Analysis/Data Collection Sheet

AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

CHAPTERS 3 & 4 ANCCIENT EGYPT & AEGEAN ART ANALYSIS PACKET

DIRECTIONS: Use the attached worksheets to record information from assigned reading homework. On the reading due date, turn in each assigned analysis page to Mrs. Lawson for a Reading-check grade. Then, add information from class discussion to the returned pages. Upon completion of chapters, place entire analysis packet (with any other notes stapled to the back) into the turn-in drawer for a completed-packet grade.

GRADING: Points based on: Reading and worksheets done outside of class and before material is discussed in class; Notes demonstrate (show evidence) of appropriate analysis, interpretation of artwork, understanding of visual elements & principles of design, media & techniques, and contextual meaning (relevant historical / social / economic / political).

Architecture Architectural & Relief Sculpture

Sculpture-in-the-Round Painting AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

EGYPTIAN CULTURE & ART

Location: Nile River Valley -Protected by deserts and confined to narrow river valley / centered in Lower Egypt -Less subject to outside influence -Rich fertile soil from river flooding ==> abundant food source ==> Resulting in a long unbroken continuity and stability / art and culture remain constant for thousands of years

CONTEXT: Geographic isolation -- desert location / country difficult to invade / easily defendable Evident in => continuous traditions / homogeneous culture allowed to develop / developed writing (hieroglyphics) Economic security -- agricultural base due to annual inundation of the Nile River Evident in => -prosperity –because of grain, ample food, goods for trading with other countries / trade gave Egypt the ability to create large building projects - a stable and homogeneous society with an aversion to change and/or innovation Geological substructure -- plethora of stone (but no trees) Evident in => megalithic architecture / idea of permanence became central to art, society, and culture Society-- Hierarchical / stratified (**Evidence: from Pyramid Texts inscribed in tombs & ritual papyrus texts) -Ruled by imperialistic monarch (pharaoh) / an incarnation of sky/falcon god Horus-linked to sun god Re, pharaoh is son of Re from 4th Dyn. Onward / later in Old Kingdom, when king dies becomes identified with Osiris, god of the dead / king responsible for maintenance of ma’at (ideal state of the universe & society) in human society -Powerful priests controlled the natural forces & gods / prepared rulers for life in the afterworld -Artists were professionals with high social status / designed tombs, temples & palaces -Individuals, as well as state & religious foundations could own land / individuals owed either taxes or labor (or both) to government / personnel employed received rations – bread, meat, date cakes, vegetables, beer  belief in the collective society Evident in => collective will and order in society / philosophy of working for the collective good / aversion to change or innovation Strong Belief in afterlife ==> all life centered around religious beliefs: -Polytheistic-anthropomorphic gods -Obsession with life after death / Ka (soul) had to be preserved for eternity / death is an extension of life -Believed the pharaoh was linked to the gods of the universe / son of sun god Ra (falcon) / Pharaoh is the son of God and becomes a God at death -Egyptian rulers were worshiped as gods after their deaths ==> Resulting in most art being commissioned by the King (Pharaoh) for the tombs Evident in => elaborate funereal traditions, objects, and tomb architecture

Artistic/Stylistic Characteristics: Purpose Most art made for tombs / linked to strong belief in afterlife Conceptually Naturalistic & optimistic / the more naturalistic= the more chance deceased would be able to use the object forever Human figure Idealized cannon of proportion (systematic method of figure construction)= broad- shouldered, narrow hipped, showing most characteristic parts at right angles to the line of vision / law of frontality- faces rendered in profile with one eye visible from the front, shoulders & torsos shown in front view (female could show only one breast), arms & legs in profile, limb closest to the viewer in trailing position, standing figures always have feet on the ground / great attention to anatomic details / emphasized most obvious view of each part of the body, not an organic appearance = adding separate (naturalistic) parts together into a composite or the sum of the parts / action is only implied / law of hierarchy- size (scale) of the figures according to their social standing AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Predynastic Period 3500-3100 B.C.E. – poorly understood in North (Lower) Egypt / better understood in South (Upper) Egypt / no united central government / began as two independent Egypts / imperialistic ruler-gods, powerful priests, artists professionals with high social status / built towns & monuments of impermanent material (sun-dried bricks) –have not survived / mastabas –tombs for rulers & nobles / craft specialization increases –mass production for a wider market / first hieroglyphic writing / surviving art of the period = ceramic figures, decorated pottery, & reliefs on stone plaques

Early Dynastic (Dyn. I-II) 3100-2663 B.C.E. – Kingdom of two lands- Upper Egypt (dry, rocky, rustic) & Lower (Archaic) Period Egypt (opulent, urban, populous) / King Narmer (Menes) of Upper Egypt conquers Lower Egypt = Start Dynasty I, Egyptian history begins with unification event celebrated in Palette of Narmer

The Old Kingdom (Dyn. III-VI) 2663-2195 –agricultural society, highly stratified, ruled by deified pharaohs / religion-polytheistic=anthropomorphic gods, pharaoh believed to be son of sun god Ra (falcon)

First Intermediate Period (2195-2006 B.C.E.) – Old Kingdom ends with Pepy II (Dyn. VI) / Society becomes less stable, social & political upheavals follow, anarchy, poverty (18 kings & 1 queen in next 20 years) / provincial governors have some power in Upper Egypt / no evidence for Lower Egypt / coincides with flooding cycle of Nile & famine records report drought

Middle Kingdom (Dyn. XI-XII) 2066-1781 B.C.E.- period of instability, invaded by Hyksos, capital shifted from Lower to Upper Egypt / finally, Mentuhitep II reunifies Egypt, / records indicate foreign contact, relations & trade / continue building pyramids- smaller scale = realized size & secrete tomb chamber does not discourage grave robbers / size of sarcophagi increases– become large & heavy / more pessimistic attitude toward life & death / middle class now believed their afterlife depended on their character & morality

Second Intermediate Period (1800-1550 B.C.E.) – invasion & domination of the Hyksos (rulers of foreign lands), capital moves to Avaris / introduced the horse, weaponry & techniques of war / conquered by king Ahmose I

New Kingdom (Dyn. XVIII-XX) 1550-1070 B.C.E. – Ahmose I reunifies Egypt & drives out Hyksos / extended boarders by conquest (Euphrates to the Sudan), & wider foreign contact & trade with Asia & the Aegean islands / booty taken in wars & tribute makes possible establishment of a new capital & metropolis in Thebes- East Bank= temples of Amun at Luxor & Karnak, West Bank= mortuary temples & Tombs (Valley of the Kings) / local God, Amen elevated & merged with sun-god Re / pharaoh supported by powerful priestly class / nobility & middle class have more privileges / optimistic mood returns / period of grandiose temple complexes / 2 temple districts = Karnak & Luxor

Amarna Period – (later Dyn. XVIII) 1352 B.C.E. ***Concept: The Amarna Revolution The artistic revolution of Akhenaten is a major concept in the survey of Egyptian art, and one likely to appear on the AP* exam. Students should be able to explain how art of Dynasty 18 differed from the art that preceded it. Constructing a table of characteristics is a useful way to help students learn and understand the changes.

