Art of Rising Civilizations

Total Page:16

File Type:pdf, Size:1020Kb

Art of Rising Civilizations 164 3 ART OF RISING CIVILIZATIONS our journey through time and space con- Y tinues in this unit, where you will learn about the arts of ancient Greece and Rome. The small painting shown here was created by an unknown Roman artist. It once graced a wall of a house in Herculaneum—a city destroyed by a volcanic eruption in A.D. 79. Web Museum Tour The Classical Collection at the North Carolina Museum of Art Web site guides you through Greek and Roman antiquities, including ancient Roman wall paintings and virtual 3D views of a Greek amphora. Follow the link to Web Museum Tours at art.glencoe.com. Activity Browse the Classical section and then choose one Greek or Roman piece in the collection. After examining the artwork, describe it and analyze the artist’s use of elements and principles. What feeling or idea do you think the artist was trying to communicate? Still Life with Peaches and Glass Vase. Roman fresco from Herculaneum. c. A.D. 50. Museo Nazionale, Naples, Italy. Scala/Art Resource, NY. 165 8 greek art hat do you know about the arts and artists of ancient Greece? What W did you learn about Greece when the Olympics were recently held in Athens? Why do historians place so much importance on events that hap- pened over 3,000 years ago on a dry, stony peninsula in southeastern Europe? The answer to the last question is simple: it was on that peninsula, in Greece, that Western civilization was born. The contributions of Greek civilization to the arts and sciences have influenced humans for centuries. These contributions continue to enrich our lives today. Read to Find Out Read this chapter to find out what is important about the art of ancient Greece. Ask yourself how the Greek civilization added to the art and architecture of the world. Learn how Greek sculp- ture changed and evolved over time. Focus Activity Examine the Greek temple shown in Figure 8.1. What details can you find out about it? Why do you think this building contin- ues to be admired today? Do you think the use of sculptures in place of columns adds to the building’s visual appeal? Why or why not? Using the Time Line Greek art is grouped into one of four periods, each with its own style. Notice where the temple appears on the Time Line. It was built during Greece’s Classical period. As you read the chap- ter, identify characteristics of art in each period of Greek history. What features in Figure 8.1 are characteristic of the Classical period? 450–322 B.C. Socrates, 776 B.C. Plato, and The first Aristotle 900–700 B.C. c. 800 B.C. Olympic c. 450 B.C. develop Earliest Greek vases Homer writes the Games are c. 600 B.C. Myron philosophical are displayed with Greek epic poems held in Geometric patterns sculpts the concepts geometric patterns Iliad and Odyssey Athens continue to appear Discobolus 1000 B.C. 900 B.C. 800 B.C. 700 B.C. 600 B.C. 500 B.C. 900–700 B.C. 600–480 B.C. Geometric Period Archaic Period 166 ■ FIGURE 8.1 Porch of the Maidens. 421–405 B.C. Erechtheum, Acropolis, Athens, Greece. Scala /Art Resource, NY. 405 B.C. Athenian Empire is destroyed 323 B.C. c. 240 B.C. c. 50 B.C. 421 B.C. Euclid describes Dying Gaul An unknown Work begins Pythagorean theorem shows features artist creates on the in Elements of of the Hellenistic Seated Boxer in Erechtheum Geometry style bronze Refer to the Time Line on page H11 in your Art Handbook for more 400 B.C. 300 B.C. 200 B.C. 100 B.C.0 B.C. about this period. 480–300 B.C. 300–146 B.C. Classical Period Hellenistic Period 167 LESSON ONE The Birthplace of Western Civilization Vocabulary he history of ancient Greece begins around 2000 B.C. At that time ■ raking cornice ■ entablature T the earliest people probably entered the land. The descendants of ■ cornice ■ column these primitive peoples remained there, and in about 500 years a strong ■ frieze ■ colonnade culture known as the Mycenaean had formed. However, the power of the ■ lintel ■ Doric order Mycenaeans eventually gave way to that of a stronger people. ■ capital ■ Ionic order ■ shaft ■ Corinthian After a series of invasions, the warlike Dorians took over the land in ■ stylobate order about 1100 B.C. This event changed the way of life in many areas as the ■ pediment conquerors mingled with the native populations. Towns eventually grew into small, independent city-states. Unlike many other civilizations, which Artist to Meet developed as collections of city-states that formed kingdoms or empires, ■ Exekias the Greek city-states remained fiercely independent. The independence of Greek city-states can be accounted for, at least in Discover part, by