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| the organization or arrangement of form in a work of art. |
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| the study of the significance and interpretation of the subject matter of art. |
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| the common traits detectable in works of art and architecture from a particular historical era. |
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| the stylistic traits that persist in a geographic region. |
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| the place of origin/history of ownership |
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| the materials used in a specific artistic technique |
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| the period of time before the written language or recorded history. |
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| the earlier part of the Stone Age, early chipped stones. |
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| the reduction of shapes and appearances to basic yet recognizable forms not intended to replicate nature. |
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| recognized by an organized system of agriculture, the maintenance of herds of domestic animals and permanent settlement. |
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| post and lintel construction |
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| two upright posts support a horizontal element |
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a circle of posts or stones, often surrounded by a ditch built up embankments.
i.e. stonehenge |
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"land between the rivers"
Modern day Iran between the Tigris and the Euphrates.
-The fertile crescent- flooding, drought, wood was scarce, little stone. |
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-located in southern mesopotamia
- language: cuneiform
- imported materials and used what they had: mud bricks |
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"wedge-shaped"
- language of the sumerians.
- soft clay tablet used to incise text in clay with stylus.
- recorded transactions. |
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- very unique
- would tower above everything else (possibly because of flooding)
- many had temples built on top
- made of mud brick |
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horizontal bands of division in a piece of art.
- ground line that divides up sections |
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| commissioned figures placed in temples in order to gain favor from the gods. |
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- public monument or grave markers
- carved in low relief
- often used as public propoganda |
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| - a commonly used technique used in order to emphasize importance through the use of size and height in the piece of work. |
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- a very hard stone not native to the Near East but from S. Africa.
- "Votive Statue of Gudea" |
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- covering for mud brick walls
- made them more rich looking and hit the cheap materials beneath them. |
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- "Ishtar Gate and Throne room wall"
- Pieces of colored glass are fused to clay bricks in order to make them more beautiful. |
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- little projections at the top of gates and walls
- used so that archers could peek out between them, shoot and then hide again.
- used purely for decoration purposes at the Ishtar gate. |
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| n the late 24th century B.C. under Sargon I, Akkadians united the whole of Mesopotamia. Little Akkadian art remains.Significant Akkadian innovations were those of the seal cutters. The Akkadian cities are Sippar, Assur, Eshnuna, Tell Brak, and Akkad. |
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| The land was once more united by Semitic rulers (about 2000-1600 B.C.). The most important ruler was Hammurabi of Babylon. The most original art of the Babylonian period came from Mari. |
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(From 1700 B.C. to 100 B.C.)
It shows different from established Babylonian stylistic traditions both in religious subjects and secular themes. They built ziggurats for temples. The technique of polychromed glazing of bricks was used. The Neo-Assyrian period, 1000-612 B.C. is a time of great builders. Kings adorned palaces with magnificent reliefs. Gypsum alabaster, was more easily carved than the hard stones used by the Sumerians and Akkadians. Royal chronicles in battle and in the hunt were recounted in horizontal bands with cuneiform texts. At times mythological figures are portrayed. Sculptors were at their best in depicting hunting scenes. The art of the late Assyrian seal cutter is a combination of realism and mythology. |
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| an Egyptian Pharaoh who ruled in the 31st century BC. Thought to be the successor to the predynastic Scorpion and/or Ka, he is considered by some to be the founder of the First dynasty, and therefore the first king of all Egypt. |
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| A stone with a circular basin used in ancient Egyptian culture to hold eye makeup. Both men and women used this-- it was thought to protect their eyes from the harsh sun. |
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| - a portrayal with the most important parts of the figure emphasized |
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was an Egyptian polymath,[1] who served under the Third Dynasty king, Djoser, as chancellor to the pharaoh and high priest of the sun god Ra at Heliopolis. He is considered to be the first architect and physician known by name in history.
- asked by Djoser to built his tomb- the step pyramid |
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- intended to provide a burial place for the dead.
- earliest form of monumental burial.
- wealth of durable building materials. |
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- city of the dead.
- in egypt, on the west side of the nile river.
- egyptians divided their society into the kingdom of the living and the kingdom of the dead. |
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- it establishes a system of regularity
- emphasis on forward movement |
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A term for the grand, outermost halls of an Egyptian's house. They are believed to represent a grove of trees. It comes from the Greek word meaning "bearing pillars."
i.e. the Great Temple at Karnak |
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In architecture, a plan in which the parts of a building are organized longitudinally, or along a given axis.
i.e. Funerary Temple of Hatshepsut |
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- a period characterized through the accentuation of feminine characteristics
- changes the style of art- "brutally naturalistic."
- began during the reign of Akhenaten (Amenhotem IV) |
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reallllly reallllly big.
i.e. 60 + feet tall.
These kind of statues were prominent at the temple of Ramses II |
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- three period, cycladic, MINOAN and nycenean.
- Agean Sea
- Crete- minoian society predominantly dominated on this island. |
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| stone that is precisely cut and smoothly finished |
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First period studied for Ancient Greece in this class. Characterized by abstract, geometric designs.
ca. 900 to 700 B.C |
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c. 600- 480 BCE
(Persians sacked Athens in 480)
- a lot of experimentation going on
- Archaic implies "old" which is not a very good description of this period--> Time of renovation |
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| a columned porch or open colonnade in a building |
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| in Ancient Greek, meant male youth. |
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| type of freestanding statue of a maiden—the female counterpart of the kouros, or standing youth—that appeared with the beginning of Greek monumental sculpture in about 660 BC and remained to the end of the Archaic period in about 500 BC. |
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| the smile that characteristically appears on the faces of Greek statues of the Archaic period (c. 650–480 BC), especially those from the second quarter of the 6th century BC.
The significance of the convention is not known, although it is often assumed that for the Greeks this kind of smile reflected a state of ideal health and well-being. It has also been suggested that it is simply the result of a technical difficulty in fitting the curved shape of the mouth to the somewhat blocklike head typical of Archaic sculpture.[image] |
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- Early c. 480- 450
- Mature c. 450- 400
- Late c. 400- 323 |
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"counter balance"
- key to understanding why the spear bearer statue was innovational.
- you can't know anything if you don't know it's opposite.
- contrast of engaged vs. unengaged/relaxed |
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how to achieve a perfect figure
- "Beauty consists of proportions. Not of the elements, but of the parts."
- For example, they started with one thing ( possibly the finger) and made all other things a certain size in relation to the finger.
- striving for physical perfection |
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| a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. [image] |
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