Luigi Lanzi

Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way of dating and classifying.” (Pg. 16) However, what Beard’s main argument suggests is that it is not the artists that help us understand the importance of the vases because even if a vase is assigned to a specific time period or artist, there is

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

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

The Harvester Vase was found in Hagia Triada on the island of Crete. This vase is from the Late Bronze Age, dating from 1550 to 1500 BC. The vase was originally made in three parts and was fitted together. The face is oval shaped and has a vessel on the top. The vase was carved on brownish steatite. The vase was originally glided with gold and hammered to paper-thin thickness. This piece is decorated with low-relief sculpture and shows a unique scene. The piece has pictorial designs. The composition is powerful, rhythmical, and lively.

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

A painting that caught my eye while in the museum was “The Mass of Saint Basil” by Pierre Hubert Subleyras, which was displayed in Gallery 620. During my observation of the piece, I found qualities that matched the “Bronze statue of Camillus (acolyte).” Similar to the sculpture, the scene on the painting is held in Rome and is portraying a religious Roman ceremony. I was intrigued with the robes and open-toed sandals that the young men on the side were wearing. Not only were the outfits similar, but also the men on the side, and the sculpture of the young boy have the same short and wavy hairstyle. Both pieces are Romans in religious episodes, offering the viewer the impression that this is proper attire for the Romans during this period. Therefore,

The Patera found in Greek South of Italy during the Archaic period c. 500 BC. Was a shallow pan made from bronze with a Kourous figure as it handle. This research essay will work to prove how the form of the Patera served a greater purpose to it functions through its significance journey through the craftsmanship of bronze, superior status of the Kouros and multipurpose usage it served. The bronze material which the Patera was crafted from is a valuable resource to the Greek and Romans. It is primarily used in Greek and Roman art because of its tensile strength, thus validating as to why the Greek and Romans were possessive over the material. Furthermore, its unique handle of the nude Kourous

The Metropolitan Museum of Art or The Met, for short, can be described as a place of extraordinary value to the study of the fine arts. The Met was established in order to encourage the study, application, and practice of the fine arts. As a result, numerous professors advise their students to visit The Met. Thus, it is for this reason on the 18th of March that my brother and I traveled to the museum with the purpose to analyze artwork from the Italian Renaissance, especially those that were created in the fifteenth and sixteenth centuries. Upon obtaining entry to the Metropolitan Museum of Art, I was intrigued by the vast amounts of artwork present before me and immediately began bask in the beauty of the sculptures, paintings, and sarcophaguses.

When an audience views art, they see it to understand the history and the subject matter of the time it was created; although a work might be cleaned and primped to put on display, the work is expected to be a complete snapshot of something lost in time. However, Dr. Bettina Bergmann, an expert on Greek and Roman art, argues that this is not the case. In her article, “Seeing Women in the Villa of the Mysteries: A Modern Excavation of the Dionysiac Murals,” Bergmann takes her readers on a journey that exposes how the archeological practices of the 1900s and 1930s on the Villa of the Mysteries have been damaging to the frescos through illegal art smuggling, slipshod yet necessary efforts of preservation from the elements, and the attempts of monopolizing theories behind the creation of the painted

Derived from the Greek word for water, the hydria was a clay jar used for the collection and storage of water during the advanced construction of aqueducts and fountain houses in Athens, rather than wells. Similar to others of its time, our hydria is made with terracotta and black paint. Terracotta, Italian for “baked earth,” is a ceramic (glazed or unglazed) where the body is fired and porous. While not watertight, surface-burnishing and paint or glaze can decrease its porousness and seal the material to become impermeable. The earliest vessels typically have a wide body and broadly rounded shoulder. Our hydria is approximately 17.5 inches tall (to rim) and 16 inches wide (diameter with handles). It has three handles consisting of two different shapes: A large vertical handle on the back for carrying the hydria when empty and for dipping and

The shape of the vase is squat and a rounded hollow shape with stout handles that curl upwards to help with handling. It looks to be high-sided and broad shouldered for a functional purpose. It has a low foot and low red waved patterned neck described as ‘maeanders’3 and lip. After looking on the British Museum website, the image is seen with a decorative lid that is substantial to ensure the protection of its contents.

This report is presented by archaeologist Annabelle Green who excavated an Oriental amphora in Corinth, Greece in 2012. The amphora demonstrates life in Ancient Greece such as trading arrangements between other empires influencing Ancient Grecian artists and objects.

Since the beginning of art, typical mediums have consisted of oil paints, marble, pastels, and charcoals. As time has progressed, and aesthetics have changed, so has the extensive list of mediums found in art. One medium in particular, known as the use of “found objects” has become increasingly more popular since the days of the Renaissance. Found object art can be as straightforward as Marcel Duchamp’s “Fountain,” which is a urinal fountain that is simply orientated sideways and signed; this, bordering the line between art and an object from everyday life, brings forth many questions and lots of public controversy. Art has always caused this same controversy, but one main argument frequently surrounding found objects is the extent unto which the piece must be abstracted or reincorporated in order to be considered “art.”

Throughout history, Roman art has had a great impact on what we call art today. Through their sculptures, architecture and paintings, the Roman artists have uniquely imprinted their style. In particular, the Roman wall paintings evoke the wealth and splendor of the palaces and pavilions of rulers. A great example of this is the wall paintings from a Cubiculum Nocturnum from the villa of P. Fannius Synistor. This villa, in which the paintings were created, is in Boscoreale, a commune in Italy and is about a mile north of Pompeii. These paintings are from the Late Republican period and are dated back to ca. 50-40 B.C. Today, these wall paintings are located in the Metropolitan Museum in New York City, New York. The medium is fresco paint on dry plaster and its scale is large. The depiction of these wall paintings, which was located on the walls of a bedroom, would have been used by the owner to show off his wealth/ status and exquisite taste, as shown by the use of bold colors and designs.

The King Carlo di Bourbon arrived in Naples in 1734, as its first resident Monarch after over two centuries of successive foreign domination (Echlin 2014; Salmeri 2007). He brought many collections of artifacts to his palaces with him, setting the trend of considering art and ancient objects, or antiques, as valuables (Echlin 2014; Salmeri 2007). Turning to art and culture, the King tried to compensate the lack of military resources with an ancient inheritance represented by art and culture (Echlin 2014; Salmeri 2007). The dynasty followed the trend of collecting art, as well (Echlin 2014; Salmeri 2007). The discovery of a vast treasure buried by the Volcano Vesuvius and subsequent excavations at Herculaneum (1738) and Pompeii (1748) happened in this context of craving for antiquities and art (Echlin 2014; Salmeri 2007). The antiquities were in such a good condition that the fame of these treasure attracted a myriad of amateurs to the region (Echlin 2014; Salmeri 2007). Everything