Amenhotep IV (changed name to Akhenaten (Ak-uhn-AH-tan)= One who Is Effective on Behalf of Aten) – ruled for 17 years / radically transformed the political, spiritual, & cultural life of Egypt / founded a new monotheistic religion honoring a single supreme god – Aten, sun god (symbolized by disk with rays ending in human hands, some hold the ankin= symbol of life) – severed ties with the priesthood, made many enemies / emphasized openness of worship / moved capital from Thebes to Tell el-Amarna (period name Amarna) / stressed the philosophical principle of ma at / After death returned to the old ways, destroyed the buildings to erase his memory

Evidence => Amarna letters (cuneiform tablets written in Akkadian), correspondence from governors of foreign outposts

Late Period (Dynasties XXV-XXX) 1070-333 B.C.E. Ptolemaic Period 333-30 B.C.E. Roman Domination 30 B.C.E. – 480 C.E. Foreign rule of Egypt ended the cultural independence of Egyptian art. AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

AEGEAN CIVILIZATIONS (Cycladic/Minoan/Mycenaean) = c. 3000-1100 BCE Until 1870 thought was a myth=Homer’s Greek Epicsbasis of Greek traditions & beliefs Time=Contemporary with Egypt & Mesopotamia Dominated by geographical location-mainland Greece & offshore Aegean Sea islands / common language Primarily farmers & herders-but influenced by the sea / skillful seafarers Traded with many culturesexchange of ideas Practiced fertility rites & worshiped animals-buried dead in stone tombs Few documents have survived-script has not been adequately deciphered= knowledge is vague

CYCLADIC – c. 3000-1600 BCE – located on the islands of the Cyclades History/Culture: late Neolithic & early Bronze age culture / engaged in agriculture, herding, manufacturing & trade / seafarers / used local stone to build fortified towns & buried dead in stone tombs with sculpture / no written records Art: Sculpture-most figures found in tombs- religious purpose / free-standing, portable / carved gypsum, alabaster & marble, technique- cutting, chiseling, & gouging (unnecessary stone removed, increasing openness of forms) – surface smooth polished with powdered abrasives / most originally painted with red paint / small scale/ closed form-marble female nudes most common- flat, rigid shapes, inactive poses / may represent cult goddess / male figures- open form secular- seated musicians- tubular form, rounded, active poses/ complete human form (no missing parts)- details simplified & streamlined / sizes range from few inches to almost life size / stylisticallysimplified – stylized forms / arms folded on chest / face devoid of features-except nose / partly painted Pottery- hand-built stoneware various decorations / thick-walled jugs & cups / irregular & squat shapes / unpainted-decorated with embossed or stamped linear & geometric patterns

MINOAN ART – c. 3000-14000 BCE – located on Crete (Old & New Palace Periods) History/Culture: name from legend of King Minos (Minotaur) / built several palaces-Knossos / founded theocratic government / economically self-sufficient= agriculture & herding / also wealthy sea power / writing- Linear A & Linear B (translated) practiced fertility rites / worshiped animals (bull & lions) / no fortification of Palaces=peaceful / great power Art: Architecture- Palace most important building type / open plans, organic arrangement of space, hilltop sites, no fortification / emphasis on horizontal elements & comfortable proportions / feature=inverted or tapered column=wood not stone, cushion shaped capital / materials= stone for walls, foundations & roofs, timber for columns, doorjambs & beams, post & lintel construction / plans= irregular, asymmetrical, rooms constructed on various levels around rectangular courtyards & open terraces, over hill side without fortification, open courtyards, terraces, light shafts & windows provided light, open interiors / bright, intense colored surfaces- reds, blues, yellows Palace Culture Emerges / 3rd millennium BCE = most settlements were small & consisted of simple buildings-Old Palace period ended around 1700BCE—probably destroyed by an earthquake /2nd millennium (Middle Minoan period on Crete) contrastbegins construction of palaces to house kings, priestesses, and the retinues / rebuilding began which becomes the golden era of Crete=the New Palace period- rebuilt palaces were large, comfortable and beautiful / staircases, courtyards for pageants ceremonies and games, store rooms, office and shrines / complexes served as the key administrative, commercial and religious centers of Minoan life==also as royal residences Sculpture- Most found in sacred places- purpose assumed to be religious / free-standing, portable, small scale / subjects- Snake Goddess (priestesses), human figures (acrobats & bull jumpers), bulls & bull-heads (Bull-heads used as rhytons – drinking cups) / materials=wood, ivory, precious metals, stone & faience / techniques- modeled, carved, hammered – quality craftsmanship / design- curvilinear & dynamic forms, emphasized expressive movement & joy, details carved or painted on forms / ritual objects- female figurines incorporating serpents = associated with water, regenerative power & protection / stylistically=naturalistic & stylized elements are combined / figures have short torso, narrow waist, long limbs, sensitive facial features / bulls worshiped bull god / metal works – repousse / ceramics with sea motif, “bull” jumping & harvest scenes Painting- Wall painting important in palace decoration- placed on interior & exterior walls / large scale/ material= (true) fresco / purpose= religious & decorative/ subjectslandscapes, ritual events (bull jumping ceremonies), processional, ceremonials, & dancing, landscapes & seascapes, nature (birds, animals & flowers) / bright colors (not always natural), black outlines; color filled in, males red-females-yellow / stylized-natural forms- anatomy fairly accurate-eye in profile / suggest active lifestyle-pose fluid, never stiff, curvilinear, joyous mood / colorful patterns based on sea shells / bright, free, fluid, lively scenes / motifs assumed to be symbolic because of repetition / very skillful -Pottery- subjects= marine life & plant forms / potter’s wheel introduced around 2000 BCE / clay buff or reddish, fined grain, thin walls, (eggshell ware), no glazes-decoration applied with engobe / three styles- all elegant, elongated shapes Kamares ware- c 2000-1600 BCE – decorations abstracted from nature, curvilinear & dynamic, covered entire surface, white-on-black, occasional details of red & yellow Marine Style- c 2000-1600 BCE – decorations naturalistic recognizable sea life, covered entire surface, black- on-white Palace Style- c 1500-1400 BCE – decorations stiffened, formalized subjects from nature, covered entire surface, emphasized lines appearing as black-on-white AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

MYCENAEN – c. 1400-1100 BCE - Mainland Island of Greece History/Culture-Origins of culture are debated by 1500 BCE culture was flourishing in Greece / Schliemann found through Homer’s epic tail / influenced by Minoan culture / differencefortified palace complexes (Contrast sharply with the open Cretan palaces) => reveal their defensive character/ built hilltop fortresses / governed by powerful Kings / aggressive militaristic society / buried dead in stone tombs

