Beauty Of A Girl With Doves

This technique, used by Greek sculptors for the head and other parts of the statue began as early as the Archaic Period. ( The period in Greek history lasting from the eighth century BC to 480 BC, post Greek Dark Ages and succeeded by the Classical period.) The work has many signs of damage and decay, among these are missing body parts such as the capital and the right wing. The surface is worn down, although still shows clear creases and details throughout the texture of the piece. The head, wings, and the drapery were carved separately before the work as a whole was eventually assembled. The wings were attached with no external support and it's a marvel that one is still managing to adhere

I think about how the world had betrayed this women. They made this woman plump and empty, she does not even have a face. This statue is nude showing everything to the naked eye, she does not have a desirable body. This sculpture shows how much a woman was respected back in the day, which was very little.

Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.

The Greeks took care of the dead by washing them, putting them in tombs, and bringing offerings to their grave. The women’s role was to wash and wrap the dead bodies in cloth. They also decorated them with flowers and herbs. The men dug the area in which the body was to be buried. On this first piece of pottery, it looks like people are walking as if they were in a funeral procession. Women are surrounding the dead person and men are following the women. The pottery has a top that looks like a funnel which comes down and narrows out into a long neck. At the bottom of the long neck it starts to get wider and forms a shape that looks like a vase. The vase sits on a very small pedestal. On the sides of the narrow neck there are two handles that look like very long and thin wings. On the neck of the pot, there is one women standing there. The design above her head looks like a wreath. She looks like she is crying over a body. She is on top of everything that is on the pottery which leads me to conclude that she is an important part of this piece. The dead person may have been her son or husband. At the bottom of the pottery there is a design that looks like black spikes. The pot is entirely black with the picture in gold paint. This pot was called a Loutrophoros. It was used for holding water to wash the dead body. After the body was buried, the Greeks put offerings on the graves of the people who have passed away. This next

1. "Grave stele of a little girl [Greek]" (27.45) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000.

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The Gravestone of a Woman with her attendant is a sculpture created by an unknown artist and is now on display at the Getty Villa in Malibu, California. The sculpture is of a woman seated in a cushioned armchair, reaching out to lightly touch the top of a box or chest held by her attendant. We can tell from the sculpture that the women is of a higher class because of how her hair is done, the significant amount of jewelry, and the decorated throne that she lounges in. This sculpture is an extremely detailed Grecian gravestone made from a thick slab of colorless marble around 100 B.C.

The Torso of Aphrodite was constructed in the 1st century A.D. and is made entirely of marble. The torso used to belong to a life-sized version statue of The Greek goddess of love Aphrodite. From the moment I saw this piece, I knew I was attracted to it in a deeper way. It

Phidias’s piece titled Relief of a Falling Warrior (Roman, 2nd Century A.D.) represents a wounded warrior collapses to the ground after being struck from behind in the Trojan War (Google Arts & Culture). The relief sculpture is created in Roman Republic by the famous Greek sculptor Phidias, also known as Pheidias. He was a Greek sculpture, painter, Architect, and is often credited as the main creator of the Classical Greek sculptural design. The Relief of a Falling Warrior statue stood inside the Parthenon on the Acropolis in Athens. (Art) A series of panels copying figures were found commissioned for Roman buyers, however, the shipment sank in Piraeus, Athens' harbor where they were

In the essay, "The Bothersome Beauty of Pigeons," Bruce Ballenger initially compares the street vendors in one of Florence's piazzas to the urban pigeons we are so familiar with. He elogently describes the vendors as marvelous spectacles who add culture and life to urban areas. While they are considered a neusance to a lot of people, they also hold a certain beauty. They are much like the pigeons, and there seems to be a war against both the illegal street vendors and the city pigeon. It is a war where there are no hearts involved. The police almost turn a blind eye toward the illegal act of vending without a liscense, much like the average person tolerates the pigeon. I think that Ballenger's

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

This region most likely was a nodus coiffiture, or a knot of hair worn directly above the center of the forehead. The nodus style was popularized by Livia, wife of Nero. It was often worn by women of the imperial court or those of higher status (Cormack 167). We are led to believe that she was a freeborn woman because her natal family would have been the ones to commission her monument and using these conclusions they could have afforded to do so. Because this sculpture is very simular in style to many others found in Rome, we can conclude that she was Roman in ethnicity (Johansen 246-7).

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

The sculpture, in my own opinion, is very powerful and gives the reader a good visual after reading Ovid’s work. After reading the story I had a better understanding of what exactly had happened, and I felt a strong feeling of empathy for Daphne. All she wanted was to stay a virgin, much like Artemis and even her own father had agreed with her decision. But he knew this would be a difficult task as she was a beautiful woman. This proves to be true, and although she stays a virgin, she is forever trapped by a man and his love. I could not imagine being forever trapped like that, forever being used for their own pleasure. Apollo states that she will forever be with him, as his arrows and in creating his music in his lyre. He also tells her that she will forever be honored, but how can it be an honor if she is reduced to nothing but a beating heart and her beauty. She had become nothing but an object for Apollo to use repeatedly. Bernini’s creation is ironic because it shows the way Daphne’s peril will forever be frozen in time. There is no escape for her now that she is in the arms of Apollo. This story made me think back to the horrible treatment of women in these stories, they are completely disregarded as people and thought of as prizes. I feel empathy for each woman that is treated badly in the stores we’ve read so far, and I am glad that women have it much better nowadays. Though the stories are not real, they still show the place women had in society at the time. It portrays how far we’ve come as a human race with treating each other equally.