Wall Painting with Horses, Rhinoceroses, and Aurochs. 

Chauvet Cave, France, 30,000-28,000 BCE.  Paint on Limestone. 

Woman from Willendorf. 

Willendorf, Austria, c. 24,000 BCE.  Limestone

• Fertility
• Form of communication when hunters met; showed if friendly or not, if they had similarities in body for mating
• Made from red auchos (?)

Stonehenge

Salisbury Plain, Wiltshire, England, c. 2750-1500 BCE. 

• Contruction evoloved over time 
• Has 8 distinct phases of construction
• Started as cemetery surrounded blue stones
• Closely connected with Durrington Walls which represented life

Uruk Vase.

Warka, Iraq, c. 3300-3000 BCE.  Alabaster

• Visual Narrative
• Divided into three registers (horizontal bands)
• Lower register- natural world- water and plants
• Strip Above- alternating rams and ewes march single file
• Middle Register- naked men carry baskets of foodstuffs
• Top Register- goddess Inanna acceps offerings
• Could represent marriage ritual between goddess and priest-king to ensure fertility of crops, animals- survival of Uruk

Nanna Ziggurat

 Ur, Iraq, c. 2100-2050 BCE.  Baked brick

• built by King Urnammu and dedicated to the mood god Nanna- temple or shrine
• Three staricases converge at the entrance of the gate at the top platform- imposing
• Built in such way to prevent rainwater from forming puddles and eroding the pavement

Great Lyre with Bull’s Head, Front Panel from the sound box

  Ur, Iraq, c. 3550-2400 BCE.  Wood with shell inlaid with bitumen. 

• Scene recalls Epic of Gilgamesh- allusion to heroic feats and fabulous creatures
• Jounrey of discovery
• Animals behave like humans- either stand up or sitting down and partaking in ceremony/ritual

Stele of Naram-Sin

  Susa, Iraq, c. 2220-2184 BCE.  Limestone. 

• commemorates military victory of Sargon's grandom and succesor Naram-Sin
• Solar deities symbolized by radiating sun 
• Tapering top accomodates and emphasizes the carved mountain depeicted within it and Naram-Sin is posed to refelct the profile of both

Assurnasirpal II Killing Lions

 Palace Complex of Assurnasirpal II, Nimrud, Iraq, 850 BCE.  Alabaster

• Assurnasirpal II stands in chariot pulled by horses and draws arrow to attack lions
  
• Immediacy of image marks shift in Mesoporamian art, away from timeless solemnity and toward engaging sense of visual varrative
• Draws viewer into drama and emotionalism of the event

Ishtar Gate

Babylon, Iraq, c. 575 BCE.  Glazed Brick. 

• Main entrance to city of Babylon ruled by Nebuchadnezzar II
• Very colorful and required careful planning and great technical skill
• Each brick was slightly larger than originally planned to compensate for shrinking during due to firing
• Symbolized power

Narmer Palette

Hierakonpolis, Egypt, c. 2950-2775 BCE.  Green schist (stone)

• Found in the temple of Horus at Hierakonpolis (Upper Egypt)
• Announces unification of Upper and Lower Egypt
• Used to grind eye makeup during ceremonies
• Named after Nnarmer- ruler of Egypt who united upper and lower Egypt. Whose name seen above his head on palette
• Powerful image of conquest
• Narmer seen as protector and leader- smites enemy
• Evidence from crown of upper Egypt on the front of palette but crown of lower Egypt on the back of the palette
• Narmer expressed in a more abstract form than naturalistic rendering of enemy
• Comparison between Narmer Palette and Victory Steele of Naramsin (2230 BCE)
  Naramsin is a more naturalistic representation than Narmer
  Narmer is more flat and more elemental- little muscle definition

Great Pyramids. 

Giza, Egypt, c. 2575-2450 BCE.  Granite and Limestone. 

• When kings dies, body is ferried across the Nile from the royal palace to his valley temple
  
• complex for the body of kings- Khufu, Khafre, and Menkaure

Khafre. 

Giza, Egypt, c. 2520-2494 BCE.  Anorthosite gneiss (stone). 

• height 5’6”
• Expressed special relationship with king and the gods; sense of divinity and immortality; at peak of perfection with althletic build and wears clothing and beard of pharoh 
• Gazes into eternity
• Protected by falcon god, Horus which perches behind him 

Reconstruction of the Great Temple of Amun.

  Karnak, Egypt, c. 1579-1075 BCE.  

• near Thebes
• Sancuary containing god's statue
• ONLY kings and priests may eneter
• Hypostyle halls is most dominating feature of complex
• used for cornontation ceremonies
• Pylons are monumental in size and serve as gateways; separates the outside and inside Hypostyle hall- post and lentil construction 
• Clerestory- series of window at the top of the structure that lets a lot of light in 

Hatshepsut Enthroned.

