Art History Exam 2

All Key works for exam 2

Geometric Krater, from Dipylon cemetery, Athens (Geometric Period) 740 BCE

Krater: wide mouth bowl used to mix water and wine

this was a grave marker of a wealthy man, used for liquid offerings

Depicts a funerary ceremony

Kouros from Attica, Greece 600 BCE Archaic Period (Marble)

Kouros: statue of nude young man, idealized & youthful, grave marker & offering to gods

• similar to Egyptian practices (stiff arms, leg slightly forward)

Reduced to simple elements though with slightly more details (celebration of human form

Peplos Kore, Acropolis, Athens, Greece. Archaic Period 530 BCE (Marble)

Kore = statue of a woman grave marker (fully clothed)

Peplos = simple, long, belted garment of wool worn by women in greece

Thought that she might be a representation of a goddess

Achilles and Ajax Playing a Dice Game (Bilingual Vase), Athenian amphora. Archaic Period 525-520 BCE

Andokides Painter: Red figure

Lypsippides Painter: Black figure

was a transitional piece as it had one side red figure and the other was black figure

was a copy of exekias pot which depicted trojan war heros and mythological scenes as the primary narrative (achilles is winning)

Temple of Aphaia, Aegina, Greece. Archaic Period 490 BCE

Doric order temple (plain capitals with doric friezes and no column bases)

Dying Warrior (west pediment) 490 BCE: in the older archaic style depicting a battle scene from the Trojan war

• guy is very stiff with decorative hair, and sitting in a very unnatural angle

• has archaic smile, expressionless even though wounded

Dying Warrior (east pediment) 480 BCE: in early classical style

• warrior has look of pain from wound though still a bit emotionless

• more natural angle/torsion, though still slightly stiff

Kritios Boy, Acropolis, Athens, Greece. Early Classical 480 BCE

Found in a pit at the Acropolis

was a transitional figure

• legacy of kouros but more movement

In contrapposto

Polykleitos, Doryphoros. High Classical 450 BCE

Figure in contrapposto

Original sculpture in Bronze (was melted down) so only Roman marble copy is left

Represents perfected ideal of the athlete, warrior, or hero

Also followed the canon of proportions (head is 1/7 of body)

Parthenon, Athens. High Classical 447 BCE

Panathenaic Festival Procession Frieze (447-438 BCE): Is the inner frieze depicting the procession for Athena.

• Top: horsemen

• Center: Gods (Poseidon, Apollo, Artemis, Aphrodite, and Eros

• Bottom: elders and maidens

Porch of the Maidens, Erechtheion, Acropolis, Athens. High Classical 421-405 BCE

The caryatids were very ornately decorated (glass inlay, shells, etc)

Caryatid: frontal, very rigid with slight contrapposto, garment resembles peplos (fluttering fold).

• very naturalistic, idealized general features

Praxiteles, Aphrodite of Knidos. Late Classical 350-340 BCE

More humanized representation of a deity

first known depiction of important women displayed nude

many copies were made later

Lysippos, Apoxyomenos (Scraper), Late Classical 330 BCE

Did not follow the Canon of Proportions

• body was elongated

• head is 1/8 body

Breaking out of rigid frontality

• arms are reaching toward viewer

• encouraged viewer to move around sculpture

Altar of Zeus, Pergamon, Turkey. Hellenistic 175 BCE

Athena Battling Alkyoneos: gigantomachy frieze

• represents rationality vs Chaos (greeks vs enemies)

Athena in the center, Nike placing a crown on her head as a show of victory, Ge is teh goddess of earth and the mother of the giants they are fighting

Carved in High Relief so lots of contrast and is more dramatic

Athanadoros, Hagesandros, Polydoros of Rhodes, Laocoon and his sons. Hellenistic first century CE

Trojan priest and 2 sons

• connects to the trojan war

• greek gods send sea snakes to kill him and his sons

Very dramatic, contorted poses, very emotional, sense of fear and desperation

Fibula with Orientalizing Lions, Regolini-Galassi Tomb, Italy. Proto-Archaic 640 BCE (Gold)

Fibula: a decorative pin or broach worn at the shoulder

Made by granulation: tiny metals balls are used to make the design

Made by repousse: hammering metal from behind so that its raised in the front

Lion design is a sign of interconnection with Egypt

Apulu, Portonaccio temple, Italy. Archaic period 510-500 BCE (painted terracotta)

Religious sculpture, representing a greek myth but sits upon the roof of etruscan temple.