Art: Architecture-Fortified citadels- palaces within / features: megaron-audience hall, corbelled arch & vault construction / Mycenae= one of several large citadels- fortification walls / best preserved are the remains of the fortified palaces at Tiryns & Mycenae -both built about 1400 BCE & burned between 1250 & 1200 BCE when overrun by northern invaders / or internal warfare / cyclopean stone walls, palaces built of sun-dried mud-brick, true fresco decoration on walls / corbelled arch, vault & dome of stone used= passageways within citadels (vault), gateways into citadels (arch) / no mortar used in stone construction / Design- Citadels= plan irregular rectangular clusters of buildings with entrance gates framed with corbelled arches; palace plan= rectangular rooms, megaron most important / Megaron used as audience hall or shrine, rectangular enclosed on three sides, two columns framed porch in front, four columns inside held up roof & surrounded circular hearth in center, considered to be source of Greek temple, true fresco wall & floor paintings -Also grave circles, beehive (tholos) tombs / built of stone / tholos-type construction (dome) / tholos tomb most advanced form, corbelled, beehive shaped dome Painting- little has survived, true fresco in a style similar to Minoan / different subject matter= soldiers & armored females, facial details & costumes different / Pottery= shapes & color schemes similar to Minoan works, different subjects = warriors / one art form that did continue throughout the period after the downfall of the Mycenaean places was vase painting Sculpture= very little has survived, monumental figural art is very rare = one or two exceptional pieces found è life-size statuary was rare but did exist / metal smithing & pottery more important than painting / Repousse technique highly developed

VOCABULARY

abstract register ka sarcophagus freestanding temple complex rock-cut tomb faience demotic pylon obelisk pictograph groundline veneer necropolis engaged column colonnade relief sculpture hieroglyph cartouche clerestory pyramidion papyrus canon of proportions serdab ziggurat attached column portico modeling hieratic hypostyle hall peristyle court axial palace complex ware incised dressed stone gold leaf filigree niello citadel relieving arch passage graves chevrons course megaron relative chronology terra cotta sculpture in the round sunken relief corbel cyclopean construction running spirals ashlar shaft grave absolute chronology stylized votive figure rhyton inlay granulation relief post-and-lintel construction beehive tombs façade corbeled vault capstone AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. ARCHITECTURE ANALYSIS WORKSHEET Page 1 (Required) CRITERIA: Stepped Pyramid of Djoser, Great Pyramids, Giza, Rock-cut tomb, Beni Hasan, pgs (Architect if Known) pgs 99-104 pgs 102-108 108-111 Artistic Time Period / OLD KINGDOM- EGYPT / C. 2675- OLD KINGDOM-EGYPT / 2663-2195 BCE MIDDLE KINGDOM-EGYPT c. 1991- Date / Orig. Location 2626 BCE (Dyn. III-VI) 1785 BCE (Dyn. XI-XII) Context: All life& art centered around religious => same => same beliefs / Polytheistic-anthropomorphic First to devote large sums of money and -period of instability, invaded by Cultural Belief System gods-Obsession with life after death / labor to the design, construction, and Hyksos, capital shifted from Lower to (religion) / Historical – Ka (soul) preserved for eternity / death decoration of more extensive Upper Egypt / finally, Mentuhitep II Social-Political- extension of life/ pharaoh linked to the aboveground funerary complexes/ reunifies Egypt, / records indicate Economic Patron- gods of the universe / son of sun god massive effort needed to build funeral foreign contact, relations & trade / Ra (falcon)-/ rulers worshiped as gods complexes / great amount of wealth & continue building pyramids- smaller Architect (relationship) after their deaths/ most art craft work in them / kept the economy scale = realized size & secrete tomb Location –Geographical commissioned by Pharaoh for the strong=high demand for goods and chamber does not discourage grave Relationship to site= tombs services (towns near complex have a robbers / size of sarcophagi increases– geography, climate, etc. Political stability / Djoser ruled c. 2681- temple to local god, often contain statues become large & heavy / more 2662 / complex earliest known of individuals or pharaoh) / a temple is a pessimistic attitude toward life & death / monumental architecture in Egypt/ center of economic & administrative middle class now believed their afterlife agricultural society, highly stratified, activity depended on their character & morality ruled by deified pharaohs Stepped Pyramid – designed by Imohotep (first architect known by name / from a prominent family, highly educated, served as a chief advisor on affairs of state) Medium / Technique: Mud brick / limestone veneer / Stone - Granite & limestone Stone / Rock-cut-tombs replace Materials / Features-series of 6 mastabas piled Most famous three monuments/ built by: mastaba / burial chamber cut into rock on one another, entrance hall, fluted Khufu - oldest and largest-13 acre base, wall at remote sites / technique = Construction / Building columns (first to use), underground height-450’/ Khafre slightly smaller, still carved, columns appear to be bundles Techniques / Process / corridors, burial chamber has some veneer at the top/ Menkaure of reeds, fluted columns (proto-Doric Terms underground smallest of the three style) with block capitals / ceiling painted- appears to be a woven mat pattern-symbolized the heavens / subjects remain the same Function / Purpose: King Zoser (Djoser) Funerary Complex => Tomb of Khnumhotep / plan was similar at Saqqara/ purpose protect tomb (Symbolism=angled side may have been to the Egyptian home Symbolism / =>provide a comfortable home for the meant to represent the rays of the sun) / Iconography Ka of a departed king, so in the afterlife built on the West side of the Nile-marked Patron / Audience it would continue to ensure the well- pharaoh’s entrance to the underworld / being of the Egyptian state pharaoh’s absolute power symbolized by the four sides oriented to the points of the compass Formalism (visual): Temple on north side of pyramid, Giza / large scale / site= west bank of the Rock-cut-tombs replace mastaba = court on south side / tomb walls Nile-symbolized entrance to the burial chamber cut into rock wall at Orientation / Form / Plan underworld / 4 sides oriented to the points remote sites / features: façade= Principles & Elements of decorated with paintings & painted relief sculptures / Large scale / of the compass symbolize the absolute shallow, columned portico; tomb= Design grouped in necropolis power of the ruler / standard elements of a portico or vestibule, non structural Exterior pyramid complex plan: Valley Temple - T- columned hall (decorative, -Decoration Internal serdab & chapel / burial shaped hall, series of entrances, nonfunctional), sacred chamber / tomb -Axis chamber under / closed causeway leading to Pyramid Temple / walls decorated with paintings & relief Pyramid Temple (next to Pyramid north sculptures –subjects remain the same Interior Organization / side)– long, narrowing entrance hall / Tomb= portico or vestibule, non Scale/Size/Proportion great court (on south side), chapels structural columned hall (decorative, Space / Light Pyramid – shafts, corridors leading nonfunctional), sacred chamber / tomb nowhere, corridors to burial chamber, walls decorated with paintings & relief limestone rubble walls cased in granite / sculptures –subjects remain the same / burial chamber were also plundered Expressive Content: Final form= true pyramid with a square Replace mastaba / cut into rock wall / base and four sloping triangular faces / remote sites / shallow, columned Commonalities / standard elements of a pyramid complex portico / decorated chamber Originality of plan -Stylistic Characteristics / Influences -Manner of expression -Dominant forms, motifs, symbols -Artistic training -Key Concepts Other relevant structures and/or criteria