Deir el-Bahri, c. 1473-1458 BCE.  Stone

• Best known of female rulers in Egypt
• Wear ceremonial attire of male pharoh; despite masciumline wear there are still feminine highlights

Reconstruction of Palace Complex

  Knossos, Crete, 2000-1375 BCE. 

• New Palace Period
• Very little known about political organization
• Post and lentil structure- columns made of wood with stone horizontal piece at the top
• maximized movement of light and air- kept it cool
• Courtyards were central and most prominent feature of palace
• workshops former commercial centers for food trade

Young Girl Gathering Saffron Crocus Flowers. 

Akrotiri, Thera, ca. 1630 BCE.  Fresco. 

• Prefrence for profile or full-faces views, and a love for stylization that turns natural forms into decorative patters- captures human body in motion
• Safrron used as yellow dye, flavoring for food, or medicinal her to alleviate cramps
• Large earrings, open-breasted bodice, flounced skirt suggesets she's entering adolesence 

Reconstruction of Citadel. 

Mycenae, occupied 1600-1200 BCE

• VERY different from Minoan- princely burials, ceremonial, war-like art and architecture 
• Home of Agamemnon during Trojan War
  made of massive stones

Dying Warrior. 

Pediment of Temple of Aphaia, Aegina, c. 490 BCE.  Marble

• Created a design standard for many greek temples
• Theme of Trojan War
• Athena at center of composition with warriors on either side of her. She dominates
• Twisted and moved soldiers on the side of her so as not to sacrifice the size. They’re all life like but the dominance of Athena is not compromised
• Far left man dying but still fighting to the very end of his life- noble figure struggle sto raise himself

Metropolitan Kouros

 Attica, 600 BCE.  Marble. 

• True sculpture in the round developed- represents human body in space
• Fertility and family regeneration embodied in the form of an athletic male figure
• Similar to Egyptian statues in its stiffness; lack of movement compared to twisted bodies seen at temples of men fighting
• Difference from Egyption statue
1. Fully nude which removes him from specific place, time, soical class- does not represent a specific person
2. Arms and legs are freed from the block of stone to make the figure more free and energetic
• Abstracted form but a hints of naturalism seen
• Archaic smile- closed lip smile

Ajax and Achilles Playing a Game

 Painted by Exekias, 540 BCE.  Ceramic. [

Spear Bearer (Doryphoros)

Argos, Sculpted by Polykleitos, 450-440 BCE.  Marble. 

• example of the development of certain rules for the ideal human figure
• certain ratios were determined as guidelines- like how long the index finger, height from chin to hair line, etc
• Symmetry was also very important- relationship of body parts to one another
• Spear Bearer is athletic, perfectly balanced, whole wight is supported bt left foot
• Dynamically balanced pose

Acropolis,

Athens, 44-432

• Built during the High Classical period- the pinnacle f artistic refinement 
• City's ceremonial venter- epressed values and civic pride

Nike (Victory) Adjusting her Sandal

Temple of Athena Nike, Acropolis, Athens, 410 BCE.

• Found at entrance of Acropolis
•  The figure bends forward grace- fully, allowing her ample robe to slip off one shoulder. Her large overlapping wings effectively balance her unstable pose. Unlike the decorative swirls of heavy fabric covering the Parthenon goddesses or the weighty, pleated robes of the Erechtheion caryatids, the textile covering this Nike appears delicate and light, clinging to her body like wet silk. It is one of the most discreetly erotic images in ancient art. 

Alexander the Great Confronts Darius III at the Battle of Issos. 

Pompeii, Italy, 1^st century CE Roman copy of a Greek wall painting of 310 BCE.  Floor mosaic. 

• Depicts historical even- violent action; very moment Darius III resigns
• Alexander depicted with strong jaw, starring eyes, glowing mane of hair, large nose- similar to portrait by Lysippos
  Darius, the defeated,  is depicted at the center of the piece rather than Alexander
• Noble and heroic defeater warrior theme- enemies depicted as powerful so that if you defeated the enemy, you were more powerful than they were  
• Lined- spears and Darius’ arm is lifted up as a cry for mercy 
• Clothing emphasizes the way Greeks see them- historically accurate; necklaces depicts view that Darius is barbaric 

Dying Gallic Trumpeter

220 BC.  Temple of Aphaia at Aegina Marble. 

• Refers to battle at Pergemon over Galls
• Image meant to arouse pity and admiration for the defeated so you admire the triumphant even more
• Heavily idealized- panting heavily, breathing last breath
• Expressionism utilized- Hellinistic art form that tries to illicit a specific emotion from the viewer
• Compared to Dying Warrior at temple of Athena
• Wears torc- he's a Barbarian
• Both have clearly defined features and take on death nobily 

Nike of Samothrace,

180 BCE.  Marble

• Nymph of victory- massive; 8 ft tall
  Commemorates naval victory and interacts with natural setting for where it’s placed
• Powerful forward momentum- victories and claims space 
• Movement of drapery emphasized forward momentum
• Contrast between light and dark

Sarcophagus from Cerveteri

  c. 520 BCE.  Terra Cotta.  Rome

• Etruscan sarcophagi (large carved tomb chests) also reflected domestic life.

