Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
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 -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
The Restoration of Medieval Stained Glass*
The Restoration of Medieval Stained Glass* Gottfried Frenzel The victim ofits own composition and ofmodem air tiny particles. The particles fall out of each panel: thus pollution, Europe's most radiant art is now threat- the window disintegrates. ln England stained-glass windows are exposed to ened ~'ith destruction. The efforts at preservation heavy smog. Canterbury Cathedral displays the re- depend on knowledge of the glass. sults. The cathedral includes the Trinity chapel and its Light bas long served religion as a :symbol. It has ambulatory , or processional aisle, which incorporates signified creation (" Let there be lighlt" was the first the chapel called the Corona, constructed between 1174 and 1220. ln both chapels some of the stained command of the Creator) as weIl as salvation (John glasshas been attacked. Pits have formed, which have the Evangelist saw the Heavenly Jerusalem illumi- nated as if made " of jasper" and its walls " like clear now perforated the panels, leaving them quite porous, so that acid raiD cao reach the ioDer surface of the glass") The earthly reflections of such visions, glass and eat into the paintwork there. achieved throughout the Middle Ages by means of France is the classic repository of stained glass. A light, were the period' s most brilliant works of art: the single cathedral, the one in Chartres, is decorated with stained glass windows of Romanesque and Gothic more than 2,000 square meters of stained glass from chapels, churches, minsters and cathedrals. For al- the 12th and 13th centuries, the period when the art most a millennium, in the caseof the earliest stained- reachedits peak in France. -
A Symbol of Global Protec- 7 1 5 4 5 10 10 17 5 4 8 4 7 1 1213 6 JAPAN 3 14 1 6 16 CHINA 33 2 6 18 AF Tion for the Heritage of All Humankind
4 T rom the vast plains of the Serengeti to historic cities such T 7 ICELAND as Vienna, Lima and Kyoto; from the prehistoric rock art 1 5 on the Iberian Peninsula to the Statue of Liberty; from the 2 8 Kasbah of Algiers to the Imperial Palace in Beijing — all 5 2 of these places, as varied as they are, have one thing in common. FINLAND O 3 All are World Heritage sites of outstanding cultural or natural 3 T 15 6 SWEDEN 13 4 value to humanity and are worthy of protection for future 1 5 1 1 14 T 24 NORWAY 11 2 20 generations to know and enjoy. 2 RUSSIAN 23 NIO M O UN IM D 1 R I 3 4 T A FEDERATION A L T • P 7 • W L 1 O 17 A 2 I 5 ESTONIA 6 R D L D N 7 O 7 H E M R 4 I E 3 T IN AG O 18 E • IM 8 PATR Key LATVIA 6 United Nations World 1 Cultural property The designations employed and the presentation 1 T Educational, Scientific and Heritage of material on this map do not imply the expres- 12 Cultural Organization Convention 1 Natural property 28 T sion of any opinion whatsoever on the part of 14 10 1 1 22 DENMARK 9 LITHUANIA Mixed property (cultural and natural) 7 3 N UNESCO and National Geographic Society con- G 1 A UNITED 2 2 Transnational property cerning the legal status of any country, territory, 2 6 5 1 30 X BELARUS 1 city or area or of its authorities, or concerning 1 Property currently inscribed on the KINGDOM 4 1 the delimitation of its frontiers or boundaries. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello 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 Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 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]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE 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 Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
A Story of Five Amazons Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. -
Free Standing Sculpture from 600-325 BC
FREESTANDING SCULPTURE Read Woodford, chapters 4,6,10,12 and refer to the note on terminology, p.xi. A Archaic period c.625-500 . Techniques: these were stone carving and bronze casting. I.Stone carving: Read Woodford, pages 38-42 a.How long approximately would it take to carve a lifesize figure from marble? b .Describe the process of carving from stone. If possible experiment yourself with a piece of plasticine or clay, to make an archaic statue of a youth in the way the Greeks made them. Make absolutely sure you understand this technique. c.What tools would a sculptor use? d. When did the Greeks start carving figures from stone? e.Describe the typical features of the earliest youths:- similarities with Egyptian statues,and differences. Function: read pages43-44. I.Male statues a. What are male statues called? Note both singular and plural forms. b.What were the three main functions? 2. Female statues a. What were the functions of female statues? b.What are the Greeknames for singularand plural? Style: read generallythroughout the relevantchapters. a.Kleobis and Biton: listen to the story of the two brothers and make notes on it. Make notes on the style of the statues. b. The growth of naturalism. Study the pictures of the Anavyssos kouros, together with the earlier kouroi (figs. 54 and 55, with 52, 56, and 45). Read the text (pages 45- 46), and note the differences which have to do with the growth of naturalism. c. What was the double challenge offered to sculptors by the draped female form? d. -
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 -
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. -
Heartland of German History
Travel DesTinaTion saxony-anhalT HEARTLAND OF GERMAN HISTORY The sky paThs MAGICAL MOMENTS OF THE MILLENNIA UNESCo WORLD HERITAGE AS FAR AS THE EYE CAN SEE www.saxony-anhalt-tourism.eu 6 good reasons to visit Saxony-Anhalt! for fans of Romanesque art and Romance for treasure hunters naumburg Cathedral The nebra sky Disk for lateral thinkers for strollers luther sites in lutherstadt Wittenberg Garden kingdom Dessau-Wörlitz for knights of the pedal for lovers of fresh air elbe Cycle route Bode Gorge in the harz mountains The Luisium park in www.saxony-anhalt-tourism.eu the Garden Kingdom Dessau-Wörlitz Heartland of German History 1 contents Saxony-Anhalt concise 6 Fascination Middle Ages: “Romanesque Road” The Nabra Original venues of medieval life Sky Disk 31 A romantic journey with the Harz 7 Pomp and Myth narrow-gauge railway is a must for everyone. Showpieces of the Romanesque Road 10 “Mona Lisa” of Saxony-Anhalt walks “Sky Path” INForMaTive Saxony-Anhalt’s contribution to the history of innovation of mankind holiday destination saxony- anhalt. Find out what’s on 14 Treasures of garden art offer here. On the way to paradise - Garden Dreams Saxony-Anhalt Of course, these aren’t the only interesting towns and destinations in Saxony-Anhalt! It’s worth taking a look 18 Baroque music is Central German at www.saxony-anhalt-tourism.eu. 8 800 years of music history is worth lending an ear to We would be happy to help you with any questions or requests regarding Until the discovery of planning your trip. Just call, fax or the Nebra Sky Disk in 22 On the road in the land of Luther send an e-mail and we will be ready to the south of Saxony- provide any assistance you need. -
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.