Mythical Creatures in the Sculpture, Legend and Myth by Damien Hirst

This sculpture was one of Mene’s most famous pieces of art work. This sculpture was first put out for viewers to see in the Paris Salon in 1952. The public went nuts over this sculpture, later this sculpture was made in three different sizes. The sculpture in my presentation is the smallest one made and is considered a miniature. In this sculpture both horses are stallions, whereas in the original sculpture it showed a mare and a stallion. Still to this day this piece of artwork is very popular in demand.

As for the forms within the painting, they are realistic, and never flat. The horses are spherical and appear to be very strong; the lion 's claws are immense and tear blood from the flesh of the person the lion attacks. The forms are well accomplished and reinforce the drama of the scene, which the artist meant to depict. All of the shapes are meant to be full to provide weight and seriousness to the piece. None of the forms are lightweight or ethereal, even the clouds are giant and full. Most of the figures have significant shadowing and strips of highlight to deepen the distinction between the dark and lightweight colors.

From my observation at the Met, this sculpture is inside a medium glass and space. Also, it is by itself in the glass. It is a three-dimensional sculpture created by modeling and merging hard materials. Next to it there are other deities (Vishnu, Parvati, Ganesh etc.) and sculptors from the Chola Dynasty. The other works near it complements the sculpture as I have stated above they are from the same time period so, they are related to each other some way and

I am comparing the Egyptian painting a Ti Watching a Hippopotamus Hunt (Page 66 Figure3-15) and the Minoan painting of the Leaping-Bull (Page 89 and Figure 4-8). Ti Watching a Hippopotamus Hunt is a relief from the Mastada of Ti in Saqarra, from the Fifth Dynasty, it depicts Ti standing taller and motionless, while his servants are small and are hunting a hippopotamus rich water. While Ti standing tall and motionless represents, his rank and the fact that he is an observer to life. The servants hunting the hippopotamus rich water, or successful hunt, is a metaphor for the victory over evil. The humans depicted in the painting are blocky and painted on limestone. While in Minoan art, the Bull-Leaping, located in the Place at Knossos, it depicts

To start at the beginning or the Canon of these works of art would be to go to the Prehistoric times. To give some background about this time, the prehistoric period was art found when people were still living in caves and just starting the first civilization of humans. According to Smarthistory.org the oldest collection of ornamentation was found in Africa and being over 82,000 years old. The sculpture I'm going to be talking about from this period is the sculpture called “Lion-Human”. The Lion Human to me looks like a tall older man with the characteristics of a lion with a long mane with a long pointed nose. The artist used expressionism to show that the man had the qualities of a man but also had the inner workings of a lion. It was probably how he

The piece I will analyze from the previously mentioned gallery is Saint George Killing the Dragon by Bernat Martorell which was made in 1434/35. This piece is a painting made on a support of panel with a media of tempera and stucco. The main subject of the painting is a man wearing armor on a white horse. The man on the

Greek art, especially sculpture, was a common way to explore and reach past the confines of mankind’s natural appearance be it through penises, huge muscles, or generalized unrealistic body standards. Hercules and the Hydra, a sculpture by Mathias Gasteiger, presents an image of masculinity through the expressive posture and form of Hercules once you look past those gleaming bronze pectorals, and into the intricate details of the piece.

Brancusi's revolutionary reversal of the base from passive podium to generative element has likewise informed Didier Vermeiren, who is best known for his large corpus of works based on the assemblage of two identical pedestals. In Vermeiren's so-called pedestal on top of a pedestal, pedestal and sculpture form replicas of one another. Elevating the element that is ordinarily used for the display of works gauged more valuable, all these artists have cunningly received, aesthetic orders. In the process, they have problematized and restructured the power relations between high and low, aesthetic and functional. Similarly, in different versions of the Endless Column, Brancusi played categories of pedestal against sculpture, and sculpture against architectural unit, until formal and functional elements performed an intricate self-cancellation. Unquestionably, next to the producer of the readymade, Brancusi was a legitimate "transformateur Du Champ."

This is a full round/free standing sculpture made from brass, and it is entirely black. It is a sculpture of a Native American riding a horse going down a very steep side of a mountain. The Native American Indian have very long hair, and he’s wearing a very thick wool hat. His face look really tired and calm. He’s wearing a collared button up shirt and a jacket over it, and his outfit includes shredded design all the way from the sleeves on the jacket to the ankle line of the pants. He carries a small side bag hanging from his shoulder, and on top of that, there’s a horn of some sort of animal being. In front of him, he has his shot gun sitting side ways across the back of the horse. On the other hand, he has a huge bag tied behind him, which

Artist Damien Hirst released his representational sculpture “End Game” between 2000 and 2004. The sculpture was made using glass, stainless steel, human skeletons, and medical equipment. In the sculpture Hirst intends to emphasize the fragile state of mortality and human kind.

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

Nike of Samothrace is a sculpture from 190 BCE, first found on Samothrace, a Greek island, in 1863. This statue is a female figure with wings, wearing a flowing gown. It’s said to represent Nike, the Greek Goddess of Victory, and her winning in battle. It shows various elements of the Hellenistic period, such as the use of space and dimension. The Snake Goddess is a 1600 BCE figurine found in 1903, in Knossos, Crete by the British archaeologist Arthur Evans. It’s made of Faience, a glass-like material, and it shows a large breasted women whose holding two snakes on each of her hands supporting a feline-like figure on her head, and it’s wearing what seems to be a long layered skirt with a metal looking accessory or girdle on her waist. The biggest similarity between these two sculptures is that both represent femininity through this new sensual female form as well as strength, and both sculptures are

Using recognizable forms cast in lead, built in wood, plastic, steel and and wrapped in sheet lead, I propose to display a sculpture that alludes to the relationship between contemporary sports and medieval warriors. With symbolism and metaphor, I am creating a sculpture that signifies the progression or evolution of physical competition.

Culture differences in the world are reflected in the novels from different regions of the world. Arabian Nights is a novel full of Arabian stories and folktales gathered from the Islamic Golden Age, while The Journey to the West, also known as “XiYouJi” is a Chinese novel full of folk tales from the Ming Dynasty. The Journey to the West is now a popular cartoon and storybook for children in China. These two novels differ slightly in characters, and religion, and the historical context, but they both have the same underlying principles. Mythical creatures are almost always literary creatures that generated popularity out of literary circulation and storytelling.

In this paper I will be analyzing the gilded bronze statues of Hercules (from greek Herakles) created in the 2nd century BCE in dedication to demigod’s accomplishments. While the two sculptures are extremely similar, they yield minor differences that can easily distinct one from the other. Hercules was regarded as the strongest greek hero there is, but despite his unparalleled strength appeared to be a regular human. While both statues remained in Rome, one statue was found at the Forum Boarium, the other was buried under tiles at the Theatre of Pompey with the inscriptions “FCS” short for fulgor conditum summanium, meaning it had been struck by lightning. Despite being a product of Roman sculpture, they were based around Greek models from the 4th century BCE. After its creation it was displayed at the Forum Boarium in Rome for most of its existence, Romans claim that it is also where the cattle market took place. In his right hand he yields a club, his distinctive symbol alongside the Lion skin. Its also important to highlight the fact that the statue found at the forum he does not have a lion skin hanging from his forearm, whereas the one found at the Theatre of Pompey he does. The Nemean Lion skin was the fruit of his first labour composed of three tasks. First he had to shoot an arrow at the beast and determine the speed at which it strikes the beast given the angle of elevation and the distance. Second, using a set of polygons to stack tiles block off the cave mouths