Geometric Krater Essay

German art historian, Johann Joachim Winckelmann (18th century), speculated that “Greek art, like Greek poetry, has according to Scaliger, four principal periods.” He goes on to explain there are different types of Greek art such as the “grand and lofty”. Put of the four mentioned styles, it is clear the option which pertains most greatly to sculpture was after the previously mentioned style, where artists “acquired more grace and pleasingness. This style should be named the beautiful.” He later explains that the last style is imitators, likely referring the Roman’s remakes of Greek sculptures, which infers sculpture became a more important part of society (after the Romans took over) due to the fact they considered them worth recreating.

The Han China and Classical Athens’ culture also had a huge different to how the arts were created. The arts of the Athenians were more focus on themselves, the human body. For example, on the front cover page, there is a drawing or statue of a Greek man, the Greek man is standing in a weird position with his arms pointing down, there are a few lines emphasizing his muscles, torso, biceps, etc. (Front Cover). While the art of the Han China were more focus on the landscapes and scenes surround them, along with the serenity and balance of the world drawn on to canvases in great details (document L). In most paintings, the five Chinese elements called Wu Xing will most likely be included in the paintings; the five elements are wood, fire, earth, metal, and water. Looking at Ch’iu Ying’s painting, you can clearly see the how Wu Xing is being presented in the painting, how the trees and mountains were presented in the background (document L). However, as you can see in the painting, there are only two men in the painting, this could mean that humans were inconsiderable in their arts (document L). As a conclusion, the two artistic styles were complete different from each other, the Han’s arts were more focus on nature in great details, while the Athenians’ art were more focus on the human body.

The symmetrical appearance of the work was also common in Southern pieces that rooted back to the Greek’s advances in mathematics, while the realistic human anatomy roots to the newly acquired humanistic values in art. There is a clear focal point of Mary, with the addition of a subtle triangular composition created by the Mary, Jesus, and St. John. This composition creates order, which is more appealing than a painting with chaos and no clear focus. The trees and pathways in the background also seem to be proportional to the sizes of the three characters, diminishing in size as the picture recedes. This creates a visually appealing tone to the work of art, as for the brain does not have to atone for the abstract and surreal. The bodies are realistically portrayed, which again, adds to the curiosity of Southern artists had of true human anatomy. Mary has a figure, a popping bosom and stomach are not typically seen in a depiction of her. Jesus and St. John both have noticeable baby fat around their arms, legs, and stomach, which is unappealing for a piece of art, but is still

I went to the Cantor Center for Visual Arts on Stanford Campus on 2/28/13. I saw a lot of sculptures and vases there. They are very beautiful and interested. The most interested one I think was Kleophon Painter, “Volute Krater”, ca. 430 BCE, Greece, red-figure terra cotta vase, size 26’ ¾” * 19’ *19’. Hazel D. Hansen Fund, 12, 1972 Cantor Arts Center at Stanford University. This vase is located in the Iris & B Gerald Cantor Center from the classical period between 479-323 BCE in Greece. The Kleophon Painter is an anonymous Athenian vase painter in red figure style. The name he is named because of a youth named “Kleophon”. He is also good at Achilles Painter; a number of “black figure” works in the mid-to-late 5th

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

The shelf between them adds interest with the now outdated and unusual instruments, but the whole of the work doesn’t portray any real sense of importance other than historical record. On the contrary, the realistic detail of the piece is amazing and well communicated through Holbein’s excellent use of light and shadow, as well is accuracy of form. The light source is centered behind the artist and shinning directly onto the men and desk, illuminating their figures. Both man and desk cast a simple shadow to aid the concept of full illumination, but the textures of the clothing, curtain, instruments, and other items are expertly portrayed in the artist’s use of small harsh shadowing and his blend of shading. The large, contrasted, elegant portrayal of the left man’s clothing creates emphasis that repeatedly drags the audience’s eye back to this area. Such a vast use of pattern and color, on the other hand, make any other emphasis less detectable and almost allow the oddly placed blur on the bottom to escape attention. Eventually, its lack of balance and seemingly disproportionate look snatch its deserved attention and force the viewer to get creative in recognizing a figure. This is when the side view of the skull can be