N wall Djoser, engaged columns AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. ARCHITECTURE ANALYSIS WORKSHEET Page 2 (Required) CRITERIA: Pylon of Ramesses II, Funerary Temple Hatshepsut, (Architect if Known) pgs 114-119 pgs 114-119 Artistic Time Period / Date / NEW KINGDOM-EGYPT / c. NEW KINGDOM-EGYPT / c. 2009- Orig. Location 2009-1997 BCE 1997 BCE Context: Local God, Amen elevated & merged Cultural Belief System with sun-god Re Ahmose I reunifies Egypt & drives out (religion) / Historical –Social- Hyksos / extended boarders- conquest / Political-Economic Patron- foreign contact & trade with Asia & the Architect (relationship) Aegean islands / booty taken in wars & tribute makes possible new capital & Location –Geographical metropolis in Thebes- East / pharaoh Relationship to site= supported by powerful priestly class / geography, climate, etc. nobility & middle class have more privileges / optimistic mood returns / period of grandiose temple complexes / 2 temple districts = Karnak & Luxor/ Hatsheput- 1of 3 women rulers- ruled for underage step-son/ had herself declared Queen-reigned for 20 years Medium / Technique: Stone / Hollowed burial chambers deep in cliffs west of the Nile / entrances Materials / remain hidden-temples built distance Construction / Building from tombs / post & lintel / columns =2 Techniques / Process / types: bud & bell shaped Terms Function / Purpose: Temples served 2 functions- provided king with place to worship his patron Symbolism / Iconography god -mortuary chapel after his death / Patron / Audience sacred site = only pharaohs & priest enter (few chosen people could enter hall, majority of people only allowed into open court) / temples line the Nile corridor-may symbolize the Egyptian concept of life

Formalism (visual): Pylon Temple Plan = bilaterally symmetrical - a single axis that runs Orientation / Form / Plan from an approaching avenue through a Principles & Elements of colonnaded court & hall into a dimly Design lighted sanctuary / Corridor axis was not Exterior deviated from for 100’s of years- makes -Decoration the temple not so much a building as a -Axis path enclosed by might masonry / inside is an open colonnaded court Interior Organization / -Oriented toward Karnak- axial / Scale/Size/Proportion elevated causeway- lined with sphinxes, Space / Light 3 colonnaded terraces connected by ramps, filled with lush gardens & pools of water / visually aligned to site (cliffs) / light/dark pattern of vertical columns- well proportioned & rhythmically spaced / integrated with painted relief- sculptures representing Hatshepsut’s birth, coronation, & great deeds / uppermost level-colonnade fronted by colossal royal statues/ hypostyle hall with chapels / Enormous Pylon Temples & rock-cut tombs Expressive Content: Temples features - sloping walls, monumental façade, flanked by 2 large Commonalities / Originality statues & 2 obelisks, sunken reliefs of honoring king & Queen / complex -Stylistic Characteristics / projects=image of authority, union of Influences nature & architecture / largest building -Manner of expression program = temple at Deir el-Bahri, -Dominant forms, motifs, designed by Senmut (chancellor, symbols architect-engineer, possible lover) / in -Artistic training art, represented as male-called His -Key Concepts Majesty/ a hypostyle temple (influenced Romans & Medieval architecture) Other relevant structures and/or criteria AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. ARCHITECTURE ANALYSIS WORKSHEET Page 3 (Required)

CRITERIA: Palace of Knossos, pgs 131-134 Citadel at Mycenae, pgs 142-148 Treasury off Atreus, pgs 143-145 (Architect if Known) Artistic Time Period / Minoan / c. 1700-1400 BCE / Mycenaean / c. 1600-1200 BCE / Mycenaean / c. 1600-1200 BCE / Date / Orig. Location Contemporary with Egypt & Contemporary with Egypt & Contemporary with Egypt & Mesopotamia Mesopotamia Mesopotamia Context: No evidence of temple architecture / few Origins debated- by1500 BCE culture Royal tombs excavated by Schliemann religious shrines survive / women played flourishing in Greece / Schliemann found 1876 Cultural Belief System role in cult – associated with snakes -Homer’s epic tale / influenced by Minoan best preserved è so-called mistakenly (religion) / Historical – Palace Culture- 3rd millennium BCE / difference= fortification- defensive believed to be the repository of the Social-Political- =early small & consisted of simple character/ built hilltop / governed by treasure of Atreus – father of Agamemnon Economic Patron- buildings-Old Palace period ended powerful Kings / aggressive militaristic & Menelaus around 1700BCE—probably destroyed by society / buried dead in stone tombs / Architect (relationship) an earthquake /2nd millennium (Middle complexes burned between 1250 & 1200 Practiced fertility rites & worshiped Location –Geographical Minoan period on Crete) begins BCE when overrun by northern invaders animals / buried dead in stone tombs Relationship to site= construction of palaces to house kings, or internal warfare / Primarily farmers & geography, climate, etc. priestesses, & staff / rebuilding becomes herders-skillful seafarers /Traded with the golden era of Crete=the New Palace many cultures =exchange of ideas / Few period- rebuilt palaces were large, documents have survived-not adequately comfortable and beautiful / staircases, deciphered= knowledge vague courtyards =pageants ceremonies and Mycenae-mainland Greece / Best games, store rooms, office & shrines / preserved are palaces at Tiryns & farmers & herders- influenced by sea Mycenae / written script Medium / Technique: Stone / Ashlar masonry/ bulbous, Stone & masonry / Cyclopean masonry / Stone- corbelled arch, vault, & dome of Materials / cushion-like capitals / shafts taper from a relieving arch/ capped with a huge stone wide top to a narrower base / Destroyed lintel=> a relieving triangle / megaron- Tholos tomb corbeled, beehive shaped Construction / Building & rebuilt several times / Ashlar masonry audience hall dome Techniques / Process / was used at building corners and around Terms door and window openings /drainage =efficient system of terracotta pipes / bathroom & toilets were luxuries at the time Function / Purpose: Home of king Minos /non-fortified Fortified Citadel / complexes served as Tombs –grave circles with shaft graves- Symbolism / rambling structure built against the upper the key administrative, commercial tholos tombs- beneath a mound /Wealthy slopes & across the top of a low hill above and religious centers of life - also as Mycenaens were laid to rest outside the Iconography a fertile plain / around the palace are royal citadel walls in beehive-shaped tombs- Patron / Audience mansions and villas – may be high tholos officials residence? /complexes served as the key administrative, commercial and religious centers of Minoan life, & royal residences Formalism (visual): Labyrinth of the Minotaur- largest palace / Massive fortification walls / long ramp beehive-shaped tombs- tholos / Orientation / Form / Plan double ax= recurring motif / carefully approach- enter between the covered earthen mounds – best planned-courtyard =major organizing walls=attackers were forced to reveal preserved / long passageway approach Principles & Elements of element (rectangular court-with units their unshielded side to defenders / tomb chamber entry through door- Design grouped around it) /Secondary above / series of narrow gates / way with relieving triangle / series of Exterior organization=two long corridors-west side Dominated by geographical location stone corbelled courses laid on a of the court / north-south corridor -Decoration /irregular, asymmetrical plans (planned) circular base-ending in a dome / separates official & ceremonial rooms -Axis Interior most important element = largest known vaulted space without from storage areas / smaller east-west megaron – reception hall of the king / Interior Organization / interior supports in antiquity (until the corridor separates living quarters & main room had a throne against the right Scale/Size/Proportion reception rooms from the workers & wall / a central hearth / bordered by four Roman Pantheon) Space / Light servants quarters / northwest corner of Minoan-style wooden columns serving as the place is a theater-like area with steps supports for the roof /the throne room on two sides that may have served as was preceded by a vestibule with a seats (possible forerunner of Greek columnar façade **(a variation of this theater) / 3 stories around the central plan later formed the core of some early court & on the south & east sides Greek temple plans) Interior staircases built around light & air wells provide illumination & ventilation Expressive Content: Aegean=3 cultures / Inverted or tapered Early architectural innovation corbelled Most advanced form column=wood not stone / irregular, vaults / post & lintel construction / Corbeled, beehive shape Commonalities / asymmetrical plans (planned) /thick walls- relieving triangle / massive fortification Originality of rough unshaped fieldstone imbedded in walls=Cyclopean Masonry / megaron / -Stylistic Characteristics / clay / Ashlar masonry was used at main room had a throne against the right Influences corners & around door and window wall -Manner of expression openings / well drained bathroom & toilets -Dominant forms, motifs, / 3 stories around the central court / staircases built around light and air wells / symbols Painted columns bulbous, cushion-like -Artistic training capitals / Shape-shafts taper from a wide -Key Concepts top to a narrower base / written script Other relevant structures and/or criteria Mycenae Citadel Tiryns

