Comparison Of Amphora With Nike And Youth

If you drew a line down the center of its body, you would be able to notice that both sides are identical. Meanwhile, in The Spear Bearer these things have changed, here one can see a slight “S” curve through the motions of the upper body, hips, and legs, rather than a straight symmetrical line down the middle (Khan Academy). This is when, for the first time in Western Art we have figures that seem fully alive. Lastly, regarding the statues’ naturalistic qualities, even when both are stylized, The Spear Bearer is clearly much more naturalistic. In contrast, the Metropolitan Kouros has body parts and features that have been reduced to geometrical

The bilingual amphora was painted in Athens, Greece during the ancient Greek period in a black figure and red figure style. This was a typical style in Athens, Greece at that time and it was mainly to decorate fine pottery. Most of the amphoras were made in sections initially (neck and body) and were put together afterwards (the foot and handles). This pottery was not for everyday use, but it was affordable for most of the population. This fine Greek pottery goes back to the Minoan and Mycenaean pottery of the Bronze Age. The black figure technique focused

Robert Swan once said “the greatest threat to our planet is the belief that someone else will save it.” Two companies that understand this concept are Patagonia and Nike. How they address these issues regarding sustainable business practice vary, however. Both have made it their mission to deliver excellence and make the best quality products within their industries, Patagonia focussing more on outdoor active wear, while Nike is more sports oriented. Part of this process has been developing products from sustainable sources. Patagonia, for example, actively took a stand against chemical intensive cotton in 1994, and has since switched to less harmful means of organic cotton within all their cotton-based products. They are even going the extra

There is also a striking luminosity to the painting. The man and the woman’s faces appear to slightly glow, as if you can really see the reflection of the sun beaming off of their skin. This was achieved by a complex method of applying glazes. Wood would apply a layer of oil paint, allow it to dry, and then varnish it. This tedious process would be repeated numerous times. It was a process perfected by the 16th century Venetian painter, Titian. The series of glazes seems to have created an overwhelming sense of depth and radiance within the paint.

Knowing the date it was painted and where it was painted is important as the vase on its own cannot help us identify and understand its historical context. We can assume that at this time the traditional pattern-based technique to vase painting had not yet kicked in, or it was not well recognized in China. However, the lack of the artist's name, we cannot determine when the painter was active and the possible reason he/she did not employ certain forms. Its form is a blank slate without any decorations except the black dripping glaze (earthenware with a black glaze). This is an 8th-century piece as most pottery during this period were increasingly round-faced and rotund, reflecting a change from the 7th-century

The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare

At first, I only gave this painting a glance because I thought the colors looked very boring to me. It was not pleasing to the eye because it was your average

Lastly, after further examination it became subtly apparent that the first three characters on the left side of the vase were not fully engaged in the ritual, the Maenad is facing left towards the two Satyrs on the left unlike the rest of the figures. The realistic nature of the painting, infers that Dionysus and his band of Maenads and Satyrs shared similar characteristics to humans. Next, the colors used on this column krater distinguish the identity of each character. For instance, the Satyrs were all pitch black, the Maenads were white with a myriad of black lies, and Dionysus had a brown skin tone. Lastly, the wide array of heart shaped vine leaves emphatically conveys that the Column krater was used for

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.

This art includes Mantiklos Apollo, it is one of the masterwork of that time. Mantiklos dedicated the bronze statuette to Apollo and it probably represents the god. The treatment of the body reveals the interest seventh-century BCE Greek artists had in representing human anatomy. Furthermore, there is Orientalizing amphora, it is two handed storage jar. It painted vases, animals such as bear, lions

Cleveland Museum of Art (Ohio) has in its collection a very valuable piece – an Athenian neck-amphora produced in c. 550 – 500 BC. The vase was executed in the black-figure technique, and it is attributed to Antimenes Painter. The amphora is richly decorated. One part represents Herakles and the lion between Iolaos holding club and Athena with Boeotian shield. The other part features Dionysos standing with satyrs and maenads. I like the amphora very much, especially its decoration and an interesting subject matter.

Nike of Samothrace is a sculpture from 190 BCE, first found on Samothrace, a Greek island, in 1863. This statue is a female figure with wings, wearing a flowing gown. It’s said to represent Nike, the Greek Goddess of Victory, and her winning in battle. It shows various elements of the Hellenistic period, such as the use of space and dimension. The Snake Goddess is a 1600 BCE figurine found in 1903, in Knossos, Crete by the British archaeologist Arthur Evans. It’s made of Faience, a glass-like material, and it shows a large breasted women whose holding two snakes on each of her hands supporting a feline-like figure on her head, and it’s wearing what seems to be a long layered skirt with a metal looking accessory or girdle on her waist. The biggest similarity between these two sculptures is that both represent femininity through this new sensual female form as well as strength, and both sculptures are

In this example Artefact B is painted in the style known as black figure. This was the dominating style throughout Mediterranean pottery from C. 625 BC until C.475 BC (Cartwight, 2012), when red figure overtook this style in popularity.

Most Pateras have either a naked or clothed figures, or just a figure less handle. This artifact depicts a naked Kouros which in Greek means young man. Kouroi who are often naked are symbolized as gods, warriors, and athletes. (Cothren, Michael W & Stokstad Marilyn p.107.). Thus this choice of handle was especially suited to such a sacred object. (Vassilika, Eleni 19). The figure of a nude Kouros depicted in the pan is around five inches tall. While his legs are together with his feet pointed downwards. The figure has both of his hands in the air flexed holding two rams. On either side of him there is ram kneeling on all fours. The rams hold up the shallow pan with their heads. The rams look like they could be babies because of how small their bodies are. The inclusion of rams in Archaic period art was very common (Sturgeon, Mary.C 46). The Kouros body appears naturalistic, reason being is because he does not have much muscle definition except for a little in his thighs, pecs, back, and arms for when he is raising the rams. The artist stayed true to the youth aspect by doing this. Not many young men have giant muscles and six packs, which is why the artist kept the figures body thin. The artist close attention to the outline of the nipples, navel, feet, buttocks and the details of the Kouros genitals really brings the figure to life. The Kouros hair is stylized with vertical lines

The viewer will first notice the solid base shaped like a mother’s apron with two, apron-like tassels extending upward from each side. The base also is reminiscent of a large tree trunk and the texture gives the viewer the impression of a rough and heavy bark, just as a mother has a rough exterior while maintaining a soft interior when dealing with a child. Entangled in one, apron-like tassel, on the right side of the sculpture, the