More movement compared to Archaic greece

• reaching forward, feet more in motion

Face is animated, clothes similar between genders, very stylized (not naturalistic), uses a different proportional scale

Sarcophagus with Reclining Couple, Banditaccia necropolis, italy. Archaic Period 520 BCE (painted terracotta)

Very generic figures, but highly stylized/abstracted

• elongated features

• very smooth, no surface detail

similar to archaic greek kouros/kouri

were originally holding objects likely for banqueting or symbolic to the afterlife

Funerals: celebrate the life of the dead in a complicated, lengthy rituals

Wall Paintings, Tomb of the Leopards, Monterozzi necropolis, Italy. Archaic period 480 BCE (painted terracotta)

Was a banqueting scene, very lively

Differs from greek as women are present

• Etruscan women have more equitable life, can go outside

Chimera of Arezzo, Italy. Classical period 4th century BCE (bronze)

Metal sculpture is becoming more popular

Greek mythical creature depicted in combat

Is a votive offering placed in a sanctuary

• has inscription on leg detailing offering

Evidence of greek culture connection and mythology

Temple of Portunus, Roman Republic 75 BCE

Ionic Columns (greek influence)

Frontally oriented (Etruscan influence)

built out of local stone with engaged columns along the side, foundation was made from concrete

Temple for the god of the Harbor

Man with Portrait Busts of his Ancestors, Roman Republic late first century BCE. (marble)

Man dressed in the elite class robes holding the heads of his ancestors (father and grandfather)

Portrait busts used in funerary and religious ceremonies

• ancestral worship: rituals and ceremonies happen at tombs, masks of ancestor’s face sometimes worn

Shows history of families elitism, (competitive idea)

Dionysiac Mystery Frieze, 2nd Style Wall Painting, Villa of Mysteries, Pompeii. Roman Republic 60-50 BCE (Fresco)

2nd Style: contained illusionistic architectural elements

• this one had a ledge that people were on

Depicts a ritual of a mystery religion (not a Roman religion)

• religion likely came from the east

• practice was looked down on and with some suspicion

• This one is about Dionysius portraying a mystical marriage

Gardenscape, 2nd Style Wall Painting, Villa of Livia, Primaporta. Early Empire 30-20 BCE

Was in the empirical summer dining rooms

Attempt at linear and atmospheric perspective

Illusions of small fence and stone wall wrapping around room

feels like you’re in the garden

Third Style Wall Painting, Villa of Agrippa Postumus. Early Empire 10 BCE

3rd Style: monochromatic planes of color with delicate painted architecture

Very moody and monochromatic

Tiny gold columns and friezes

Portrait of Augustus as Imperator (Augustus of Primaporta), Early Empire: Augustus, 20 BCE

Marble copy of the bronze original (massed produced)

Dressed in military clothes

• armor is highly decorative depicting a scene where a roman is getting back their battle standard from the Persians (diplomatic victory)

• around this image are the roman gods and personifications of the land

Highly idealized and youthful, very similar to the greek statue Doryphorus

• connects him to the greeks which the romans revered

• propaganistic

Wants people to know that he is the sole emperor and reason for the good things (so his portrait is put everywhere)

the small cupid at the bottom connects to his potential godly ancestory

Altar of the Augustan Peace, Early Empire: Augustus 13-9 BCE

Has a bunch of mythological scenes

• romulus and remus

• a bunch of scene with aeneas (thought to be a godly relative of augustus)

the lower half is covered in swirling vines and spirals

• thought to portray growth and fertility

Maison Carree, Early Empire 1-10 CE

An emphasis on frontality (Estruscan idea)

Dedicated to the worship of the emperor and his family

• emperors are now allowed to be deified after their deaths (voted on by the senate)