•  The sculpted terracotta figures of a husband and wife who recline comfortably on the lid of a sarcophagus made to look like a couch do not constitute a cold, somber memorial to the dead.

•  Two happy individuals with alert eyes and warm smiles greet us with lively gestures. The man once raised a drinking vessel, addressing the viewer with the lively and engaging gesture of a genial host, perhaps offering an invitation to dine with them for eternity or join them in the sort of convivial festivities recorded on the walls of Etruscan tombs. 

Pont du Garde. 

Nîmes, France, late 1^st century BCE. 

• Roman archituecture and technology
• A conduit used to convey water, which bridges chasms on a structure of superimposed arches.
• Depends on simple architecture structure with arches
  Transform and elevates the water channel

Augustus of Primaporta. 

Early 1^st century CE.  Marble. 

• Idealized ruler in propagandost portait
  Similar orator gesture but different from Roman realistic technique and more similar to Greek style- looks heroic and god-like
• Combine roman and greek style
• Uniform symbolic of lineage but still has drapery
• At left foot is cupid figure associated with Diana- goddess of love who rides of dolphin which is associated with goddess of sea- Aphrodite
• Heroic but also learned and scholarly

Ara Pacis Augustae

 Rome, 13-9 BCE.  Marble. 

• "Alter of Augustine”- commemorates Augustus return to Rome after he captures France and Belgium
• Allegory and realistic portrait seen
• North-imperial procession of Senators- Panathenic Frieze Parthenon Athens- Romans glorified Ancient Greeks and they try to mimic them 
• South- interaction between Augustus and family
• East- allegoric image peace and compliments allegory of war on West side
• Personification of Roma and Pax- goddess of peace and rome as well as mother earth qualities; similar to she wolf with Rumus and Reamus
• Sea monster comes out of sea and represents
• Roman dominion over land and sea 

Young Woman Writing

  Detail of wall painting from Pompeii, before 79 CE

• Idealized but also image of woman is young, beautiful, and blessing in life
• Hold wooden box and used as writing implement and also wooden pencil- expresses educated learned woman- status of elite woman
• Golden hair net, earrings, and rings also expressed elite 

Arch of Titus.

Rome, c. 81 CE. 

• Commemorates the capture of Jerusalem
• Made entirely of concrete- both architecure and scupltor
• Had statue of chariot on top
• Honors Titus- ruler of Flavions
• Procession of men walking toward arch after a victorious campture of the Second Temple in Jerusalem. 
• Columns are from Composite order
• Menora is most prominent item seen on a releif sculpture on the side of the walls- spatial relationship understood. More visible in the higher parts of arch

Flavian Amphitheter (Colosseum)

  Rome, 70-80 CE

• elaboartely decoarted structure that functions as a sports stadium which helps spectators understand the love that Romans had for their sports
• Architeucre serves a funtion
• Each seat builds on top of each other allowing a good view for all 50,000 potential spectators 
• Walls on top of strcutre serve as awning and those skilled enough would manipulate the ropes
• Blend between decoration and funtion 

Column of Trajan. 

Rome, 113-117.  Marble

• Equated to unfurled scrolls from a library with pictatorial narrative that spirals up 
• Bottom of column is Trajan army crossing the Danube River
• Form of propagand- Trajan is perceived at strong, efficient, and stable

Pantheon.

Rome, c. 118-128 CE. 

• temple to the Olympian gods
• Coffers in the dome's ceiling are what specatators are drawn to and there's a juxtaposition between square and circle. At the very top is an opening that allows you to commune with the cosmos 

Equestrian Statue of Marcus Aurelius

 Rome, c. 176 CE

• Imperial portaits were objects of propaganda.
• Marcus Aurelius was like Hadrian, a successsful military commander who was also a great intellectual. 
• His statute was mistaken and revered during the Middle Ages as a statue of Constantine- 1st Christian emperor
• He has no armor and no weapon, similar to Egyptian kings, yet he conquers effortlessly by divine will
• Similar reaching out of arm in a gesture to address others 

The Tetrarchs

 Originally from Constantinople, c. 300 CE.  Porphyry (purple stone).

• Example of new, hard style of geometric abstraction
• Parallels style of ruling- propaganda
• Four figures, almost identical except for Augustus who is bearded and three cleanly shaven Ceasars 
• Dressed in military garb, hold on to swords and embrace each other in a show of alliance and unity- show strength

Arch of Constantine

 Rome, 312-15 CE

• Commemorates Constantine's victory over Maentius
• Reused items transfer old Roman virutes of strenght, courage, and piety are transferred to Constantine
•