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Terms and facts- Hierarchical scaleFrom the Prehistoric and Neolithic-Post and Lintel, Megalith, tumulus, hengeFrom Mesopotamia-The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or StelaFrom Minoa-Labrys, The myth of King Minos and the MinotaurFrom Mycenae-Corbelled vaults and domes, repousse, Tholos, Megaron, kraterFrom Ancient Egypt-Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna PeriodFrom Ancient Greece-Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design)Know the seven steps to lost wax castingKnow the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capitalThe two styles of Greek vase painting-black figure and red figure-the basic differences in look
You should look up exam one of these myths and know the basic story or the main story about the character listed:
Prometheus and Fire Apollo and DaphnePygmalion and Galatea NiobePersephone and Hades PandoraTantalus-Son of Zeus The DanaidesAlcyone and Ceyx Idas and MarpessaThe Fall of Icarus Theseus and the Minotaur
Perseus and the Medusa Jason and MedeaHercules and the Stymphalian Birds
PART 2
MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Seven steps in the lost-wax casting process
Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polish
Figure 5-12 Plan of a typical Greek temple.The CELLA, is the room where the deity’s sculpture would have been housed. Think harmony, balance and order. Proportional exactness helped achieve this harmony and order. Order in the world, art and the cosmos Despite its grandeur, the Greek temple was elegantly simple in floor plan, stressing order through symmetry, balance
4
Archaic Greek Temple
Diagram of the Classical architectural orders
Diagram of the Classical architectural orders, differentiating between the Doric, Ionic, and Corinthian. Key parts of Greek temple design, such as the pediment, stylobate, entablature, frieze, capital, column, shaft, and base are also identified
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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.
Now we see a whole
scene and no hierarchy
at all. Still some
patterning used. This is
black figure pottery on
this large vessel-
amphora.
7
EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche Antikensammlungen, Munich.
Red figure painting could allow more artistic choice and detail. There could even be differences in the red hues.
Note the ¾ view of theis figure, an early foray into foreshortening, so a sense of the figures exist in a space is achieved now.
Landscape with volcano eruption, wall painting
Landscape with volcano eruption, Çatalhöyük, Turkey, c. 6150 BCE. Wall painting: Ankara Museum of Anatolian Civilizations, Turkey. Watercolor copy: Private collection
Considered to be the first landscape painting known showing the town layout, volcano reference at the top can be the one from an earlier Neolithic town 60 miles away, since no volcano is near Chatal Hoyuk. Chatal Hoyuk means “forked mound”.
Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
PART 3
HISTORY AND CONTEXT
Chapter 3.1 The Prehistoric and Ancient Mediterranean
Hieroglyphics
Often images of
objects, but can
represent ideas or
sounds
The Rosetta Stone,
discovered in 1799,
made the translation
possible
Hieroglyphics
Demotic
Greek
Stele of Hammurabi.
c. 1760 BCE.7 ‘ x 28”
Hammurabi, King of Babylon reunited
Mesopotamia and instituted the Code of
Hammurabi, a comprehensive set of laws
addressing nearly all aspects of both civil and
criminal offenses.
Hammurabi is portrayed receiving the laws
directly from Shamash the sun god. (a parallel
to Moses). Shamash is the dominate figure—
he is seated on his throne, wears a crown and
has flames issuing from his shoulders.
Although Hammurabi is subservient to the god
he still makes a powerful authority statement
by addressing the god directly. Even though he
has his hand raised in reverence he shows that
he has a personal relationship with the gods
while mere mortals do not.
The Phaistos Disc
2000 BCE.
There are 45
characters on the
disc. Pressed
deals into the wet
clay to print.First
printed text ever
found
Written language
is called “Linear
A”
12
Figure 1-4 Nude woman
(Venus of Willendorf), from Willendorf,
Austria, ca. 28,000–
25,000 BCE. Limestone,
4 1/4” high.
Naturhistorisches
Museum, Vienna.
Seated Goddess of Catal
Hoyuk 6000 BCE
Clay 16.5 cm
Found in a grain storage vessel.