Corinthian order columns

Conforms to the Roman ideal temple (virctuvious)

Has engaged columns of 3 sides, and raised up on a podium

Colosseum (Flavian Amphitheater). Early Empire: Vespasian 70-80 BCE

Built in the same location of Nero’s big palace

• give back the land to the public (hated Nero)

Each level has a different architectural orders

• Top: Corinthian

• Middle: ionic

• Bottom: tuscan order (similar to doric)

• each level had 80 arches

used for public displays like rituals, hunting scenes, gladiatorial fights, etc

Arch of Titus, Early Empire 81 CE

Triumphal Arches were used to commemorate military victories

On ceiling relief shows the deification of Titus

Reliefs show of Titus’s military victories

• one panel has personification of winged victory with him

Apollodorus of Damascus, Markets and Forum of Trajan. High Empire: Trajan 112 CE

Emperor’s loved to build forums which are public-oriented buildings

• included a temple to Trajan

• Markets

• Basillica

• Column of Trajan

Was covered in sculptures

Column of Trajan: is a continuous narrative (ascending)

• Narrative of conquering Dacia, but more of a generalized version of basic Roman warfare

• Friezes at the top are larger than those at bottom to help make the reading easier for viewer

Pantheon, High Empire: Hadrian 125 CE

Was a temple to all the gods

Design: 1 sphere can perfectly fit inside

• dome made from concrete, coffers used to cut weight of dome (also for decorative reasons)

• Perfect # used to make design

• only source of light is the hole in the dome (oculus)

• niches originally held statues of deities (now christian)

Decursio, pedestal of Column of Antoninus Pius. High Empire 161 CE

Decursio: ritual circling of military pyre

Has multiple ground lines

Begins shift away from classical/naturalistic art

• more abstracted sense of space

• transitional piece from high empire to late empire

Painted Portrait of Septimius Severus and Family, Egypt. Late Empire 200 CE (tempera on wood)

Example of damnatio memoriae: roman decree of condemning those who ran afoul according to senate; memorials demolished and names released from public

• Caracalla makes senate pass this about his brother who he had killed so that he could be the sole emperor

Battle of Romans and Barbarians (Ludovisi Vattle Sarcophagus) Late Empire 250-260 BCE (marble)

There is an increasing interest in mystery religions & needing the bodies after death

• leads to a transition in burial practices (people were normally cremated)

Depicts a battle between Roman soldiers and Barbarians (non-Romans)

Push against naturalism, everything is infront and figures are stacked on one-another (super busy)

very very high relief

Arch of Constantine, Late Empire: Constantine 312-315 CE

Celebrates Constantine’s defeat of Maxentius (co emperor)

Has engaged Corinthian columns, with a mix of artistic styles

• also took sculpture from other monuments (spulia) usually from well liked emperors

  • did this so that he would be associated with the good (propaganda)

  • adjusted the faces of taken sculpture so that it would look more like him

  • elements from Trajan, Hadrian, Marcus Aurelius

Constantines art is not as naturalistic, people are stocky and stiff and high stylized

Dura-Europos, Syria. Late Antiquity before 256 CE

Wall Painting of Baptistery: was a Christian meeting house, held baptisms

• wall art depicts miracles of Christ (walking on water, making someone walk again, and adam and eve)

Wall Paintings of Synagogue: covered in narrative scenes from Old Testament (jewish bible)

• went against the 2nd commandment about iconography

The Good Shepherd, story of Jonah. Catacomb of Saints Peter and Marcellinus. Late Antiquity early 4th century

At center of image is the good shepherd (thought to be Christian symbolism)

Biblical scenes, mostly of Jonah, surrounds central image (him getting ate by whale, beings spat out, relaxing)

• thought to be foreshadowing for Christ

Orant figures seen praying between images of Jonah

There is also Roman personifications of seasons (mix)

Santa Maria Antiqua Sarcophagus, Late Antiquity 270 CE (marble)

Made before Christianity was legalized

Depicts Jonah, a philosopher, and orant

Central figures faces aren’t carved

• due to these sarcophagi being massed produced such that families can have their faces carved into it

• its was also ambiguous enough that multiple religions could use it