Pandora And The Gods, Pan And Satyrs

440 BC. Like the other, it is a red figure bell krater featuring Dionysus. In this depiction of Dionysus he is again seen holding a thyros but unlike the previous vessel instead of the presence of vines we see him holding a wine cup (kylix), which is a very common attribute of the god. To the right we see a satyr playing the flute. The satyr could be one of the Titiyroi classes of satyr as he shares many of the main characteristics of them, such as the flute and his tail. To the left of Dionysus stands a woman holding a wine jug (oinchoe). It is hard to tell who this woman is, as there are many possibilities. She could be a maenad for the reason that maenads show up in a lot of artwork with Dionysus. However this would not be a normal showing of a maenad. Maenads are usually seen holding a thyros, wearing a wreath of ivy, holding a musical instrument or wearing some kind of animal print. This woman could be Ariadne, the wife of Dionysus. In Greek artwork, Ariadne is often seen with Dionysus.

This piece of art depicted the interaction between Dionysus and Pan in a form of sculpture. The sculpture was created from beautiful marble in A.D. 50 – 150. The work is three

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

The myth of Pandora starts with two brothers, Epimetheus and Prometheus, who were Titans that tasked themselves as spokespeople for their creation from clay: mankind. Epimetheus was in charge of creating the creatures that were to roam the Earth while Prometheus was to distribute them. While most animals were armed or protected by their physical attributes, man stood alone naked and bear to all those that may attack. Thus, Prometheus, the mischevious of the two, deceived Zeus one day into giving mankind the best portion of a sacrificed bull, leaving behind bare bones and fats for the gods. Outraged and offended, Zeus then took the gift of fire away from mankind to leave them in the cold and darkness. However, Prometheus once again outwitted Zeus and stole unwearying fire for men to have the intelligence necessary to sustain their lives. As punishment, Zeus chained Prometheus to a rock in Caucasus where an eagle ripped apart and devoured his liver every day, which then regenerated each nightfall as result of his immortality. Although Prometheus caused him the most angst, Zeus believed the kind-hearted Epimetheus deserved to struggle as well in a form that would not only punish him but also the brothers’ creation of mankind. Zeus called out for Hephaestus to construct the most beautiful, intelligent, and brave women named Pandora to be the new companion of Epimetheus in place of Prometheus. However, he also graced her with one other quality: curiosity. So, Zeus delivered his

The title of this piece is “Torso of Aphrodite/Venus”. This piece was discovered outside of Rome in 1771. Afterwards, it was purchased by a wealthy English collector, who displayed it in his home. Today, the piece resides at the

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

And Greek mythology is embodied in a large collection of narratives, and implicitly in Greek representational arts, such as vase-paintings and votive gifts. Greek myth attempts to explain the origins of the

The era this piece most represents is the Renaissance art in the fifteenth-century Italy. It goes best with this era because of its use of nudity and shape and lighting. Its use of space of sharp edges and sculpture figures. Also the use of lighting shows an almost 3-D like image. Even though this is a print it almost seems like a picture of statues. The artist also used a sense of scale and proportion in this piece. Every statue is differently scaled from the others. The body parts on each statue did not quite fit with the other body parts. Every statue is different in size, stance, and color. Also the background behind each figure is different from the other ones, in its use of color and detail.

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.

The centerpiece of the piece is obviously Mary, though she is on the right side of the painting. In one hand she holds an open bible, and she holds her other hand up in prayer while she is looking down with her eyes almost completely shut. She has a halo surrounding her head as gold rays shine down on her

sculptors commissioned by Attalus I after his victories over the Gauls of Galatia. This is a statue

The story of Pandora, shows that the nature of the Greek gods is actually one in which the gods will have vengeance if you deceive them. In most religions gods are used as a sort of symbol of forgiveness and goodness for there believers. However, in the Greek system of religion if a human messes with a god or their territory the god will have vengeance. So this shows that the Greek system believed not in the forgiveness of their gods but that their gods were all powerful and could wipe out the whole world if they wanted.

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

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive