Formal Analysis, Contextualizing, and Compare and Contrast of the Egyptian Sculpture of Isis Nursing Horus and the Byzantine Icon, the Virgin of Vladimir

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

The theme of the two art works, “Theodora and Attendants,” and “Akhenaton, Nefertiti, and Three Daughters,” is Political Authority. This is a theme presented countless times throughout art history, and is a theme that is still used in art today. It reflects the concerns and desires of the rulers of the time and is used as a form of propaganda by said rulers to change the minds of the people they are ruling. Art has power and the rulers use its power to control their people. The presentation of these pieces reveals that the rulers want their subjects to view them as powerful and divine. Both of these cultures are also heavily influenced by religion. Both “Theodora and attendants” and “Akhenaton, Nefertiti, and Three Daughters” are forms of political propaganda that use religion to try and influence their subjects.

In the Bronze Age paintings and specially the Minoan we began to realize how realistic they look and how they are showing movement. We can see that in paintings of landscapes, sport events or even a story or a ritual. Some of the Minoan art is different from each other but some are quite similar in style, technique or in motifs. In this essay we will be showing the similarity of style between the Hagia Triada sarcophagus and the Minoan palace frescoes paintings.

Throughout history people can see many of the developments and differences among cultures, through the artworks that were produced. This essay will carefully analyze, evaluate, and compare four distinct works, from different time periods and cultures. The works to be compared are: The Woman from Willendorf, The Bust of Nefertiti, Figure of A Woman, and Young Flavian Woman. Throughout this paper the style and function of each individual work will be explored, along with the cultural ideas presented in each piece.

In this formal analysis, the subject is the wall painting Queen Nefertari and Isis, located in Nefertaris’ tomb. The painting shows the ancient Egyptian Goddess Isis “leading” the Queen by the hand. Nefertari lived around 1300-1255 BC and was the first and exclusively claimed wife of the Egyptian pharaoh Ramses II.

     While Raphael was influenced by other artists of the time, such as Michelangelo and Leonardo, he remained unique in his individual style. Raphael began to use the previous renditions of the Madonna as an influence. The symbolism of the Madonna is that of beauty and grace while incorporating a sense of pureness associated with her. The use of the candles in this particular Madonna show the light of Christ that is being brought into the world by Mary. She is giving birth to the light of the world, according to the Christian faith. The halos around her head and the head of Christ add to the feeling of holiness that the painting was intended to imply. The other figures appear to be angels overlooking the mother and child, as if guardians from heaven sent to watch over them like a shepherd watches over

The two sculptures presented for this assignment are the Statue of Gudea, which dates back to 2090 B.C. (“Statue of Gudea,” 2000) and The Royal Acquaintances Memi and Sabu, which dates back to 2575–2465 B.C. (“The Royal Acquaintances Memi and Sabu,” 2000). Both statues represent people; however, they depict different types of people from completely different time periods and cultural backgrounds. The Statue of Gudea shows the ruler of southern Mesopotamian, Gudea, whose reign was from 2144-2124 B.C. (“The votive statue of Gudea: A formal analysis,” 2011) sitting in a praying position with his hands locked and his eyes forward. He is dressed in what appears to be a lavish robe with an inscription that clearly depicts what Gudea thought of himself and his successes during his time as ruler. The Royal Acquaintances Memi and Sabu represent what is thought to be a married ancient Egyptian couple who are lovingly embracing each other. Aside from looking at

Just from looking at a few pieces of the art of the ancient Egyptians, you begin to notice many defining characteristics about it that make it unique and different from other styles of art. There are an ample amount of recurring features in the art, so this must mean that these traits and aspects are noteworthy. This next section of the essay will go into detail about a few of the many types of art and the stylistic elements that define ancient Egyptian art and make it special and distinguishable from other types of art, and why some particular aspects of the art are important.

“Likewise, artistic changes were afoot before the reign of Amenhotep IV / Akhenaten. For example, Theban tombs of Dynasty 18 had begun to redefine artistic norms, exploring the possibilities of line and color for suggesting movement and atmospherics or employing more natural views of parts of the body.” –Marsha Hill

Thomas F. Mathews’ 1993 book, Clash of the Gods, offers an interpretation of the origins of early Christian art that deviates away from the theory of the “Emperor Mystique,” in which Christian images are borrowed from imperial iconography, and instead suggests that pagan iconography has a greater formative impact. Sourcing the works of early twentieth-century art historians who support these ideas of imperial influence, Mathews attempts to make a convincing argument for the latter. However, his book is highly criticized by many of his contemporaries who argue that his vision is as one-sided as that of his predecessors, and as such, offers little in the way of evaluating the relationships between pagans and Christians in context to the creation and understanding of these images. By discussing the views of Mathews and his critics, and aligning their work with theories on the power of images, this

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

During early dynasty Egypt period, Egypt’s kings were reverted as gods in human form. So, Egyptian sculptor created statues of their kings and queens. After creating the statue

Throughout the vast history of art, historians can find connections throughout the centuries. Artists from the beginning of humankind have been inspired by the world around them. From the Apollo 11 stones to present day, history and culture have provided inspiration and have been the focus of various pieces. Examining artwork from the 15th-18th century, viewers can be shown a whole world that would be unknown to us without these artist’s contributions. History, religion, and cultural events have sculpted the art world, and we can observe this through many pieces during the 15th-18th centuries.

Ragheb Elsergany published originally in Arabic on the 17th of may 2010 and later, Dr. Ragheb Elsergany translated the text into English on 17/06/2010. The article explains types of Islamic art during the golden era of Islamic

Both of the sculptures consist of curved lines. From the top to the bottom, the Egyptian sculpture of Isis consists of curved lines formed by the horns and the circular disks of her headpiece sprouting outwards up into the air. The curvature of the disk and the horns embrace further adds to the