
· Rectangle building
· One opening into front porch with 2 columns
· Antechamber into a throne room where 4 columns surround a circular hearth. The king’s throne was centered.
· This structure was elaborated in later Greek architecture.
“Man is the Measure of All Things”
*Gods were anthropomorphic—human in form
* Greek art moved rapidly from stylization toward naturalism
*Greeks first to sign their works
* female and male artists
Pottery-
Archaic Style vases-black-figure on tarra cotta. (p. 137)
Late archaic pottery-red figure painting
Mosaic- from Hellenistic period. (p. 141)
“Alexander Mosaic” roman copy of a greek fresco painting-there are records which describe the painting.
*Full of emotion-King Darius’ face is full of emotion.
*Moment of the action.
*Top of picture is plain-it was probably meant to be viewed at eye level.
* (5.15) soldier looks at himself in the shield.
*Use of overlapping and shadowing makes a 3D form and depth perception
GREEK SCULPTURE
ARCHAIC STYLE-Life sized statues of standing males-have to support the head so there is long hair sculpted
Biggest indication of Archaic style is the “silly smile” trying to replicate human facial features but not exactly able to create the smile or emotion accurately
The Kouros. (P. 143)
*Maintains the standard Egyptian frontal pose.
*Left extends forward-no bend at knee, hips, or waist.
*Hands at sides
*emphasis of human anatomy
*cut away from block of marble
*Compare to sculpture of Hatshepsut. Greeks looked to Egyptian sculpture for inspiration.
*Nude
Kore-same as Kouros but female-not nude. They did not idealize the female body
*dressed
*silly smile
*Block style
*proportions still off
BEGINNING CLASSICAL PERIOD
1. **KRITIOS BOY (Acropolis, Athens) (P. 145)
*beginning to have more defined muscles and bones.
.
GUIDE 6-2Unit 2ANCIENT GREECE - part IICla.docxaidaclewer
GUIDE 6-2
Unit 2
ANCIENT GREECE
- part II
Classical Art
Hellenistic Art
Reconstruction of Parthenon
(From the German encyclopedia, 1891)
“In the land of Hellas, a small city-state dedicated to Athena, goddess of wisdom, saw the birth of a new spirit - a spirit destined to quicken the human heart and mind then, now, and for ages to come.
Here in Athens for a brief span of time were concentrated the creative energies of many geniuses.”
-
W. Fleming
CLASSICAL PERIOD
in the HISTORY of ANCIENT GREECE
5
t
– 4
th
centuries
B.C.
Classical Period
is divided into three phases
:
Early Classical
High Classical
5
th
century
B
.
C.
(
1
st
half)
5
th
century
B
.
C.
(
2
nd
half)
Late Classical
4
th
century
B
.
C.
Historical Landmarks:
480 B.C. Greek victory over the Persians at Salamis;
Greece entered an era of prosperity and flourishing culture;
Pericles rules Athens;
Parthenon built
EARLY CLASSICAL ART
TIMELINE
5
th
century
B.C.
4
th
century
B.C.
Early Classical
High Classical
Late Classical
/
/
/
/
500 bc
450 bc
400 bc
300 bc
Start reading text.
The
change from Archaic to Classical art
was related to what historical event?
-
*…
Golden Age
of Greece
-
*
[In what way did the victory affect life and mood of the Greeks
?]
*…
- a new political and cultural center
[city]
Severe Style
-
* …
[What does this term denote?]
Sculpture
Early Classical
Major
developments in Early Classical sculpture:
*…
*…
Diskobolus
Sculptor:
* …
Material:
*…
Note that this is not original work.
Original or copy? -
*
/Where copy made?/
Material of original was
*…
Size:
(find info next to the picture)
They say
Greek
Classical
art
is about
harmony
and
balance
.
Balance between what?
- *
HIGH
CLASSICAL
ART
5
t
h
century B.C.
