Parthian Rhyton Analysis

This sculpture is carved from the sacrum bone of a now-extinct camelid. The sacrum bone is the large triangular bone at the base of the spine. The sculpture was handmade. Geologists argue that it was carved with a sharp instrument. The two carved circles which represent the nostrils are perfectly symmetrical.

When creating his art pieces, Goldsworthy uses all materials of the natural world such as twigs, flowers, snow, stone, leaves and ice. He only uses natural materials found

Simply a smooth round surface lies within the eye socket. They are in the shape of footballs with a distinct eyelid surrounding them entirely, and a rigid eye brow structure is placed directly over the top. The forehead gracefully goes upward from the brow without a single crease, and it slightly rounds outward. The nose is perpendicular to the eyes, beginning where they meet in the middle. It is overly thin on the brim, protruding greatly from the face. Two half circles flare out at the lower tip of the nose with openings at the bottom to resemble nostrils. Directly below this, two almost rectangular shaped characters emerge from the face, exactly where a pair of lips would sit. There is a deep gap between the two to give it the image of a mouth.

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 Striding Apis Bull is 18x22 7/8 inches. It is carved out of Serpentinite and has a dark polished look to it. The body structure of the bull is carved in proportion and has a nice smooth surface. The shape of the bull is very round and natural. However, below its horns on the back of its neck there are rough white lines that have been carved out. I can clearly tell that these lines have symbolic meaning. The lines roughly cross the neck and upper back forming an interesting pattern. The bull looks as

On the right, there is a naked woman as we can see her breasts are well defined. There is a serpent tangled around her legs starting from her legs to her stomach. This piece reminds me of The Magi Asleep and The Flight into Egypt because of the plant like leaves all around the sculpture. Both Magi Asleep and Flight into Egypt have plant like features on them and all three of these sculptures look to be engraved and sculpted pretty similarly. We can tell that this unknown sculpture is Romanesque because even though the demon and nude woman aren’t wearing clothes that we can use to describe the body movements and how the clothing drapes with their figure, we can look at the surrounding objects. The hairs on both figures are unruly and untamed, and we can see how the hair on the woman curves with the waves and the demon’s where it flames outwards. We can also see the objects between the demon and woman clearly, with the way the sides and the curvature of it are evidently

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 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

The piece was made out of marble using a hammer and a set of chisels. As with Greek sculpture, the Romans worked stone, precious metals, glass and terracotta but favored bronze and marble above all else for their finest work. Over the years the bust has many rough spots and a few chips.

The sculpture was “originally cast using the lost-wax technique, with the horse and rider cast in multiple pieces and then soldered together after casting” (Becker 2). The artist was able to create the appearance of motion in this work of art. The horse that Marcus Aurelius sits upon is a superb example of “dynamism captured in the sculptural medium” (Becker 2). The position of the horse’s forelegs, the right is raised and bent at the knee while the left is firmly planted on the ground, as well as the musculature of the horse’s body being modeled carefully, and the head of the horse slightly turned to the right with its mouth partially opened results in a talented interpretation of motion (Becker 2). Marcus sits astride the horse, with his left hand positioned to guide reins that are no longer present (Adams 231). Appearing on the left hand is the senatorial ring (Becker 5). Capturing the speaker characteristic, that partially defined who Marcus Aurelius was, the artist extended the right arm away from the body in the “conventional gesture of an orator” (Adams 231). Signifying his status as a philosopher, his beard imitates the Greek style by covering his cheeks and upper lip while being longer at the chin region and divided down the center (Becker 4). The artist sculpted an oval shaped face with a distinctive arc over the forehead. Using heavy

The Eagle-headed Apkallu Guardian Figure is a low relief sculpture from 883-859 B.C. Assyria. Made from gypsum, this sculpture measures approximately 42 1/8 inches tall, 26 inches wide and 1 ½ inches thick. The sculpture is mounted on the wall of the dark, navy-blue painted Antiquities section of the Museum of Fine Arts Houston, dimly lit by the luminance of showcase lights. The guardian figure watches over the room as visitors pass through the archway between two exhibits of the Museum of Fine Arts Houston. In The Eagle-headed Apkallu Guardian Figure, the artist uses compositional choices, stylistic

The first thing I noticed is a young two to four years old white boy on the right side of the painting. His left arm is around a male lion, and his right hand is holding a stick with some blue berries that resemble like grapes. At his right food is female lion and lamb laying on grass. Behind the lioness and the lamb is a hollow trunk of half a tree with yellow tree, a vine with the blue grape-like berries, green bushes, and hill that has orange tree and hollow tree trunk. On the boy’s left side is a white goat with black spots and leopard laying down on the dirt ground. Behind the male lion is a

This is a black figure amphora painted by Exekias, dated to approximately 520 B.C. Depicted are Ajax and Achilles, playing a board game. Both the armor of Achilles and Ajax have very precise detailing that was a difficult feat, showing Exekias’ superior ability of craftsmanship. While these two soldiers were on the same side of the Trojan War, they carried a personal rivalry which

The Aye-aye has great eyes, black wool, large ears, and an extensive and shaggy tail. The body is 16 inches large plus its tail that is two feet long.

The Earth’s Skin is like a city immersed and covered with silver and gold, or gold-threaded tapestry, its surface broken by shimmering red swags and black folds. Distance made a difference in understanding this artwork. As you move close we can see that the whole glinting thing is pieced together from countless tiny parts: pieces of colored metal pinched and twisted into strips, squares, circles and rosettes, linked together, like chain mail, with bits of copper wire. The beauty of this artwork is matched by the pleasure of recognizing that its magic is made with discarded bottle tops. The creation of the artwork is mainly done using liquor bottle caps. I got attracted to material that has had