Corbel-vault wall, citadel Tiryns Air & light wells AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______RELIEF SCULPTURE ANALYSIS WORKSHEET Page 4 (Required)

CRITERIA: Palette of Narmer, pages 96-97 Ti Watching A Hippopotamus Sculptors at Work, pgs 97-99 (Artist if Known) Hunt, pgs 106-108 Artistic Time Period / Egypt / late Predynastic, c. 3100- OLD KINGDOM- EGYPT/ c. 2500- OLD KINGDOM- EGYPT/ c. 2500- Date /Orig. Location 3000 BCE / from Hierakonpolis 2400 / from Mastaba tomb of Ti, 2400 / from Saqqara, Dynasty V Saqqara / isolation-desert Context: Land of stability- began as two Land of stability–agricultural society, Cultural Belief System independent Egypts / imperialistic highly stratified, ruled by deified ruler-gods, powerful priests, artists pharaohs / kings of Dynastic 3 & 4 first (religion) / Historical – professionals with high social status / to devote large sums of money & labor Social-Political- craft specialization increases –mass to design, construction, and decoration Economic Patron- production for a wider market / first of funerary complexes/ massive effort needed to build / great amount of wealth hieroglyphic writing Early Dynastic Architect (relationship) & craft work / kept the economy Location – (Dyn. I-II) 3100-2663 B.C.E. – strong=high demand for goods and Kingdom of two lands- Upper Egypt services -towns near complex have a Geographical (dry, rocky, (Archaic) Period rustic) Relationship to site = temple to local god, often contain & Lower Egypt (opulent, urban, statues of individuals or pharaoh geography, climate, etc. populous) / Narmer (Menes) of Upper Egypt conquers Lower = Start Dynasty I, Egyptian history begins with unification event Medium / Technique: Slate 25” Painted limestone relief, approx. 48" Relief carving high Materials / Geometric, linear, & precise Relief carving Construction / Building Forms = flattened frontal surfaces Techniques / Process / Terms

Function / Purpose: Historical document Tomb Decoration (Painting & Relief- Symbolism / Used for grinding malachite to produce Sculpture)—re-creation of life magically face paint for ritual purposes / in pictures to provide the ka with the Iconography establishes kingship as divine most pleasant living quarters for eternity Patron / Audience Narrative / (especially in royal tombs) / Ti Saqqara=official of the 5th Dyn Formalism (visual): Front= 2 images of Hathor - protect the Conceptual rather than optical Principles & Elements city of the dead –between= approach- law of frontality, law of hieroglyphic representation Narmer’s hierarchy, (contrast with naturalistic of Design name/wears crown of Lower Egypt= activities of servants & birds) / Form / Shape– geometric, (red) / back wears crown of Upper movement symbolic- repeated lines & organic / open, closed / Mass Egypt = (white)-Narmer carries a club groves- stems, birds, water / power- / Volume / Texture- smooth, status symbolic – scale, position, stance rough / Color / Value / Space & whip – inspecting decapitated – positive, negative enemies / Back = Narmer wears a Movement / Gesture / ceremonial bull’s tail, sandals off– Balance / Type – free- indicating holy ground & symbol of standing / relief / Orientation / victory-hawk or falcon = symbol of god Stance / Presentation Horus- local god of Upper Egypt (also Proportion / Scale / successful war) papyrus=lower Egypt Relationship to viewer / = symbolize the number of Narmer’s space captives (6,000)-the small rectangle symbolizes a fortified town or citadel Expressive Content: Cannon of proportions, law of Concerns with nature & provisioning for Commonalities / frontality, & law of hierarchy =early the Ka / Symbolic- success in the hunt= example of figure representation used metaphor for triumph over the forces of Originality of- for 1000s of years / Composition / evil / subjects = agriculture & hunting / Figural-anatomical stance => one foot is usually place in wealthy families also had interior walls correctness / facial front of the other on a ground line / and ceilings of their tombs decorated expression or Non-objective with paintings and reliefs / most conventionalized depiction of depth- elements decoration symbolic -Stylistic Characteristics / stacked bodies Naturalistic & optimistic / action was Influences / Manner of only implied / human figures=law of expression / Dominant forms, each row contains a different idea of hierarchy, frontality, & cannon of motifs, symbols separate event/ figures stand on proportion / human figures - Narrative ground line/ law of hierarchy / no conventionalized – animal forms more -Artistic training setting (Sumer) /human figure naturalistic / -Key Concepts represented in Egyptian Style Other relevant structures and/or criteria AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion.