(second half)
Note:
In your book
High Classical
is called simply
Classical
Golden Age of Greece
The culture of ancient Greece reached its
peak
in the
5
th
century B.C.
TIMELINE
5
th
century B.C
.
4
th
century
B.C.
Early Classical
High Classical
Late Classical
/
/
/
/
500 bc
450 bc
400 bc
300 bc
* …
. -
outstanding Athenian statesman who was the ‘dominating force
behind the great accomplishments
“The
Golden Age
is the term used to denote the historical period in
Ancient Greece
lasting
roughly from the end of the
Persian Wars
in
448 BC
to either the death of
Pericles
429 BC
or the end of the Peloponnesian War BC.
Pericles - an Athenian general, politician and orator – distinguished himself above the other
shining personalities of the era, men who excelled in
politics
,
philosophy
,
architecture
,
sculpture
,
history
and
literature
.
He fostered arts and literature and gave to
Athens
a splendor which would never return
throughout its history. He executed a large number of public works projects and impr ...
GUIDE 5 Unit 1
AEGEAN ART· The Cyclades· Crete
· Mycenae
See metaphor of Teacher as Ariadne (end)
The palace at Knossos – one of the most famous archaeological sites in the world.
It was here that King Minos supposedly had his labyrinth.
THE AEGEAN WORLD
These three civilizations are unified under one name – Aegean civilizations.
The Cyclades 2500 - 2000 B.C.
Crete / Minoan culture 2000 - 1200 B.C.
Mycenae 1400 - 1200 B.C.
All we know about these civilizations - we know from archaeological excavations.
None of the Aegean civilizations left any literary sources but only myths.
Geography and development of civilizations
Compare three great ancient cultures. (In one line)
Egypt -*
Mesopotamia -*
Aegean -*
When & how was the Aegean world discovered? – * What were the contributions of these outstanding men into the history of archaeology?
Heinrich Schliemann - *
Arthur Evans –*
In your book you have this expression: “The Bronze Age civilizations of pre-Hellenic Greece…”
What could it mean?
Pre-Hellenic -* [explain the term]
Bronze Age - *
Please note that all three Aegean civilizations laid the foundation for Greece [Hellenic Greece].
All together they made thebeginning of the Greek civilization. Unfortunately, in the book
Aegean and Greek sections are placed in two different chapters, and I also had to “cut” Greece – between two units.
Just for you to know - we are already in ancient Greece!
===================== The Cyclades =====================
* [dates, peak of flourishing]
[Pronunciation: SEE’-kla-DEEZ’]
Where are the Cycladic islands located?
[Find on the map, do not just rewrite from the text]
In which sea - *
Close to which coast? - *
Name the major ones - *
Where has most of survived art culled from *
*
[What is the general name for this type of marble figurines?]
What do they represent? - * (based on your book suggestions)
Head -* [Describe their appearance]
Torso(body) – *
The Cycladic Idol from the VMFA in Richmond.
You may be able to see it when you go on your museum trip.
As a matter of fact, some scholars disagree with the theory of “fertility goddess”.
Can you see that in the Cycladic idol all sexual features are downplayed as opposed to the Palaeolithic Venuses (remember Venus of Willendorf?). The Cycladic figures look very ‘girlish’.Besides, all ...
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
1. Art 108 Ancient to Medieval
Westchester Community College
Fall 2013
Professor Melissa Hall
The Skill of Describing
Image source: http://smarthistory.tumblr.com/post/36663164164/barberini-faun-c-220-b-c-e-marble-glyptothek
2. The Skill of Describing
One of the most important skills
you will learn in this class is how
to describe a work of art
Visitors at the Metropolitan Museum viewing the Euphronioskrater.