geography. Greece is divided by mountains, valleys, and the sea. After completing this lesson, (See map, Figure 8.2.) These physical separations made communication you will be able to: difficult. In addition to these natural barriers, social barriers of local pride ■ Identify the contributions of the ancient Greeks to the history and jealousy also divided the city-states. These factors combined to keep of art. the Greek city-states from uniting to form a nation. ■ Describe the three orders of decorative style that originated in Greece. History of Greek City-States There was continuing rivalry among the city- states, but none ever succeeded in conquering the Greece 600 B.C. others. The rivalry was so intense that the city-states 20°E3525°E 30°E °E could not even agree to work together toward N common goals. Fear alone finally united them long W E S Black enough to fight off invaders from Persia during the Sea fifth century B.C. Suspecting further invasions by the Persians, several Hellespont Byzantium city-states joined together to form a defensive alliance. ASIA MINOR GREECE Troy This alliance came to be known as the Delian League Aegean because its treasury was kept on the island of Delos. Sea Athens Byblos The larger cities contributed ships and men to this A I Sparta C alliance, while the smaller cities gave money. Cyprus I N Because it was the most powerful member of the Crete Tyre E O Delian League, Athens was made its permanent H Cyrene P head. Athenian representatives were put in charge of N i l the fleet and were authorized to collect money for e EGYPT R i v Red the treasury. e r Sea Pericles, the Athenian leader, moved the treasury from Delos to Athens. Before long, Pericles began to MAP SKILLS use the Delian League’s money to rebuild and beautify ■ FIGURE 8.2 The Greek city-states were separated from each Athens, which had been badly damaged by the other by mountains, valleys, and the sea. How do you think these separations affected interactions between the city-states? Persian invaders. 168 The Peloponnesian War and the destiny of every person on Earth. The The greatness of Athens was not destined highest goal for the Greeks was doing what to last long. Pericles’ actions were bitterly the gods wanted them to do. As a result, for- resented by the other members of the Delian tune tellers and omens, which helped people League, especially Sparta and Corinth. Finally, discover the will of the gods, were important parts of religious practice. in 431 B.C., this resentment led to the Pelopon- nesian War. At first, Pericles successfully withstood the challenge of Sparta and the Early Greek Temples other city-states, but in 430 B.C. a terrible The earliest Greek temples were made of plague killed a third of the Athenian popula- wood or brick, and these have since disap- tion. A year later, Pericles himself was a peared. As the economy prospered with the victim of this plague. With the death of its growth of trade, stone was used. Limestone leader, Athens was doomed. and finally marble became the favorite build- After Athens was defeated, a century of ing materials. conflict followed. One city-state, then another The basic design of Greek temples did not gained the upper hand. This conflict so weak- change over the centuries. Greek builders chose ened the city-states that they were helpless not to alter a design that served their needs and before foreign invaders. In 338 B.C., Greece was also pleasing to the eye. Instead, they made was conquered by Macedonia. small improvements on the basic design in Despite a history of rivalry, wars, and inva- order to achieve perfection. Proof that they real- sions, the Greek people made many important ized this perfection is represented in temples contributions to art. Their accomplishments such as the Parthenon. (See Figure 8.1, page in architecture, particularly temple architec- 166 and Figure 8.3.) It was built as a house for ture, were among their most enduring legacies Athena, the goddess of wisdom and guardian of to Western civilization. the city named in her honor. Greek Architecture The Parthenon The Greeks considered their temples ■ FIGURE 8.3 dwelling places for the gods, who looked— In 447 B.C., using funds from the treasury and often acted—like humans. The Greeks of the Delian League, Pericles ordered work believed that the gods controlled the universe to begin on the Parthenon. Ten years later the ■ FIGURE 8.3 Greek architects used the post- and-lintel method of con- struction. Identify the posts and lintels in this temple. How would you describe the overall balance of this building? What adjective best describes this temple? The Parthenon, Acropolis, Athens, Greece.
