art history

REFERENCE TO ANOTHER PERSON AN IDEAL MADE FOR SON WHO DIED IN WAR GRAVE MARKER ARCHAIC PERIOD TO GODDESS ATHENA ARTEMIS OR ATHENA PAINTED, COLORS FADED FAINT MOVEMENT ARCHAIC SMILE REPRESENTS TRANSCENDENCE GEOMETRIC DESIGNS ON DRESS

Niobides Krater. Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460–450 B.C.E. Clay, red- gure technique (white highlights). 5TH CENTURY USED TO MIX WINE AND WATER (CALYX) MORTAL NIOBE HAD 14 CHILDREN STIFFNESS OF EARLY CLASSICAL RED FIGURE PAINTING FOLDS OF DRAPERY PERFECT PROFILE FIGURES OCCUPY DIFFERENT LEVELS, ILLUSION OF SPACE FIRST ARTIST TO PAINT FIGURES IN DEPTH SOLDIERS ASKING HERAKLES FOR PROTECTION, BATTLE AGAINST PERSIANS GREEK WALL PAINTING DOESNT NOT SURVIVE

Archaic period Kouros (the singular form) is a term used to describe a type of statue of a male figure produced in marble during the Archaic period of Greek art. The kouros was not intended as a realistic portrait of the deceased, but an idealized representation of values and virtues to which the dead laid claim: youthful beauty, athleticism and aristocratic bearing, among others. They all have a conventional pose, where the head and body can be divided equally by a central line, and the legs are parted with the weight placed equally front and back. The male figures, usually in the form of naked young men, acted both as grave markers and as votive offerings The female figures served similar functions, but differed from their male counterparts in that they were elaborately draped. Classical period By around 500 B.C.E.  "rule by the people," or democracy, had emerged in the city of Athens. Following the defeat of a Persian invasion in 480-479 B.C.E., mainland Greece and ...

Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead). New Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted papyrus scroll. FRAGMENT OF PAPYRUS SCROLL PAPERLIKE SUBSTANCE  MOST IMP SURFACE FOR WRITING BOOK OF THE DEAD ANCIENT TEXT  SPELLS, PRAYERS, INCANTATIONS SETS OF INSTRUCTIONS FOR AFTERLIFE  CAME TO BE USED BY PEOPLE OF HIGH RANK  TOMB OF HU NEFER, A SCRIBE PRIESTLY STATUS LITERATE, HIGH STATUS IN EGYPTIAN SCULPTURE SCENE OF JUDGMENT  AFTERLIFE?  DISTINGUISHED BY WHITE ROBE  GUIDED BY ANUBIS, ASSOCIATED W/ MUMMIFICATION, DEATH ANKH - SYMBOL OF ETERNAL LIFE ANUBIS ADJUSTING A SCALE, BALANCE MA'AT DIVINE ORDER, ETHICAL LIFE PASS TEST, ACCESS TO AFTERLIFE THOTH RECORDING PROCEEDINGS  HUNEFER INTRODUCED TO OSIRIS BY HIS SON, HORUS HORUS FALCON ENTHRONED, SYMBOLS OF EGYPT, LOTUS BLOSSOM SYMBOL OF ETERNAL LIFE HORUS'S CHILDREN, FOUR, CARDINAL POINTS; THEY KEEP DEAD PRESERVED HORUS REPRESENTED AS AN EYE ...

Tutankhamun’s tomb, innermost coffin. New Kingdom, 18th Dynasty. c. 1323 B.C.E. Gold with inlay of enamel and semiprecious stones. Tutankhamun was only the age of nine when he became king of Egypt during the 18th dynasty of the New Kingdom (c. 1332–1323 B.C.E.) His nearly intact tomb held a wealth of objects that give us unique insights into this period of ancient Egyptian history. Tutankhamun ruled after the Amarna age, when the pharaoh Akhenaten, Tutankhamun’s probable father, turned the religious attention of the kingdom to the worship of the god Aten, the sun disc.  Tutankhamen shifted the focus of the country’s worship back to the god Amun and returned the religious center back to Thebes.  Akhenaten moved his capital city to the site of Akhetaten (also known as Amarna), in Middle Egypt The outer two coffins were crafted in wood and covered in gold along with many semiprecious stones, such as lapis lazuli and turquoise. The inner coffin, however, was made of solid...

Akhenaton, Nefertiti, and three daughters. New Kingdom (Amarna), 18th Dynasty. c. 1353–1335 B.C.E. Limestone. OLD KINGDOM, MIDDLE KINGDOM, NEW KINGDOM - ALL CONSISTENT RADICAL CHANGE AKHENATON CHANGES STATE RELIGION PREVIOUSLY WORSHIPPED AMUN, NOW ATEN  HIS WIFE AND HIM, ONLY ONES WITH ACCESS TO NEW GOD EGYPT RETURNS TO ITS ORIGINAL RELIGION AFTER AKHENATON DIES  VERY BRIEF PERIOD IN EGYPTIAN HISTORY SHIFT IN STYLE SUNKEN RELIEF CARVING PLACED IN PRIVATE DOMESTIC ENVIRONMENT ALTAR IN SOMEONES HOME SENSE OF DOMESTICITY HOLDING DAUGHTER TENDERLY  SWOLLEN BELLY, THIN ARMS, ELONGATED SKULLS CURVILINEAR FORMS RATHER THAN RECTILINEAR FORMS COMPOSITE VIEW OF BODY PROFILE FACE, FRONTAL EYE ATTENTION TO DRAPERY SOFTNESS SHOULDERS SQUARED ATEN RENDERED AS A SUN DISK MONOTHEISTIC RELIGION RAYS OF LIGHT 

Mortuary temple of Hatshepsut. Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473–1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite. MIDDLE KINGDOM AND NEW KINGDOM  GRANITE SCULPTURE HATSHEPSUT FEMALE PHARAOH  DIVINE BIRTH, ORACLE PREDICTED SHE WOULD BECOME KING COMMISSIONED TEMPLES, SCULPTURES POWER OF ART TO CONVEY ROYAL AUTHORITY SCULPTURE MADE FOR TEMPLE, 10+ OF THESE SPHINX  AGAINST VAST CLIFF FACE  TOWERING CLIFF REGULAR ORDER AND STRUCTURE OF BUILT ENVIRONMENT PERMANENCE, STABILITY TRYING TO ASSERT STABILITY THROUGH ARCHITECTURE  ADOPTS PAST FORMS TO SHOW HERSELF AS KING SYMMETRY, STONE, SENSE OF TIMELESSNESS HEAD CLOTH SYMBOL OF KING, BEARD  VISUAL LANGUAGE OF KINGSHIP  MASCULINE  BROAD SHOULDERS FEMININITY DEEMPHASIZED  BREASTS REDUCED  CO-RULER DESTROYED MANY HATSHEPSUT RELATED PIECES OFFERING TO GOD SEEN IN A NEGATIVE LIGHT  ENORMOUS POWER, INFLUENCE; SCULPTURE, ARC...