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.
Most of the evidence that is used today are from vases, which can tell a lot about what happened back in ancient Greece. Scenes are played out on vases, with most being Dionysian or mythological narratives. Painters avoided representing tragic scenes literally as they would be portrayed in the theater, but instead a ‘further reality’ of the myth. Even minute details about this evidence was important, including the shape of the pots the work was on. Mythic-tragic scenes could be found on large, prestigious vessels like volute kraters, while a comic scene might decorate a bell krater or small jug (oinochoe) which served wine at a drinking party (Hughes 5). Vases are not the only archeological evidence, as terracotta figurines are another source of knowledge for those wanting to learn about the costumes worn in comedy in ancient Greece. Nearing the end of the fifth century, the earliest comedy figurines were produced in Athens. These figurines were mostly static, unlike vase paintings were the scene was full of action and engagement. These terracotta figurines were souvenirs for the people to buy in admiration of their favorite characters. People cherished them and even took them to their graves, where they were found by archeologists (Hughes 39).
Greek culture is the source from which many of the characteristic elements of Western culture derive. Their explorations and innovations in art have both fascinated and inspired other civilizations for centuries. For this assignment I chose two Greek sculptures viewed at the Getty Museum. The first is Kouros circa 530 B.C. made of Dolomitic marble from Thasos and is approximately 200 cm (80 in) in height. The second is Cult Statue of a Goddess, (most likely Aphrodite) South Italy, 425 - 400 B.C. made of Limestone and marble. It stands at a height of 220 cm (86 5/8 in). There is some dispute to the authenticity of the Getty Kouros
The cultural artifact that I propose to study is a bust of Queen Nefertiti, who was the Royal Wife of the Pharaoh Akhenaten. The bust is said to be painted with stucco-coated limestone, created in 1345 B.C by Thutmose who was a talented sculptor. The bust was discovered in 1912 in Thutmose’s workshop by Ludwig Borchardt and his archaeological team. The bust had many owners in Germany throughout the years, however, it is currently on display at the Neues Museum in Berlin. The Nefertiti bust is a cultural phenomenon, especially for ancient Egypt as well as Berlin. Germany had the bust for over a century now and it has been their pride and joy. The argument between Egypt and Germany over the bust has been going on for decades. Egypt believes that the bust belongs to them and that it was taken
Edna St. Vincent Millay’s “Thou famished grave” and “Mindful of you” both include the themes of death, however, “Thou famished grave” uses the personification of a grave as a starving beast, diction to add imagery of starvation, and an image of a strong will to live to show the resentfulness and bitterness that the speaker has towards death, while, “Mindful of you” uses the imagery and personification of the four seasons to remember someone close who has died, to express that although death may take people physically, but they live and are remembered through memories.
The Ancient Egyptian artifact that I chose to analyze and is the most interesting piece I have seen in the museum is the Cartonnage of Nespanetjerenpare. The artwork itself was larger than me and that was one of the reasons why this artwork was very interesting to me, since I am a fairly tall individual. It was created during the Third intermediate period that was around Dynasty XXII or the twenty second Dynasty of Ancient Egypt and was possibly acquired from Thebes. The dynasty was also known as the Bubastite dynasty which was approxamently from 945-718 B.C.
Coffin of Horankh is an example of a classical art and it was created around 700 B.C.E. In order to make this container different materials were used wood, gesso, paint, obsidian, calcite and bronze. The coffin is of three dimensions with 1m 94.95 cm in length, 45.72 cm in breadth and 41.91cm in height. As of now the Coffin of Horankh is located in 302 Egyptian Gallery of DMA.
This paper in particular discusses two of the statues exhibited at the Power and Pathos exhibit at The Getty Center in Los Angeles. It analyses and compares the statuette of Alexander the Great on
The art work that I have chosen for this formal analysis of an art work is the Painter of Paestum’s piece titled “Red-figure lebes gamikos (marriage vessel) it was made with terracotta red clay. This piece was made between 340-330 B.C. It is approximately 10 inches in height. The present location of this art piece is at The San Antonio Museum of Art in the Greek Late Classical section. The collection is a permanent collection from Gilbert M. and Denman, Jr. whose funds were used to purchase the vessel.” (“San Antonio Museum of Art Wall Text”). These marriage vessels are frequently shown in marriage scenes on Greek vases. This marriage vessel could have been given as a wedding gift or used to contain water for the bride’s bath before the wedding ceremony. Also, it could have been placed by the bride’s door and was possibly used in a ritual of sprinkling the bride with water before the wedding ceremony.
Both ends of the tunnel are pitch black with the exception of the faintly lit mummies. On the boxed-in ceiling is a solid yellow rectangle, emitting a hazy light. Inside the table is a twenty-five-foot strip of papyrus marked with two hundred spells. The crisp tanned paper curves slightly to one side as to not break. The papyrus itself is smoothed out by a curation process. The piece is dated between the reign of Thutmose III and Amunhotep II from 1479 B.C.E to 1400 B.C.E.. The ends are tattered with the fringe chipped like the edges of a broken tea
The Anthropoid Coffin of Iret-hor-irou is an Ancient Egyptian work of art that dates back from 4th century BCE (380-343 BCE or 30th Dynasty. This coffin’s original location was in Egypt, however the artist is unknown. This coffin is life-size (24x78x19.5in) and is composed of cedar with traces of polychrome. The purpose of this artifact is for burial, thus it is funerary.
The artifact I chose during the museum tour was the artifact called Parthian Rhyton. The Parthian Rhyton is from Iran from the time 150 BC – AD 225. It is made up of Silver with mercury gliding. This artifact reflects the style of its culture by having the goat in an attack position with the head down lets up this piece reflects power and strength. The piece identifies it as being from a particular civilization and time of the naturalism of the goat, with its carefully detailed horns and swirling coat, is characteristic of such vessels in the subsequent Parthian period (247-224 AD), along with the highlighting of such details the vegetal design at the throat of the vessel with mercury gliding. The visual clues
Today I will be constructing an analysis along the bases of migration, exploring the film “Last Grave of Dimbaza,” which occurs during the Apartheid era and comparing it to the book “Living, Loving, and Lying awake at Night by Sindiwe Magona,” which explores the idea of forced migration from the woman's point of view. Both the film and the book exhibit the differences amongst the Whites and Blacks within South Africa. In compare and contrast, the film establishes a ground of separating the urban life in comparison to the rural life within South Africa and showing the different ways that migration has changed both parties' lives. In the reading by Magona, she shares the experience amongst the women in South Africa and how migration within