Recommended publications
  • Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
    12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk
    [Show full text]
  • Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
    Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F.
    [Show full text]
  • Art List by Year
    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
    [Show full text]
  • Market Values in Eighteenth-Century Rome
    Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands.
    [Show full text]
  • Terms and Facts- Hierarchical Scale
    Terms and facts- Hierarchical scale From the Prehistoric and Neolithic- Post and Lintel, Megalith, tumulus, henge From Mesopotamia- The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or Stela From Minoa- Labrys, The myth of King Minos and the Minotaur From Mycenae- Corbelled vaults and domes, repousse, Tholos, Megaron, krater From 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 Period From 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 casting Know the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capital The 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 Daphne Pygmalion and Galatea Niobe Persephone and Hades Pandora Tantalus-Son of Zeus The Danaides Alcyone and Ceyx Idas and Marpessa The Fall of Icarus Theseus and the Minotaur Perseus and the Medusa Jason and Medea Hercules and the Stymphalian Birds Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES 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 polishGateways to Art: Understanding the Visual Arts, Debra J.
    [Show full text]
  • Catalogue of Paintings, Sculptures and Other Objects Exhibited During The
    ART ' INSTITUTE OF CHICAGO CATALOGUE • OF PAINTINGS, ScuLPTURES AND OTHER OBJECTS EXHIBITED DURING THE WoRLD'S CoNGREssEs MAY 15 TO OCT. 31, 1893. THE ART INSTITUTE, Lake Front, opposite Adams Street, Chicago. THE ART INSTITUTE OF CHICAGO. CATALOGUE -OF- PAINTINGS, SCULPTURES AND OTHER OBJECTS EXHIBITED DURING THE WORLD'S CON- GRESSES. · SEPTEMBER, I893. CHICAGO, LAKE FRONT, HEAD OF ADAMS STREET. TRUSTEES OF THE ART INSTITUTE OF CHICAGO, !892-J. CHARLES L. HUTCHINSON, SAMUEL M. NICKERSON, DAVID W. IRWIN, MARTIN A. RYERSON, EDWARD E. A YER, WILLIAM . T. BAKER, ELIPHALET W. BLATCHFORD, NATHANIEL K. FAIRBANK, JAMES H. DOLE, ALBERT A. SPRAGUE, JOHN C. BLACK, ADOI;PHUS C. BARTLETT, . JOHN J. GLESSNER, CHARLES D. HAMILL, EDSON KEITH, TURLINGTON W. HARVEY. ALLISON V. ARM01J.R, HOMER N. HIBBARD, MARSHALL FIELD, GEORGE N . CULVER, PHILANDER C. HANFORD. OFFICERS CHARLES L. HUTCHINSON, JAMES H. DOLE, President. V{ce-President. LYMAN J . GAGE, N.H. CARPENTER, Treasurer. Secretary. W . M. R. FRENCH, ALFRED EMERSON, Director. Curator of Classical Antiquities. EXECUTIVE COMMITTEE <;HARLES L. HUTCHINSON, CHARLES D. HAMILL, JA)iES H. DOLE, JOHN C. BLACK, ALBERT A. SPRAGUE, MARTIN A. RYERSON, WILLIAM T . BAKER. THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the purpose of maintaining a Museum and School of Art. The present building is built by the Art Institute and the World's Columbian Exposition jointly, at a cost of ~625,000, upon land granted by the city. At the end of the Fair the building will become the permanent and exclusive possession of· the Art Institute . During the Fair it is occupied by the World's Congresses.
    [Show full text]
  • Marsyas in the Garden?
    http://www.diva-portal.org This is the published version of a paper published in Opuscula: Annual of the Swedish Institutes at Athens and Rome. Citation for the original published paper (version of record): Habetzeder, J. (2010) Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum Opuscula: Annual of the Swedish Institutes at Athens and Rome, 3: 163-178 https://doi.org/10.30549/opathrom-03-07 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274654 MARSYAS IN THE GARDEN? • JULIA HABETZEDER • 163 JULIA HABETZEDER Marsyas in the garden? Small-scale sculptures referring to the Marsyas in the forum Abstract antiquities bought in Rome in the eighteenth century by While studying a small-scale sculpture in the collections of the the Swedish king Gustav III. This collection belongs today Nationalmuseum in Stockholm, I noticed that it belongs to a pre- to the Nationalmuseum in Stockholm. It is currently being viously unrecognized sculpture type. The type depicts a paunchy, thoroughly published and a number of articles on the col- bearded satyr who stands with one arm raised. To my knowledge, four lection have previously appeared in Opuscula Romana and replicas exist. By means of stylistic comparison, they can be dated to 3 the late second to early third centuries AD. Due to their scale and ren- Opuscula. dering they are likely to have been freestanding decorative elements in A second reason why the sculpture type has not previ- Roman villas or gardens.
