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Lefkandi Centaur
10th ce, protogeometric
terracotta, 6 fingers-wisdom, worry line, inlaid eyes, possibly a specific character Cheiron, deliberate gash on left knee means giving up immortality body and head separate-made by two means |
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Protogeometric Pottery
1050-900 BC
thin walled bands and curvilinear motifs.
many from kerameikos |
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Dipylon Krater
750-735 BCE
diplyon cemetery kerameikos, monumental grave marker, first mourning scene (prothesis), emotions through gesture, use of family, battle scene? Maeander on top, procession of chariots and footsoldiers |
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Kerameikos Ivory Female Figurine
730 BCE
Athens grave context, maeander on headdress, cylindrical headdress (polos) associated with divinity, stiffness like Egypt, big eyes like Babylon, nudity not til 4th ce |
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Macmillan Aryballos
650-640 BC
2.75 inches, proto-corinthian, found in thebes, for valuable perfume? Lion, war? Curvilinear, movement, blood, shows sense of animation
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Animal-style Amphora
625-600BC
Ripe Corinthian style, black figure, filled with flora and fauna, filling of empty space, rosette motifs
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Eleusis Amphora
650 BC
proto-attic, Athens, odysseus and polyphemus, odysseus in white indicates hero, first expression of surprise, more action than geometric, figures are more fluid, interesting of funerary context, deprivation of senses |
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Lamassu of Ashurnasirpal
883-859 BC, 5th leg, NW palace Nimrud,
horned crown of divinity, rounded headdress instead of feathered, apotropaic?
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Lamassu of Sargon II
717-706 BC
Khorsabad, Two-faced lamassu-oriented to face approaching people and also meant to ward off demonic/harmful forces, Shift in shape of crown (from rounded to cylindrical), Band of tightly curled fur below beard |
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Lamassu of Sennacherib
704-680 BC
Ninevah, reduction to 4 legs, alabaster, progressively more monumental as if kings are trying to outdo each other, larger headdress, more like sculpture |
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King with Genies & Sacred Tree:
865 BC, Assurnasirpal II NW Palace Nimrud, alabaster gypsum, emphasis on symmetry, supernatural figures hold buckets, ritual scene-prosperity and fertility, God ashur-anthropomorphic , sacred tree reappears in other reliefs, large pinecone |
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Something like this, but not quite. Refer to powerpoint for real picture.
[image] |
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Beardless Assyrian in Chariot Trampling Enemy:
865-860 BC, NW Palace, alabaster, Assyrian soldier never at disadvantage, dead always enemies, chaos vs order/power |
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Siege of Lachish Relief:
704-681 BC, Ninevah Palace, suggested someone recorded how things looked-represent landmarks, very little empty space, no god or king, first appearance of landscape |
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Sennacherib Enthroned:
704-681 BC, Ninevah Palace, people registers holding king up, also in Throne Hall Doorjamb, motif of power, signified wealth and domination, pinecones, face scratched out by enemies, ivory exhibits power |
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Ashurnasirpal II Lion Hunt Relief:
865-860 BC, Nimrud NW Palace, lion in close proximity with king, being attacked from both sides, lions being trampled by horses, representing more power of chaos, resembles warka stele |
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Ashurbanipal Killing a Lion:
645 BC, Ninevah north palace, King’s action mirror that of a god, small movement as if killing lion was easy, deified? |
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Three registers with Lion Hunt Scene
Top register like a comic. Refer to powerpoint. |
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Ashurbanipal’s Lion Hunt Reliefs (The Hunt):
668-627 BC, Ninevah North Palace, power over strong king of jungle, comic strip style?, propaganda in art |
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| Ashurbanipal’s Lion Hunt Reliefs (Dying Lions): 668-627 BC, Ninevah Palace, Lions agony, suggested scene was carved by craftsmen from conquered territories b/c he felt empathy, emphasize power, not concerned with pity |
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| Cyrus II Doorjamb: 559-530 BC, Pasargadae Gatehouse, headdress seems Egyptian, Neo Assyrian winged genie, unity of heterogeneous territory artwork, could be cyrus II or supernatural genie, elamite royal robe |
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| Tomb of Cyrus the Great: 530 BC Pasgardae, Achaemenid, similar to ziggurat but tomb instead of temple, step, S shaped molding associated with Ionian city, crowned door marked transition |
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| Behistun Relief: 521-486 BC, Behistun, Persia, large figure represents ahuramazda dead king or divine glory, prisoners bound together all from different civilizations- unity and domination, largest figure is darius I |
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| Gate of All Nations: 465 BC, Persepolis, resembles sphinx gate, lamassu similarity, represent power , separate blocks to form whole gate rather than monolithic |
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| Throne Hall Warrior: 450 BC, Persepolis, similar to ashurbanipals killing of lion represents power, king battling king in place of god, deification |
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| Throne Hall Doorjamb: 450 BC, Persepolis, subject figures hold king up also in Lachish relief, unity of empire, peaceful supporting king, harmonizes empire |
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| Tomb of Darius: 486 BC, Naqshi-Rustam, sacred place of elamite before Persia, harmonious empire, cross shaped, one of four, inscriptions in different languages |
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| Terracotta Daedalic Figurine: 650-625 BC, Orientalizing, Greece, Named for Daedalus ‘father of sculpture’, stylized hair represents daedalic style-rigid frontality, triangular face, prominent nose, archaic smile (expression not shown in Egyptian art) |
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| Lady of Auxerre: 640-630 BC, Orientalizing, Crete, Greece, created to be seen from front with characteristics of triangular face, broad nose, flattened skull, lengthened legs do not follow anatomical proportion, stylized hair influenced by Egyptian statues, focus on shift of dress, short torso-geometric |