The sculpture is slightly larger than a real human would be. The the body and the clothing are very detailed. The face shows no emotion. The face is true to life, and the muscles are not shown since the arms have fallen off and the legs are covered by fabric. The body is in contrapposto and it is clothed. The woman is wearing a peplos. The upper half of the clothing covers the body, and the bottom clings to the body. The hair is short and

Comparison Essay CA painter &Amphora with Nike and Youth Myths and monument / LO1 - 232 Fall 2017 Zihan Zhong The greek pottery has a wide range of type and style, especially the vase. The painted vessels show us the greek art’s history and let us know more about the ancient Greeks’ mind and life. CA painter’s bell krater is a large earthenware with painting around its center part. As a bell shape vase, it has a large opening and a round body.

The right and left sections have some damages; therefore, their textures are rough. The space on the front and right sections is fully used. Their scenes are very dynamic. The proportions of some figures were not completely observed. For example, horses on the relief in the front are very small comparing to humans. Another example is the man on the left section. The sculptor had to give him an unnatural posture awkwardly bending his legs, so that the man did look taller than the central figure.

Interestingly, instead of four, only three sides of the Sarcophagus are filled with images. The long section illustrates two Greek heroes, presumably Herakles and Iolaos, battling evil centaurs. The two other sections show a centaur attacking a lioness and the other, the representation of peace in this work, two centaurs getting along. Herakles and Iolaos are highlighted by the artist’s careful attention to make them protrude the greatest, accentuating their impact and overall importance in this sculpture. Every powerful muscle in their bodies is portrayed and given detail in three dimensions. The three-dimensions not only bring these characters closer to reality but also heighten the heroic nature, masculinity, and belligerent attitude of the Greek heroes. Instead of using basic geometric shapes to create works of art, the sculptor chooses to increase the detail in the Sarcophagus by giving everything in the sculpture individual characteristics and traits. They are presented as being stressed

Her hairstyle shows that the work was made during the ruling of emperor Hadrian, which was seen a generally peaceful time. The grooves on the bottom of this piece show that it would fit the walls of a sarcophagus and was used as a lid for one. I believe the artist wanted to show that the girl loved her life and her small possessions and that it did not have to have a lot of mythological meaning for it to still be meaningful. The sculpture seems to be not as typical for multiple reasons. This piece is the earliest surviving monument to be used as a top for a sarcophagus most Kline monuments were placed inside the tombs but not as a lid yet. but also, this piece uses mostly imagery from everyday life which was abnormal seeing that most pieces used mythological meaning which set this piece out from

The piece looks as if it were cut into sections, similar to a register look, however it comes together to create an overall picture. Although it has gone undocumented the reason behind the sectioning of the piece, whether it is the original context or the relocation from the palace to the museum, there are three sections, the head and shoulders, the torso, and the legs. The overall scale of the spirit is proportionate, suggesting the artist may have used some type of Canon of Proportion. Although this is not a common practice within Assyrian

Proportion is seen in everyone's faces, they are all perfectly proportioned making them look very lifelike almost like the painting look like a

There were a few people that could make sculpture. They were an inspiring piece that showed everyone how they represented each others during their time. Greek architecture were during the Archaic Period, roughly 600 to 480 BC. This is one of the periods where practice of fine art in ancient Greece. This was the first time that Greek architects learned to make massive temples out of stone, generally using soft white stones like marble or limestone. During the Archaic Period, two orders of Greek architects emerged. First was the Doric Order, with smooth capitals on the tops of each column and decorations in the superstructure that resembled the ends of wooden beams, a nod to earlier temples. After that came the Ionic Order, with capitals that looked like scrolls and thinner columns. During the sculture time there was architect's that learned how to make massive temples out of stone, generally using soft white stones like marble or limestone. These sculptures were impressive and carried an elegant look during their

Artists created their own unique style in Greek culture and with the creation of the Roman Empire, Greek artwork had been spread throughout the region. When the empire eventually split and faded from existence, Greek artwork had left its mark on the remaining civilizations. Because Byzantium had arisen from the ashes of the Roman Empire, Byzantine artwork incorporated aspects of Greek art within their own artwork. The purpose of this investigation is to compare and contrast art in ancient Greece and Byzantium. Recognizing the similarities and differences between two related cultures is vital in understanding the evolution of art from one culture to another. Within this investigation designs/patterns and