Image source:
http://www.nytimes.com/2008/01/11/arts/design/11voge.html?pagewanted=all
3. The Skill of Describing
There are four basic
components to a visual
description
Visual Analysis
1. Identification
2. Subject matter description
3. Stylistic analysis
4. Contextual analysis (explanation of
meaning/function/purpose
4. The Skill of Describing
These four components will form
the building blocks of your Visual
Analysis essay
Image source: www.thinkandthrive.com
5. Identification
First, we must properly identify
the art work we will describe
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
6. Identification
This is the information you will
find on the museum label, or
“object page” on the museum
website
King Menkaura and Queen
Museum of Fine Arts, Boston
http://media.mfa.org/audio/ENG_401.mp3
8. Identification
Just as you are expected to
provide the author, title, date
and place of publication when
writing about books and articles,
this information is required when
writing about works of art
9. Subject Matter
Description
Now, we are ready to describe
the work
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
10. Subject Matter
Description
To start, we must explain “who”
or “what” is represented
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
11. Subject Matter
Description
Now if I asked you to identify
“who or what is represented” in
this picture, it would be a no-
brainer because George
Washington is such a familiar
figure
Gilbert Stuart, Portrait of George Washington (The Landsdowne Portrait), 1796
Smithsonian Institution, National Portrait Gallery
12. Subject Matter
Description
But to identify “who or what is
represented” in ancient art
requires the kind of background
knowledge you will be learning
in this class
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
13. Subject Matter
Description
Sally Student read ahead in her
textbook and learned that
Menkaure was a Pharaoh of the
4th dynasty in Egypt; he built one
of the great pyramids at Giza
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
14. Subject Matter
Description
The woman is believed to be his
wife, whose name is too difficult
to pronounce – so my students
nicknamed her “Kim”
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
15. Subject Matter
Description
A good description must also
have descriptive detail
“Descriptive details allow sensory
recreations of experiences, objects, or
imaginings. In other words, description
encourages a more concrete or
sensory experience of a subject, one
which allows the reader to transport
himself or herself into a scene. Writing
that lacks description is in danger of
being plain or overly
general.” ADefinitionof Descriptive Detail
(Colorado State University)
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
16. Subject Matter
Description
When describing a work of art,
imagine that you are talking to
someone on the phone, or that
your reader has their eyes
closed
Image source: http://link2power.org/wordpress/2011/05/can-you-hear-me-now/
17. Subject Matter
Description
Your job is to bring the image to
life so they can “see” it, without
looking at a picture
Image source: http://megaanswers.com/how-are-we-able-to-sense-light-even-with-the-
eyes-closed/
18. Subject Matter
Description
Some things to consider in your
description:
1. Physical appearance
2. Pose
3. Facial expression and
gestures
4. Costume and attributes
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
19. Subject Matter
Description
Here is a description written by
Professor Chris Witcombe, from
Sweetbriar College
I chose it because it is a good
example of “descriptive writing”
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
20. Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
21. Subject Matter
Description
I think you will agree that a
good description helps us see
the work more clearly
But now I want to analyze the
specific features of the statue
that Professor Witcombe
described
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
22. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
Pose
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
23. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
Pose
Physical
appearance
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
24. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
Pose
Physical
appearance
Costume/attributes
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
25. Subject Matter
Description
A good description must also go
beyond the obvious to reveal
something deeper about the
“personality” of the work:
“There is a significant difference
between choosing details simply to
describe something and selecting
details that not only describe, but
also reveal . . . . ” Pursuasive Writing,
Colorado State University
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
26. Subject Matter
Description
Avoid the “laundry list” description that
simply lists details, with no guiding sense
of purpose
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
27. Subject Matter
Description
Your description should have a clear
idea of what you want to “show” your
reader about the work
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
28. Subject Matter
Description
In fact, this can be translated into the
familiar writing categories of a “thesis”
and “supporting detail”
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
29. Subject Matter
Description
Professor Witcombe’s description
actually has a “thesis”
He wants to “argue” or “show” that
Menkaure is a “majestic” godlike figure
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
How does he do this?
30. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
He does this by
being selective
about the details
he describes, and
by using
“persuasive”
language
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
31. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
He describes the
pose as “assertive;”
and the king as
“mature,”
“vigorous”
“slender” and
physically fit . . . .
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
32. Subject Matter
Description
Here is a description written by
Professor Witcombe, from
Sweetbriar College
“Menkaure is portrayed in the familiar
Egyptian pose standing as if at attention
with his left leg extended forward, his
arms held stiff at his sides, and his fists
clenched holding some unidentified
cylindrical objects. His stance appears
assertive, indicative of his power. He is
represented as a mature yet vigorous
man, perhaps in his thirties, with slender
hips, broad shoulders, and well-
developed arms . . . . On his head he
wears a nemes, or headdress, the sides
of which are pulled back behind his
rather large ears, with the lappets falling
to either side of his chest. The beard and
the headdress are the primary symbols
of his pharaonic status. Besides the
headdress, the only other article of
clothing he wears is a shendjyt kilt which
is folded across the front, with one end
falling down beneath, and held in place
with a belt round his waist . . . .
Notice that the
description is
“showing,” rather
than “telling” – he
doesn’t just “say”
that Menkaure is
majestic and
godlike, he shows us
through his
description
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
33. Showing versus Telling
The reader will have no problem
imagining the statue (even if
they don’t have a picture!), and
will reach the same conclusion
as the author: this is truly a
majestic representation of the
Pharaoh!
Wow . . . It sounds like
Menkaure is totally
awesome!
34. Subject Matter
Description
Describing works of “narrative
art” can be even more
complicated, because it is
necessary to “read the story out
loud,” much like a comic strip
Stele of Naramsin
36. Style
Style refers to the visual
characteristics of a work of
art
Stela of Mentuwoser, 1944 CE. Metropolitan Museum
37. Style
Since this is only an
introductory presentation, I
will save further discussion
of this until later, when you
have had a chance to
learn more about it
Stela of Mentuwoser, 1944 CE. Metropolitan Museum
39. Contextual Analysis
In addition to describing the work of
art, we must also explain its original
function and meaning
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
40. Contextual Analysis
Some questions to consider:
1. Where was it originally located?
2. Who was it for, and who would
have seen it?
3. What was it’s “purpose,” or what
“message” was it supposed to
communicate?
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
41. Contextual Analysis
As we will learn, statues of the Pharoah
were made to be placed in tombs,
and their purpose was to provide a
substitute body for the Pharaoh’s soul
(or “Ka”) to live in for eternity
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
42. Contextual Analysis
Just think about it: if you
could hire someone to build
you a body that you could
live in for eternity, how would
you want it to look?
Image source: http://www.capitalbay.com/news/top-stories/344473-engaged-
bodybuilders-become-first-couple-to-both-win-world-championship-honours-at-same-
event.html
43. Contextual Analysis
The purpose of Egyptian statues
shaped everything about the way they
looked – and your description should
also be mindful of this
Menkaure and Khamerernebty(?),Egypt
2490-2472 BCE
Museum of Fine Arts Boston
44. Contextual Analysis
This time, I want to use your textbook’s
description of the Seated Statue of
Khafreon page 38
[You can also find it online]
Seated Statue of Khafrec. 2520-2494 BCE
45. Contextual Analysis
What I like about this description is how
it is guided by a general thesis about
the original function/purpose/meaning
of the statue
Seated Statue of Khafrec. 2520-2494 BCE
46. Contextual Analysis
The description begins with an
explanation of the purpose of the
statue:
Seated Statue of Khafrec. 2520-2494 BCE
“Sculptors created images of the
deceased to serve as abodes for the
ka should the mummies be destroyed.”