RELIEF SCULPTURE ANALYSIS WORKSHEET Page 5 (Required) CRITERIA: Hypostyle hall, Great Temple, Obelisk, Temple of Amun Mut, Akhenaten & His Family, (Artist if Known) pgs 114-116 pgs 114-116 pgs 119-121 Artistic Time Period / NEW KINGDOM- EGYPT/ c. 2500- NEW KINGDOM- EGYPT/ c. 2500- Amarna – Egypt / c. 1335 BCE / Date /Orig. Location 2400 / Karnak 2400 / Luxor Dyn.18 / from Tell el- Amarna Context: Land of stability- agricultural based (Nile) / prosperity-trade / hierarchical- Cultural Belief System stratified / imperialistic monarch= (religion) / Historical – pharaoh / moved capital from Thebes to Social-Political- Tell el-Amarna /Amenhotep IV (changed Economic Patron- name to Akhenaten– ruled for 17 years / radically transformed the political, Architect (relationship) spiritual, & cultural life of Egypt / After Location –Geographical death returned to the old ways, destroyed Relationship to site = the buildings to erase his memory geography, climate, etc. Monotheistic- Aten-sun god / ties severed with priesthood / emphasis on open worship / made many enemies / stressed philosophical principle of ma’at Medium / Technique: Painted limestone relief Engraved carving – cut into background Materials / (Sunken relief) Construction / Building Techniques / Process / Terms

Function / Purpose: Art of Akhenaten’s radical reign gives importance to the pharaoh’s family life Symbolism / Tomb Decoration / to provide the ka Iconography with the most pleasant living quarters for Patron / Audience eternity Akhenaten & Family Sacrificing to Aton / Aton shown as a disk with a series of radiating lines ending in human hands that give life & offer protection to the royal family / Hieratic scale Formalism (visual): Belief in afterlife-most art made for tombs / Amarna style= curving contours, Principles & Elements undulating lines, change in pose, of Design effeminate body Form / Shape– geometric, organic / open, closed / Mass / Volume / Texture- smooth, rough / Color / Value / Space – positive, negative Movement / Gesture / Balance / Type – free-standing / relief / Orientation / Stance / Presentation Proportion / Scale / Relationship to viewer / space Expressive Content: Amarna style = stresses naturalism - over-life-size statues show the distinctive Commonalities / anatomical traits: high cheekbones, thick Originality of- fleshy lips, prominent jaw, pensive gaze, Figural-anatomical effeminate breasts, emaciated arms, correctness / facial expression heavy hips / some depict Akhenaten or Non-objective elements holding a book in a genre pose typical of -Stylistic Characteristics / his reign / legs are together, chest Influences / Manner of sunken, head forward on a narrow neck, expression / Dominant forms, clothed in almost transparent drapery motifs, symbols defined in a detailed linear pattern - Narrative -Artistic training -Key Concepts Other relevant structures and/or criteria AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. RELIEF SCULPTURE ANALYSIS WORKSHEET Page 6 (Required) CRITERIA: Frying pan, pgs 131-133 Harvester Vase, pgs134-136 Funerary mask, pgs 148-149 (Artist if Known) Artistic Time Period / Cyclades, c. 2500-2200 B.C.E. / Aegean- Minoan /c. 1650-1450 Date /Orig. Location Neolithic & Bronze ages BCE / from Hagia Triada, Crete Context: Economically self-sufficient= agriculture & herding / also wealthy sea power / Cultural Belief System writing- Linear A & Linear B (translated) (religion) / Historical – practiced fertility rites / worshiped Social-Political- animals (bull & lions) / no fortification of Economic Patron- Palaces=peaceful / great power Worshiped animals (bull & lions) Architect (relationship) Location –Geographical Relationship to site = geography, climate, etc. Medium / Technique: Steatite, diameter 4 1/2"/ relief Materials / sculpture in stone / orig. gold leaf Construction / Building Techniques / Process / Terms

Function / Purpose: Ritual object / pouring liquids during sacred ceremonies Symbolism / Egg shaped rhyton / small scale / Iconography Subject=sowing & harvesting / celebrate Patron / Audience good harvest / animals (lions-bulls- snakes) / nature (trees-mountains- flowers) / sea (seahorse-octopus-shells) = motif

Formalism (visual): Composition=upper half (no ground) / Principles & Elements movement (unlike Egyptian)- overlapping (not single file) / 4 ½” of Design diameter Form / Shape– geometric, Individually characterized figures- organic / open, closed / Mass / Volume / Texture- smooth, interest in muscular & skeletal rough / Color / Value / Space structure of human body-tension & – positive, negative relaxation of facial muscles- Movement / Gesture / Balance animation / emotion of human face / Type – free-standing / relief / Orientation / Stance / Presentation Proportion / Scale / Relationship to viewer / space Expressive Content: Figure= short torso, narrow constricted Commonalities / waist, long limbs, & sensitive facial features / human form= stylization, Originality of- simplified & reduced forms / Figural-anatomical naturalism & stylization combined / correctness / facial expression repetition of motif to create pattern or Non-objective elements -Stylistic Characteristics / Influences / Manner of expression / Dominant forms, motifs, symbols - Narrative -Artistic training -Key Concepts Other relevant structures and/or criteria

Vapheio Cups AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. FREE-STANDING SCULPTURE ANALYSIS WORKSHEET Page 7 (Required) CRITERIA: Khafre, pgs 98-106 Great Sphinx, pgs 104-106 Menkaure & His Wife, (Artist if Known) pgs 104-108 Artistic Time Period / OLD KINGDOM- EGYPT/ Dynastic 4, c. Orig. Location 2575-2525 BCE / original location = Date / inside temple Context: Agricultural society, highly stratified, ruled by deified pharaohs / Believed Ka Cultural Belief System or spirit immortal polytheistic / (religion) / Historical – anthropomorphic gods / pharaoh son of Social-Political- sun god Ra (falcon) / devote large sums Economic Patron- of money & labor to design, construction, & decoration of funerary Architect (relationship) art / massive effort needed to build Location –Geographical funeral complexes / kept the economy Relationship to site = strong=high demand for goods & geography, climate, etc. services (towns near complex have temple to local god, often contain statues of individuals or pharaoh) Medium / Technique: Diorite- durable stone / permanence of materials / subtractive method, carving / Materials / carved each side (face) of the sculpture Construction / Building as a relief, carving deeper & deeper Techniques / Process / sculptors ended up with a 3-D figure Terms -retains block-like quality, height 5' 6 1/8" Function / Purpose: Commission stone portraits to perpetuate the kings memory / Ka Symbolism / statue =>provided as a substitute in Iconography stone for the kings perishable body (an Patron / Audience alternative home for the spirit to go if the mummified body deteriorated) Concept of permanence => figure= cannon of proportion, Portrayed enthroned, Horus perches on the back to protect with his wings, lions= symbols of regal authority, lotus & papyrus plants (Upper & Lower Egypt) / wears traditional costume / accompanied by small wooden figures of workers & models of shops to provide for the pharaoh’s needs Formalism (visual): Pose (rigidly upright) =strong sense of dignity & calm =vertical lines of the legs Principles & Elements and arms / Human form: idealized-well of Design developed, flawless, strong body, with Form / Shape– geometric, perfect face/ canon of proportions organic / open, closed / Mass / (idealized) => represents royalty (son of Volume / Texture- smooth, god)/ form= generalized anatomy, rough / Color / Value / Space – compact, solidity => few projecting, positive, negative breakable parts = eternity expressive Movement / Gesture / pose=> serenity-reflects enduring Balance / Type – free-standing power, frontal, rigid-no movement= no / relief / Orientation / Stance / time, bilaterally symmetrical Presentation Proportion / Scale / Relationship to viewer / space Expressive Content: Stylistic- pharaoh portrayed strong muscular body, commanding stance & Commonalities / expression / closed form / frontal / Originality of- ridged / cannon of proportion Figural-anatomical correctness Law of frontality, law of hierarchy / / facial expression or Non- conservative society reflected in the objective elements traditional seated & standing pose, -Stylistic Characteristics / conforming to the rectangular block Influences / Manner of shape of stone expression / Dominant forms, motifs, symbols - Narrative -Artistic training -Key Concepts Other relevant structures and/or criteria