    [Show full text]
  • Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
    Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer.
    [Show full text]
  • Focus on Greek Sculpture
    Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life.
    [Show full text]
  • WELCOME to MUSIC CITY! Come Early and Stay Late! Experience for Yourself What Makes Nashville Special During the Summer Months
    WELCOME TO MUSIC CITY! Come early and stay late! Experience for yourself what makes Nashville special during the summer months. It’s a city that resonates with life and vibrates to the beat of every kind of song. It’s a wonderland of American music, Southern hospitality, unbelievable cuisine, and a boundless spectrum of nightlife. Come join us and together we will keep the music playing! SAVE THE DATE | AUGUST 10-12, 2021 | HTTPS://CONVENTION.NCBA.ORG/ GAYLORD OPRYLAND RESORT & CONVENTION CENTER TOP TEN THINGS TO DO IN NASHVILLE SUMMER Hit The Hall — Kick off your Nashville Take A Timeless Journey — The Ryman experience with a day at the Country Music Auditorium, also called the “Mother Church of Hall of Fame® and Museum. The world’s Country Music,” has had artists as diverse as largest popular music museum offers ever- Elvis Costello and Patsy Cline perform on its changing exhibits featuring the legends of legendary stage since 1892. You can take a country music past and today’s hottest stars. backstage tour and record your own song in Grab a bite to eat inside the museum at 222 the Ryman studio. The stars of the Grand Ole Eatery, a full-service restaurant serving Southern favorites, or at Bajo Opry take the stage every Tuesday, Friday, and Saturday night (at the Sexto, an authentic Mexican taqueria. Then take some time to explore Ryman Auditorium November-January; at the Grand Ole Opry House the museum’s retail stores offering locally-made gifts, clothing, and a February-October) with guest appearances by the biggest names in comprehensive selection of books and music.
    [Show full text]
  • The Riace Bronzes
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 The Riace bronzes: a comparative study in style and technique Jennifer Alaine Henrichs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henrichs, Jennifer Alaine, "The Riace bronzes: a comparative study in style and technique" (2005). LSU Master's Theses. 2355. https://digitalcommons.lsu.edu/gradschool_theses/2355 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE RIACE BRONZES: A COMPARATIVE STUDY IN STYLE AND TECHNIQUE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Jennifer A. Henrichs B.A., University of West Florida-Pensacola, 2003 May 2005 To Cheryl and Gladys ii ACKNOWLEDGMENTS I would like to express my sincere appreciation to professors Dr. Patricia Lawrence, Dr. Darius Spieth, and H. Parrott Bacot for serving on my thesis committee. Their willing involvement and support has proven essential in both the research and writing of this paper. I am also grateful to my family and friends for their many words of advice and encouragement during the course of my graduate studies.
    [Show full text]
  • Finding the Originals: a Study of the Roman Copies of the Tyrannicides
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group Courtney Ann Rader Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Rader, Courtney Ann, "Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group" (2010). LSU Master's Theses. 3630. https://digitalcommons.lsu.edu/gradschool_theses/3630 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. FINDING THE ORIGINALS: A STUDY OF THE ROMAN COPIES OF THE TYRANNICIDES AND THE AMAZON GROUP A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Courtney Ann Rader B.A., Purdue University, 2008 May 2010 Acknowledgements First and foremost I would like to thank my parents for their love and constant support, and it was with their encouragement that I pursued this field. Thanks to my sister and brother for always listening. A special thanks goes to Dr. David Parrish for fueling my interest in Greek art and architecture. I would like to thank my committee members, Nick Camerlenghi and Steven Ross, for your thorough review and editing of my thesis.
    [Show full text]