Athenian Neck Amphora

This work of art is from the Greek, Hellenistic period, c. 270- 250 B.C.E. This fifteen inch marble bust corresponds to a member of the Ptolemaic dynasty according to the typical facial features of the ruling family at that time. The Ptolemaic dynasty occurred when there was a succession of Macedonian Greeks over Egypt from the death of Alexander the Great in 323 B.C. until the annexation of Egypt by Rome and the suicide of Cleopatra VII in 30 B.C. Therefore, this head was most likely created to symbolize a Ptolemaic Queen. Its subject matter, the themes or ideas in a work of art distinct from its form, is not evident

he Greek sculptor Praxiteles made the sculpture Hermes and the infant Dionysos in ca.340 BCE. The story goes a mortal woman was pregnant by Zeus, she dies while pregnant and Zeus takes the child, and sews the baby into his thigh until he was ready to be born. Many assassins tried to kill Dionysos so Zeus had Hermes take him away to be safe. This sculpture shows Hermes resting in the forest during a journey to deliver Dionysos to Papposilenos and the nymphs, who will raise the child. Hermes is leaned against a tree trunk, in a shallow ‘S’ curve as he gazes into space while enticing the infant with is said to be a bunch of grapes.

In Hellenistic Greek sculpture, “the marble was embellished with colored encaustic, a mixture of powdered pigment and hot wax applied to hair, lips, eyes and nails of the figure.”

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

first piece is a red figure amphora from approximately 330 B.C.E called the Apulian Red Figure Loutropharos. It depicts Leda lovingly embracing Zeus as a swan after Aphrodite has helped to make Leda fall in love with Zeus. Potters and painters at this time would have been male, therefore they would have made things that applied to their male audiences. For that reason making an amphora with this myth on it would be make sense because the people handling amphora's would have been male. Amphora's were used to carry goods in for trade; this is something men would have done. However it may be more likely that this is a funerary amphora that would have marked an influential mans grave. We see in Leda's somewhat erotic embrace of Zeus that she has

The painting appeared only on front and back side. It is also red-figure, but it has a subtle yellow undertone. There is only two color on this vase black and brown. It looks much smoother and shinier than the krater. The amphora looks elongated and elegant.

Our journey begins when the Amasis Painter starts painting at the end of the sixth century. The Amasis Painter paints on small and large vessels. He starts with attic black-figure vase-painting that was first produced in Corinth around 700 B.C. Attic black-figure vase-painting depicts animals and human silhouette figures in a naturalistic detail. Additionally, attic black-figure vases have vessel borders and edges that are decorated with floral, lotus, and palmette designs. The Amasis Painter includes these details to every vase and sometimes adds white to his paintings.

The Greek Storage Jar (Amphora) depicting man and boy was created around 550-540 BCE. It was found in Ancient Greece. The amphora storage jar is made out of terracotta and it is eleven inches in height. Then it was painted on with black and brown paint. This jars colors are used to create contrast, the lines are used to unify it, the shapes on the object are the most important part of the image and patterns are used on the jar to help fill the space on the jar. Therefore colors are used to create contrast.

Their were multiple different art works that caught my attention at the museum although through the semester it was the Roman chapter that captivated my attention the most hence forth I chose this artwork. Each piece of art present in the museum deserved their own acknowledgment respectively from the gold and marble jewelry present to the large sculptures rich in detail non stood out more to myself than The Indian Triumph of Dionysus.I found this piece of art to be appealing because there are many different people and beings within this piece of work that are well known in ancient Greek and Roman mythology. The entire piece is centered on Dionysus, yet everyone plays an important role in the overall story of the piece. Also, I found it very interesting that someone took a great interest in building a monumental sarcophagus for a man who was known for introducing wine.
As Dionysus and his followers journeyed to the East to introduce wine and culture they were sometimes

The image of slaves carrying Dionysus on a phallus seems to be a central understanding of the god’s function and movement in the ancient human society. In addition, the phallus depicted an assertion of sexuality and power attached to Dionysus. Since the cup acts as a sign that the society has food and drink in abundance, the procession using the phallus acts as an expression of agricultural and economic abundance, which is complemented by the view that the festivals carried out by the Athenians during such processions granted them temporary permission for licentiousness and drunkenness (Bowra,

As early as the Bronze age, 2500-800 BCE, the god Dionysus held a place in the circadian lives of many ancient cultures. Known as the God of Wine and Vegetation, Dionysus had been worshiped and celebrated for many centuries. For those who carried an increasing desire for beauty, depicted in art as banquets, rituals, and the rise of new cults, a freedom from perfect chaos awaited. Cultures that were known to have a ‘Dionysiac Spirit’ were “displaying creative-intuitive power as opposed to critical-rational power”. Friedrich Nietzsche saw it as “The Birth of Tragedy”.

Dionysus was a Greek god of fertility, wine and the pleasures of civilization. He was the son of Zeus and Semele, who was the mortal daughter of a king. When Zeus’s wife Hera learned of Semele’s pregnancy, she set out to destroy her. When Semele was killed, Zeus rescued his premature son and allowed him to further develop by sewing him into his thigh. Upon his birth, Dionysus was forced to migrate from Olympus and seek refuge elsewhere because of Hera’s hatred for him. Dionysus’s origin is perhaps an influence on his godly responsibilities and premises; the embracement of vulnerability and embarrassment (inebriation caused by wine), as well as his personal importance of leisure and societal pleasure.

Commonly mistaken as a solely Ancient Greek work, The Wine Vessel is actually a piece from the Greek colony of Apulia; painted about 330-320 B. C. This virtuoso piece, also known as the Red-Figure Volute Krater, is attributed to the Baltimore Painter who is commonly considered to be one of the most important and influential of the late Apulian painters. This piece demonstrates the traditional form of vase painting of mainland Greece, while also having distinct features of Italian art that separate the piece from mainland Greek pottery. The use of the red-figure technique demonstrates the strides made in portraying the human body, and is symbolic of the advances made during the prosperous classical era of Greece. The piece’s colossal size demonstrates

This report is presented by archaeologist Annabelle Green who excavated an Oriental amphora in Corinth, Greece in 2012. The amphora demonstrates life in Ancient Greece such as trading arrangements between other empires influencing Ancient Grecian artists and objects.

Implications of Heracles on the Amphora In the Greek period, there was a unique cultural art. Moreover, the skills of artists and splendor of creating are literally unbelievable without any exaggeration. The art perfectly shows the detail of Greek art such as what Greek people thought about and what culture belonged to Greek people. One of the specific example is Attic Red Figure Stamnos.