47. Contextual Analysis
Now let’s pay attention to how this
statement functions as a kind of
“thesis” that guides the description and
analysis of the work
Seated Statue of Khafrec. 2520-2494 BCE
48. Contextual Analysis
The author begins by telling us where
this statue was originally found (in a
temple that was attached to the
Pharaoh’s tomb)
This is not a random fact: the location
of the statue is directly relevant to its
purpose as a permanent body for the
king’s Ka
Seated Statue of Khafrec. 2520-2494 BCE
49. Contextual Analysis
Next, the author explains that the
statue was made from a very hard
stone, which would have taken
considerable effort to obtain, since it
came from far away
Again, this is not a random fact, or
information for the sake of information:
since these statues were expected to
last for eternity the material was
important: hard stone was desirable
because it would literally last forever!
Seated Statue of Khafrec. 2520-2494 BCE
50. Contextual Analysis
The author then identifies several
symbols or attributes that identify the
figure as a Pharaoh
1. The intertwined lotus and papyrus,
symbolizing the Pharaoh’s role as
“unifier” of Egypt
2. The bird protecting his head,
symbolizing the falcon-god Horus
(we will learn later that the
Pharaoh was considered divine,
and that he was the living
embodiment of the god Horus)
3. The false beard, nemes headdress,
and ureaus cobra are also
identified as common attributes of
Egyptian kingship; that is how we
know this statue represents a
Pharaoh
Seated Statue of Khafrec. 2520-2494 BCE
51. Contextual Analysis
The author then describes the physical
appearance of the king, using the
same kind of persuasive language that
Professor Witcombe used in his
description of Menkaure:
He describes Khafre as having a
“flawless body” and “perfect face.”
Again, this is not just a personal
opinion: the author is calling attention
to the way the sculptor made the
statue appear ageless and “perfect” in
order to express the idea of his “godlike
nature”
Seated Statue of Khafrec. 2520-2494 BCE
52. Contextual Analysis
The author then describes the formal
qualities of the statue (this would fall
into the category of “style”), noting
that it is “compact” and “solid,” and
that there are “no breakable parts”
(i.e. there are no spaces between the
arms and legs that might be easily
broken if the statue was knocked over)
This isn’t random description either: the
author is calling attention to the solid
and blocky appearance of the statue,
in order to help us understand that this
is relevant to the statue’s purpose of
lasting for eternity
As the author puts it: “the form
manifests the purpose: to last for
eternity.”
Seated Statue of Khafrec. 2520-2494 BCE
53. Contextual Analysis
Finally, the author describes the figure’s
pose, describing it as “frontal, rigid,
and bilaterally symmetrical”
This analysis of style is not an opinion,
nor is it a critique; instead, the author
wants us to understand that the rigidity
and “serenity” of the pose is directly
related to its purpose of providing an
everlasting body for the Pharaoh’s
soul:
“The sculptor suppressed all movement
and with it the notion of time, creating
an eternal stillness.”
Seated Statue of Khafrec. 2520-2494 BCE
54. The Skill of Describing
Describing works of art can sometimes
be challenging, but you will be
practicing the “skill of describing”
throughout the semester
Image source: http://www.hangtogetherblog.com/2013/01/15/reality-based-
cultural-conversations-what-corporations-can-teach-us/words-cant-describe/
55. The Skill of Describing
And you will have ample opportunity
to listen to others describe works of art
in the assigned Smarthistory
conversations
56. The Skill of Describing
To get a taste of how wonderful a
good description can be, listen to
Met curator Catharine Roehrig
describe this treasure from the
museum’s Egyptian Collection
Statue of an Offering Bearer, Egypt, Middle Kingdom, c. 1981-1975 BCE
Metropolitan Museum
57. The Skill of Describing
As you listen, pay attention to
what aspects of her description
refer to:
1. Subject matter: who does the
statue depict? What is she
doing/wearing/holding? How
does she appear?
2. Style: is this statue typical of
Egyptian art?
3. Purpose: where was this
originally located? What was
its purpose?
Statue of an Offering Bearer, Egypt, Middle Kingdom, c. 1981-1975 BCE
Metropolitan Museum