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| Anavysos Kouros: 530 BC, cemetery of anavysos, Greece, grave marker of kroisos, well proportioned-nudity before nudity was used to depict humiliation, relationship b/t human and anthropomorphic gods, depicting youth-apollo? Archaic smile representing prosperity and peace, fronatlity-egyptian |
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| Peplos Kore: 530-525 BC, Acropolis Athens, one leg is in front, movement, garment called peplos clothing is remnant of archaic period but with more figure-progressing towards classical period, placed disc (meniskos) over head to protect from birds, painted with bright colors |
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Chios Kore:
520-510 BC, acropolis, archaic smile starts to shift more towards severe facial expression, discarded and buried after Persian invasion, used different textures |
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| Heniokhos (Charioteer): 478 BC early classical period, Delphi, bronze using lost wax, casted in many pieces (composite) then reassembled, more naturalistic |
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| Doryphoros (Spear Bearer): 450 BC high classical Greece, pompeii, polykleitos of sikyon, contrapossto, copy of bronze original, naturalistic, no archaic smile |
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| Discobolos (Discus Thrower): 450 BC, movement is tense but face is not, created to be seen from all sides. Transition from early classical to high classical (more emotion) |
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| Aphrodite Knidos: 350 BC, late classical, hydria associated with youth and beauty and cleansing, large scale nude female shocking because goddess depicted as nude instead of lower class, created by Praxilites |
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| Ajax and Achilles Play a Boardgame: 540 BC, Exekias Athens, black figure, signature of exekias, Achilles with helment on left, ajax on right, shows Achilles greater than Ajax bigger figure, more confident. First example of what comes to be a common scene |
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| Suicide of Ajax: 540 BC, Athens, it shows scene before the act, trees are drooping, helmet looks down critical, shadow of former self, sgraffito technique, ajax vulnerable, gorgon on shield |
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Achilles and Penthesileia: 540 BC, found at Vulci, black figure, Amazonian warrior different color, eye to eye contact falls in love as he kills her, barbaric animal skin? Contrast with white and black figure |
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| Penthesileia Cup: 470 BC, red figure, amazonmachy, instead of incision, there are fluid lines and painting draperies, frontal figure on right faces the world, frontal figures signify death /dying, |
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| Parthenon: 490-432 BC, Athens, doric temple, ionic column, amazonmachy, centauromachy, frieze, dedicated to Athena, also functioned later as a church, mathematically structured to give illusion of straightness, entasis- column swells in middle, festival scenes, order and chaos, sculptures |
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| Athena Parthenos: 438 BC, Parthenon, acropolis. Sculpted by Pheidias, 38ft tall, nike in hand, centauromachy on sandals, amazonmachy on shield, gigantomachy interior of shield, shows theme of order and chaos, civilization vs barbarian, doric columns surrounding, gold, headdress and spear-goddess of war |
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Something like this; refer to notes
[image] |
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| Limestone Stele: 5th-4th Century BCE; PROVENANCE?; topped kurgans (Scythian burial chambers); represented warriors with belt/side sword; holding cups or drinking horn; torgue around neck, solid jewelry piece; permanent markers for a nomadic culture |
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| 4th Century BCE Bronze Poletop: volutes relate to Ionic capital; palmette related to Greek art; recumbent/ non aggressive form of animal |
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| Recumbant Horse Plaques: late 7th-early 6th century BCE; PROVENANCE?; attached to clothes with glue (no loops or hooks); representation of horses, vital part of Scythian economy/lifestyle; curved mane draws eyes down, not a static representation |
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Something like this, but not quite.
[image] |
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| Eagle-headed Griffin Plaques: late 7th century BCE; PROVENANCE?; upward curved wings and curved beak suggest Achaemenid Persian influence; texture of scales/feathers suggests Assyrian/Greek/Persian influence; |
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Not exact same one; refer to powerpoint
[image] |
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| Moose Head Plaque: 5th Century BCE; PROVENCANCE?; shows simplified palmette, scrolling antler volutes and reversed bird heads; probably from a mold, shows Scynthians had technology/resources to cast things in bronze despite being nomadic |
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Drinking Scene; Refer to powerpoint for exact picture
\[image] |
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| Drinking Scene Plaque: early 4th century BCE; Provenance?; rare human representation in Scynthian art; depicts two men sharing a cup of blood wine and sealing an oath; the legs are folded beneath them, recumbent; holes punched in corners to be attached to clothing |
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| No Picture, but important so refer to powerpoint on page 38 of Scythians |
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| Attack Scene on Quiver Cover: 5th century BCE; Provenance?; depicts 3 attackers, eagle attacking near tail, leopard and snake attacking front; volutes with snake body; numerous bird motifs within stag’s body (legs & antlers); egg and dart motif on stag’s neck suggests Greek influence |
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| Capitoline Wolf: 500-480 BCE; Rome?; possibility of not actual ancient Roman origin; stylized fur of wolf relate it to a lion or Estruscan Chimaera of Arezzo |
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| Altar of Augustan Peace: 13-9th century BCE; Rome; 3 women (represent the winds) and peaceful animals represent prosperity/fertility; inclusion of children was rare on Roman monuments, represents heirs and continuity of Roman empire |
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What is next to the Colosseum
[image][image] |
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| Nero as Sol: 64-66 CE; Rome; nearly 100 ft tall; represents the ridiculousness of some Roman emperors; statue was unliked and effected portraiture of following rulers |
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Portrait of Emperor Vespasian:
75 CE; Rome?; worry lines on his face show a return to verism, where experience is valued; change from Nero’s crazyness |
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