Grave Stele Of Hegeo Analysis

1. "Grave stele of a little girl [Greek]" (27.45) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000.

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.

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The purpose of this essay is to compare and contrast two sculptures. The Statue of Memi and Sabu, dated back to ca. 2575–2465 B.C., Egyptian; and the Seated Statue of Gudea dated back to 2150–2100 B.C., Neo–Sumerian period.

These sculptures were created together by sculptors and the ritual specialists. This work of art belongs to the motivated class

The first artwork we were required to find was a Grave Stele. The one that caught my attention was titled Gravestone of a Prominent Family. It is a 59-inch Greek stele made out of marble which dates back to 150 B.C. It was made in Smyrna which happens to be present day Turkey. When I saw this stele, the first thing that caught my attention was the sunken relief and the four different figures in the middle. The stele itself is a very detailed work of art. At the bottom of the stele, there is Greek writing that honors the family. In the middle there is the sunken relief aspect of the stele. It displays what seems to be a family standing around a torch. On the right you can see the women figure standing holding a tall torch, while on the left you can see the man figure with two children around him in

The Harvester’s Vase is one of the “finest” examples of Minoan pottery along with other notable Minoan works such as the Chieftains Cup and The Boxer Vase Rediscovered in the ruins of the Hagia Triada, an Minoan settlement in 1902 The Harvester’s Vase, is beaufiful and rare artficact of Minoan culture, the artist is unknown but it is belived to have been created around 1500 BCE the height of Minoan civilzation. But this isn’t any old vase, in fact it is not vase at all, according the art historian John Forskyse, it is a stone scupluture made up of steatite or soapstone, (a metamorphic rock made up talc and magnisium) a very common stone for carving during this time.

This week we discovered Cycladic, Minoan, and Mycenaean artworks. I will be discussing the art of Figurine of a Woman, Young god, and funerary mask. I will also reveal important parts from the videos, “The Minoans: Ancient Civilization of Crete”, “Mycenae”, and

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

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

The Greeks took care of the dead by washing them, putting them in tombs, and bringing offerings to their grave. The women’s role was to wash and wrap the dead bodies in cloth. They also decorated them with flowers and herbs. The men dug the area in which the body was to be buried. On this first piece of pottery, it looks like people are walking as if they were in a funeral procession. Women are surrounding the dead person and men are following the women. The pottery has a top that looks like a funnel which comes down and narrows out into a long neck. At the bottom of the long neck it starts to get wider and forms a shape that looks like a vase. The vase sits on a very small pedestal. On the sides of the narrow neck there are two handles that look like very long and thin wings. On the neck of the pot, there is one women standing there. The design above her head looks like a wreath. She looks like she is crying over a body. She is on top of everything that is on the pottery which leads me to conclude that she is an important part of this piece. The dead person may have been her son or husband. At the bottom of the pottery there is a design that looks like black spikes. The pot is entirely black with the picture in gold paint. This pot was called a Loutrophoros. It was used for holding water to wash the dead body. After the body was buried, the Greeks put offerings on the graves of the people who have passed away. This next

Hellenistic sculpture became more varied in subject matter and style. This period of time was “characterized by a strong sense of history” (Hemingway). This era is known for its innovation, expansion

The Western Asia Minor Funerary Stele is one Greek stele that falls under these distinctions. (University of Pennsylvania Museum of Archaeology and Anthropology) It is from Asia Minor (part of the East Greek World) during the 1st century BCE. It shows the deceased, a man, lying on a dining couch under an arch. He is leaning on his left elbow and holds up a funerary wreath with the right hand. It is said that the woman on the left is his wife. She appears to be thinking, probably of her dead husband. There are also two attendants, one on either side of the arch, and a table in front of the deceased loaded with food. This stele has all the distinct characteristics (mentioned previously) of the grave-markers from the eastern part of the Greek Empire. The architectural elements (the arch), an image of the deceased (the man on the couch), the broad rectangular shape of the stele, and the "Death Feast" are all present within this stele. (Rothermel 354)