She is flanked by two feline
animals, believed to be
leopards. Fertility figure and
mother goddess of both birth
and crops. Many more female
deities are found at this time
and place than male
counterparts.
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Figure 4-13 Snake Goddess, from the palace at
Knossos (Crete), Greece, ca. 1600 BCE. Faience, 1’ 1
1/2” high. Archaeological Museum, Irakleion.
ART ACTIVITY
Labrys – Double-headed axe attributed to matriarchal
power and female divinities later to sacrifice and male
power in other cultures
The roofbox lets in the light, illuminating the interior during the solstices. Corbelled vault.
Newgrange Ireland (Bru na Boinne) 3200 BCE
Exterior of the Treasury of Atreus (looking west), Mycenae, Greece, ca. 1300-
1250 BCE.
16
17
Tholos (tomb) or Treasury of Atreus 1250
B.C.E. Above – corbelled vault construction.
Largest dome
constructed for
over 1400 years.
43 feet high, 50
feet wide.
18
Figure 2-13 Victory stele of Naram-Sin, set up at Sippar,
Iraq, found at Susa, Iran, 2254–2218 BCE. Pink sandstone,
6’ 7” high. Musée du Louvre, Paris.
Shown leading his army, King
Naram-Sin is wearing the
horned headdress signifying
divinity
First time Mesopotamian king
shown as a god
Three stars overhead, looks like
he is scaling his way to the
heavens
Not in a horizontal format, but
still hierarchical in scale
•THE AKKADIANS
19
Figure 3-1 Judgment of Hu-Nefer, detail of an illustrated Book of the Dead, from the tomb
of Hunefer, Thebes, Egypt, 19th Dynasty, ca. 1290-1275 BCE. Painted papyrus scroll, 1’ 3 ½”
high; full scroll 18’ ½” long. British Museum, London.
Know what is going on in the scene depicted. Positioning and portrayal of the bodies as a
hallmark of Egyptian painted imagery.
20
Figure 3-2/3 Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, 3000–2920 BCE. Slate, 2’ 1” high.
Symbolized the unification of Upper and Lower Egypt. On the left Narmer is slaying two foes at once, the man and the falcon, a
symbol for the pharoah. The two interwined necks of the animals on the right – again unification symbology
DEPICTED A HISTORICAL PERSON, HIERARCHICAL ORDER OR SCALE, AND THE SETTING OF THE
BODY’S STYLE OF DEPICTION. A start of the canon of artistic laws for Ancient Egypt in the depiction of the
pharaoh, other humans, space, decoration, action, etc.
Pyramids at Giza: from left to right, the pyramids of Khufu, Khafre, and Menkaure
Giza (Gizeh) Video Link
https://www.youtube.com/watch?v=q6fyAn9Ea_I
22
Figure 3-13 Menkaure and Khamerernebty(?), from
Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE.
Graywacke, 4’ 6 1/2” high. Museum of Fine Arts,
Boston.
SCULPTURE
OLD KINGDOM
23
Kouros, from Attica, Greece,
ca. 600 BCE. Marble, 6’ 1/2” high.
Metropolitan Museum of Art, New York.
24
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 of Polykleitos
•Originally titled Canon – a set of artistic
laws to achieve perfection, harmony,
beauty, the ideal
•Established Polykleitos’ canon of
proportions, setting ideal correlations
among body parts derived from
Pythagorus geometry and musical
harmony theories and ratios
•Contrapposto and counterbalance
•Notice the harmony of opposites
25
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
26Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome.
ABOVE Dying
warrior, from the east
pediment of the
Temple of Aphaia,
Aegina, Greece, ca.
480 BCE. Marble, 6’
1” long
27
Seated boxer, ca. 100–50 BCE. Bronze, 4’2” high. Museo Nazionale Romano–
Palazzo Massimo alle Terme, Rome.
Note in the later Classical and
Hellenistic Periods how this statue does
not depict an “ideal”. More of a true to
life human with emotion, seated casually.
Note the smashed nose, age. Greece is
being taken over soon after Alexander
the Great by Rome
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