Greek Black Figure

It is easy to see how the image can convey many different concepts based on perception of individuals. When looking at the image it is typical for the eye to be drawn to the bottom right corner because of the dark sketch lines. While reading through the limited amount of text provided it guides the reader into the concept is wants to convey. However, by the use of images one can get many different thoughts and ideas without the restriction of words. The language used on this page discusses the “QUEST FOR REASON”, “THE FEAR OF THE UNKOWN”, and “DEPTHS OF LIGHT”, and these ideas can all be seen solely through the image.

Adopting an Approach has many strong arguments and claims throughout the manuscript. Particularly in the beginning, Beard does a great job of enticing the assumed college-level reader and relating to that specific audience. She does this when explaining, “understanding the images around us,” by talking about a French perfume advertisement. By doing this, she relates to the age group that would be reading this manuscript by combining something that they might be familiar with, to something they are unfamiliar with. Although this is initially a strong way to go about attracting the reader, it needs to be done at the right moments. On pages fourteen and fifteen, she gives many more unrelated examples, which ultimately, causes the reader to forget the original point trying to be made. Beard’s claim needed to be made quicker, before the reader loses sight of what the article is about. If this article were to be published in the Undergraduate’s Guide to Art History, I would eliminate a lot of the extra examples that aren’t necessary to get

Choose a work of art from the reading in Chapter 1. Discuss how the work is a reflection of the ancient culture that created it. Also, did anything particularly surprise or impress

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

Additionally, she used relevant illustrations as evidence after explaining the significance of each artwork. Engstrand would reference which photo was explaining after each paragraph to make it easier to reference what she was talking about. Unfortunately, I dislike how the work was pretty confusing to me. She would jump from one artist to another and I did not know if she was going straight to a new person or if they had a relation to the previous person she discussed. Additionally, after a while all the different names got confusing so it was hard to keep track as to who was who. Unless I missed it, Engstrand also did not seem to discuss the overall significance of the time period, leaving me to wonder why all this work is relevant in the first place. The author could have made the work stronger by adding in smoother transitions from artist to the next. Additionally, as all the names got confusing after a while, it seemed as if she could have excluded some that were not of high importance to the

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

From the St. Petersburg Museum of Fine Arts to the Metropolitan Museum of Arts, this paper will analysis and compare the visual aspects of the Red Figure Volute Krater (330-320 BCE) and the earlier Terracotta Krater (750-735 BCE) about their similarities and differences that extend across time. Along with the two kraters we will also discuss the quality of St. Petersburg Museum of Fine Arts’ environment.

The article by Robert Bagley Meaning and Explanation deals with the problem of meaning identification of the artworks' elements. The piece of writing focuses on the analysis of the interpretation of the decorative elements on the Chinese ritual bronzes. This issue has caused numerous discussions that seek to come up with a single idea concerning the question whether those religious vessels have the meaning or they are just decorations with no symbolic meaning at all. With regard to this, in this article, the author rebuts the idea expressed by K.C. Chang, who believes that every religion-connected decoration should have a meaning and obligatory represent the ideology of the people. Robert Bagley provides substantial evidence in terms of sharing

This paper focuses on two cultural artifacts and portray the differences between China Western Han dynasty (206 BC-9 AD) and Athen, Greece (ca. 50-540BC) vessels. To this end, this paper will provide insight into skilled vase techniques between two cultural regions.

In this example Artefact B is painted in the style known as black figure. This was the dominating style throughout Mediterranean pottery from C. 625 BC until C.475 BC (Cartwight, 2012), when red figure overtook this style in popularity.

1. Introduction: Greek and Roman name of the god (and origins of name), the title of the god, a list of any important powers the god has, and a brief description of where the god can usually be found (where does the god spend his/her time in most myths?).

The Black Figure style included painting black figures upon an orange background and then incising additional details for further distinction of the characters. Flower-like patterns were used to decorate the brims of the pottery, and specific colours were painted on for particular purpose. (White was generally used when painting female skin, black was used when painting a male’s skin, and purple and red were used for clothing and embellishments.) Pottery artists also first begun inscribing their signatures on their own work throughout this era. These features can all evidently be identified on the amphora as there are two wealthy women using a Greek loom to spin and weave cloth. The designs on the amphora have been painted with relevant colours and the appropriate use of floral patterns have been illustrated around the edges of the amphora. The artist’s signature is also evident on the base. The first signed amphora dates back to 570 BC. A large number of other individual painters have been identified with confidence through their signatures. (artists usually signed their name as ‘...... made this’.) as time progressed, Black Figure pottery became exceedingly popular all through the rest of Greece and was used by many other Greek artists when painting Greek

During the Upper Paleolithic era artists created a wide range of small sculptures. These sculptures were made from various materials, including ivory, bone, clay, and even stone. They represented humans, as well as animals; they even combined them at times. Most of the sculptures from this time show a high level of skill. From this time, there were two very influential sculptures, The Venus of Willendorf and the Venus of Laussel. This paper will discuss both sculptures, in detail, as well as, compare and contrast them.

The first and oldest work in my collection is a red-figure calyx krater, a type of large vase, which was painted by a Niobe painter and is known as Artemis and Apollo slaying the children of Niobe (ca. 450 BCE) (fig. 1). The vase features a scene from a myth in which twins Artemis and Apollo slaughter Niobe’s twelve children out of revenge. One can tell this is a depiction of Artemis because she is shown with a bow

that is constantly being used through out the book. The idea of art is prominent to the reader.