Frick Collection Analysis

The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.

One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.

My tour around El Museo Del Barrio in Harlem, New York was a very memorable visit and I got

Whereas Bellini used landscape style for his painting, Castiglione chose do his painting as a portrait, so that there is no doubt when looking at the image that St. Francis is in fact the main subject and focus of the painting. Aligned somewhat in the center of the canvas and taking up a majority of the entire painting is Saint Francis kneeling down on a rock as he grasps tightly and desperately to the crucifix as he looks up into the sky. A golden light in the sky above him creates almost a halo above his head and swept over his face is a look of pain and devotion. Unlike Bellini’s, Castiglione’s painting is neither filled with detail or landscape. Other than the close-up figure of St. Francis there is little else to be seen or focused on. The light that is cast upon the rope tied around the waist of his brown habit leads us to the only other details or objects in the entire scene. These include the green ivy climbing over the rock where he kneels, as well as a skull and open book that lie on the bottom left of the

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

The statue is a Roman reproduction of a Greek work. It shows Venus, the goddess of love, standing bare-breasted and clutching a piece of cloth draped around her hips. At her feet, there is a dolphin that, practically, adds support to the piece and artistically makes an allusion to Venus's birth from the sea. As the notes from the Getty Museum explain, the statue is derived from a very popular Greek statue created by the sculptor Praxiteles around 350 B.C. The statue was so popular that it was copied by many artists.

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

17. On my museum experience, I took it in like every other visit to the museum I have ever had: much like other children expressed wonder and amazement at a circus performance or sports game; I was awestruck and mesmerized by the colors, the atmosphere, and the same restrained joy that I felt evident in the eyes of all the other observers. My girlfriend and I made our way through the museum, blending in with crowds of other viewers to see Cezanne, Gauguin, Brueghel, O’Keefe and the like in the permanent collection, making time to go from one end of the spectrum to the other. But my heart has always had a soft spot for

One of the most valued pieces of art in the ancient Greek world is that of Athena Parthenos. The original statue was designed and sculpted by Phidias and placed in the parthenon in 438 B.C. The original chryselephantine statue was almost 40ft tall and was made out of ivory with gilded features. The sculpture stands tall, while wearing a tunic, an aegis, and helmet, while holding the god of victory, Nike, in her right hand and holding a spear in her left hand. There have been many replications of this statue, including one created during the Roman Period in the 2nd or 3rd century A.D. sculpted from stone and bronze. Details include a helmet with pegasoi on each side with the remains of a sphinx in the center. Athena’s hair falls in curls down her shoulders and snakes encircle her waist and tie in the

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.

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

At the Lowe Art Museum, the painting I chose that caught my attention the most was a painting that was perceiving the era from the Roman Empire in BC. The painting made me feel like, I wanted to be there looking down at them while history was being made, but not be physically there, because that was a dangerous time to be alive especially for women. One of my reactions when I first saw this paining was, WOW, because the painting gave me an impression of power and

The statue is cast in bronze, as is the base. Both the figure and the base feature intricate engraving, and the goddess’s eyes are make of colored glass which was inlaid into the bronze. Except for the tail, which curves around the left side of the feet, the statue is perfectly symmetrical. The proportions are arranged as follows: the head totals about one-sixth of the statue's height, the chest area is another sixth, and the base is another sixth. The remaining

In the early sixteenth century and after the reformation, portraits of the elite engulfed the art market. These commissions of portraits of Kings, Queens, wealthy citizens and families put many artists to work, and in some cases gave new titles to these artists. One painter in particular, is Hans Holbein the Younger, whose expertise in portraiture earned him the position as the royal court painter to Henry VIII, King of England. One portrait in particular established Hans Holbein’s fame for portraiture and created the iconic representation of Henry VIII. This portrait is self-titled, Henry VIII from 1536, and now resides in the Thyssen-Bournemisza Museum in Madrid. As expected, such an iconic miniature portrait received much attention in the

This statue is in a very bold stance, showing what seems to be confidence and strength. The statue seems to be made out of stone or marble suggesting this would be a very expensive piece. Whoever built this amazing statue would have to be very patient and have respect for what they are doing. The statue seems to be of the female gender and she seems to be of a high class the way she is standing. The most interesting thing about the statue is that she is missing her head and arms which tells me that previous people have disrespected her. Although it looks very bold you can tell that the statue has some cracks that have occurred over time. Two wings spread out from the side of the statue showing that the women was maybe a leader or a special