Serwosret III Pepy II & Mother, AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. FREE-STANDING SCULPTURE ANALYSIS WORKSHEET Page 8 (Required) CRITERIA: Seated Scribe, pgs 106-108 Akhenaten, pgs 119-124 Queen Ti, pgs119-121 (Artist if Known) Artistic Time Period / OLD KINGDOM-EGYPT / c. 2500- AMARNA PERIOD-EGYPT / c. 18th Dyn, c 1390-1352 B.C.E. Date /Orig. Location 2400 BCE / Mastaba tomb, Saqqara 1355-1335 BCE / from the Temple of Amen-Re, Karnak Context: Agricultural society, highly stratified, Akhenaten -philosophical principle of ruled by deified pharaohs / massive maat – divine truth -Amenhotep IV Cultural Belief System effort needed to build funeral complexes (changed name to Akhenaten = One (religion) / Historical – / great amount of wealth & craft work / who Is Effective on Behalf of Aten) – Social-Political- kept the economy strong=high demand ruled for 17 years / radically transformed Economic Patron- for goods and services (towns near the political, spiritual, & cultural life of complex have temple to local god, often Egypt / moved capital from Thebes to Architect (relationship) contain statues of individuals or Tell el-Amarna (period name Amarna) / Location –Geographical pharaoh) stressed the philosophical principle of Relationship to site = Believed Ka or spirit was immortal / ma at / After death returned to the old geography, climate, etc. ways, destroyed the buildings to erase his memory / Evidence => Amarna letters (cuneiform tablets written in Akkadian), correspondence from governors of foreign outposts Medium / Technique: Painted limestone / Sculpture in the Large scale - approx. 13' high / round / subtractive / carving Sandstone / Sculpture in the round / Materials / subtractive / carving Construction / Building Small scale- 21”/ composition-intended Techniques / Process`/ to be less formal, sits holding a papyrus Terms scroll, alert and ready to write / physique = flabby, not idealized

Function / Purpose: A conventional depiction of a man of Depict Akhenaten holding a book in a Symbolism / lower class in a respected position genre pose typical / Art of -round head & face, large wide-open Akhenaten’s radical reign gives Iconography eyes, agreeable expression, hair cut importance to the pharaoh’s family Patron / Audience close to the skull life Pillar statue from the Temple of Amen- Re, Karnak Formalism (visual): Ka figure = Less durable materials Founded a new monotheistic religion Principles & Elements (wood, clay) = not for royal, noble honoring a single supreme god – class / accompanying are small figures Aten, sun god (symbolized by disk of Design of workers & models of shops to provide with rays ending in human hands, Form / Shape– geometric, for the pharaoh’s needs some hold the ankin= symbol of life) organic / open, closed / Mass / Volume / Texture- smooth, – severed ties with the priesthood, rough / Color / Value / Space – made many enemies / emphasized positive, negative openness of worship Movement / Gesture / Balance / Type – free-standing / relief / Orientation / Stance / Presentation Proportion / Scale / Relationship to viewer / space Expressive Content: Worker ready to assist the needs of the Amarna style = stresses naturalism - Ka / more naturalistic / less formal over-life-size statues show the Commonalities / Round head & face / large wide-open distinctive anatomical traits: high Originality of- eyes / pleasant expression / close cut cheekbones, thick fleshy lips, prominent Figural-anatomical correctness hair / impermanent materials / non- jaw, pensive gaze, effeminate breasts, / facial expression or Non- idealized form / open form emaciated arms, heavy hips reign / legs objective elements are together, chest sunken, head -Stylistic Characteristics / forward on a narrow neck, clothed in Influences / Manner of almost transparent drapery defined in a expression / Dominant forms, detailed linear pattern motifs, symbols - Narrative -Artistic training -Key Concepts Other relevant structures and/or criteria

Ka Aper Nefertiti AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. FREE-STANDING SCULPTURE ANALYSIS WORKSHEET Page 9 (Required)

CRITERIA: Tutankhamun, pgs 122-123 Harp Player, pgs 129-131 Snake Goddess, pg134 (Artist if Known) Artistic Time Period / NEW KINGDOM – c 1360 B.C.E. Neolithic & early Bronze MINOAN / c. 1600 BCE / Palace of Date /Orig. Location CYCLADIC / c. 2500-2200 BCE / Knossos most figures found in tombs / from Keros Context: Engaged in agriculture, herding, Crete had no temples or monumental manufacturing & trade / seafarers / used statues of gods, kings, etc. /name from Cultural Belief System local stone to build fortified towns & legend of King Minos (Minotaur) / built (religion) / Historical – buried dead in stone tombs with several palaces-Knossos / founded Social-Political- sculpture / no written records / large theocratic government / economically Economic Patron- supply of white marble self-sufficient= agriculture & herding / also wealthy sea power / writing- Linear Architect (relationship) A & Linear B (translated) practiced Location –Geographical fertility rites / worshiped animals (bull & Relationship to site = lions) / no fortification of geography, climate, etc. Palaces=peaceful / great power Medium / Technique: Marble- partly painted / carving Small Small scale / Minoan woman dress / scale-height 8 1/2" / open form secular- example of humans making gods in own Materials / seated musicians / sizes range from few image / combined naturalistic & stylized Construction / Building inches to almost life size / simplified – elements / faience Techniques / Process`/ stylized forms / geometric essentials / Terms equality of negative & positive space Function / Purpose: Grave goods / exact function unknown- Religious subjects / may represent probably religious-supernatural or votive mortal attendants or a deity / may be Symbolism / figures fertility image / ritual object Iconography Priestess-run goddess cults / may be Patron / Audience adapted from Near Eastern or Egyptian institutions Formalism (visual): Symbolic= (lion represent power over nature), water, regenerative power, Principles & Elements protection of the home of Design Form / Shape– geometric, Naturalistic & stylistic elements combine organic / open, closed / Mass / = create liveliness & power Volume / Texture- smooth, rough / Color / Value / Space – positive, negative Movement / Gesture / Balance / Type – free-standing / relief / Orientation / Stance / Presentation Proportion / Scale / Relationship to viewer / space Expressive Content: Musician-harpist – expressive pose Face devoid of features-except nose & Commonalities / features that characterize subject Originality of- Figural-anatomical correctness / facial expression or Non- objective elements -Stylistic Characteristics / Influences / Manner of expression / Dominant forms, motifs, symbols - Narrative -Artistic training -Key Concepts Other relevant structures and/or criteria AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______

Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information. Add information from lecture & discussion. AP ART HISTORY Mrs. Lawson Chapter 3 & 4 – Comparative Name: Due: (BOP)______PAINTING ANALYSISPAINTING WORKSHEETANALYSIS WORKSHEETPage 10 (Required)Page 11 (Required) CRITERIA: Kamares Ware, pg 139 Bull Jumping (Toreador), pgs 139- Landscape (Spring Fresco), ArtistCRITERIA: (If known) Harvest Scene, pgs 109-111 Queen Nefertari142 Making an Judgmentpgs 132-142 before Osiris, ArtisticArtist (If Timeknown) Period / Date / Aegean (Minoan) / c. 2000- Aegean Offering(Late Minoan) to Isis, / C pgs 1500 122-124 - pgs 124-125 th Orig.Artistic Location Time Period / Date / MIDDLE1900 BCE KINGDOM / from Phaistos, – 12 Dyn., c1450 BCE / from New Palace Period NEW KINGDOM-Egypt / c 1285 / Orig. Location 1928-1895Crete B.C.E., Egypt from Book of the Dead / Context: SubjectsWorshiped expressed animals (bullmajor & religiouslions) / Worshiped animals (bull & lions) / Nature- After Amarna Period – capital moved to Cultural Belief System conceptsnature & everyday human existencelittle to known Memphis / restores worship of Amen / Cultural Belief System religionLittle known = Polychromatic Palaces-Knossos / founded theocratic Return to traditional religious beliefs/ (religion) / Historical –Social- Moststyle=white subjects & redoriginated decoration in Early government / economically self-sufficient= change =now believe only person free Political-Economic Patron- Dynasticagainst black Period background & continued (feature agriculture & herding / also wealthy sea from sin could enjoy after-life of Kamares Ware) power / writing- Linear A & Linear B Architect (relationship) Pottery tradition began before (translated) practiced fertility rites / Location –Geographical New Palace Period / used the worshiped animals (bull & lions) / no Relationship to site = newly introduced potters wheel / fortification of Palaces=peaceful / great geography, climate, etc. new types of clay/ named for the power Medium / Technique: Drymountain fresco- where pigment first applied discovered to line- Decorates Palace of Knossos wall / Painted papyrus / scrolls Materials / plastered/large scale wall production / paint dries in palace to dull finishdepicted Minoan life / bull leaping workshops ceremony / (also celebration of nature Construction / Techniques / scenes) Terms MediumNarrative / Technique: Ceramic, height 10 5/8"/ potter’s Lime plaster & paint / wet (true) fresco wall Materials / wheel Rounded contours filled painting with bold-curving forms / Large scale / palace wall / colors=red, Construction / Techniques / decoration fills the space / yellow, black, white, green & blue / outline Terms conforms to shape of the vessel figures & objects / un-shaded areas of color FunctionNarrative / Purpose: Tomb painting – detailed human / bright colors alternating with neutral color Commissioned by non-royal classes / Symbolism / Iconography existence represented on walls, floors,= & shadows contain magical texts-spells to help dead Function / Purpose: ceilingsHolding –liquid to ensure well-being of the survive the test / placed in mummified Patron / Audience pharaohs & nobles in the after-life & wrappings of dead / (created for Hunefer) Symbolism / Iconography glorify gods Last Judgment- Osiris & Anubis (Jackal’s Patron / Audience head) / Hearts= soul / Maat (goodness & Formalism (visual): Decoration derived from plants & Geometric borders / views of nature / truth) = ostrich feather Pictorial Space-Composition / animals scenes of human activity-ritual Delicacy / use of color / Landscapes & ritual events / bright colors / Organization-Principles & energetically stylized-painted stylized –natural forms / patterns based on Elements of Design decoration nature ColorFormalism / Value / Space(visual) –: positive, Multi-perspective for people, poses rigid Conceptual rather than optical approach- Pictorialnegative / Space-Composition/ figure-ground / depth / Linear & detailed work law of frontality, law of hierarchy, color / movement / line – shape / Colors bright & intense (contrast with naturalistic activities of Organization-Principles & Figures outlined in black – filled with color servants & birds) / movement symbolic / Elementsbalance / unity of Design / view point / proportion- size/scale Animals & plants = more naturalism power-status symbolic – scale, position, Color / Value / Space – positive, Hierarchic scaling used to indicate social stance negativeMovement / / /figure-ground Gesture / Balance / depth / rankEnergetically of figures stylized painted Art centers around belief in afterlife most colorExpressive / movement Content / line – shape: / Figures often represented in registers made for tombs / conceptually balance / unity / view point / decoration (sea motif) /decoration Movement-action /conventionalized Commonalities / Originality integrated with the shape of the format=woman fair-skinned, man dark naturalistic & optimistic / idealized- of-proportion- size/scale cannon of proportion-law of frontality / Movement / Gesture / Balance vessel skin / stylized shapes-pinched waist, Figural -anatomical correctness / profile, frontal eye, hair style / elasticity of law of hierarchy Expressivefacial expression Content: Scenes- deceased making religious line suggests living (movement) thing Naturalistic & optimistic / action was CommonalitiesNon-objective – elements / Originality offerings, funeral banquets, boat journeys implied / human figures=law of -Stylistic Characteristics / to Netherworld, deceased introduced to hierarchy, frontality, & cannon of Influencesof- the after-life by gods, genre scenes proportion / human figures -MannerFigural -anatomical of expression correctness / conventionalized – animal forms more -Dominantfacial expression forms, motifs, symbols naturalistic / -NarrativeNon-objective – elements -Artistic-Stylistic training Characteristics / -KeyInfluences Concepts -Manner of expression -DominantOther relevant forms, motifs, structures symbols -Narrativeand/or criteria -Artistic training -Key Concepts Other relevant structures and/or criteria Octopus Jar

Wall Painting

Priestess, detail of wall painting