Silver Outreaching Technique Analysis

The artifact functions as a music box and was a prominent instrument during the Sumerian age and was most commonly used during funerals. In addition, since the piece of work was found in a royal tomb, one can further assume that it played a role in ancient funeral rites or banquets13. The Epic of Gilgamesh, explained earlier, could have also played a role in the development of this piece since it was a large part of literature in the Sumerian age. Even though the poem was written down hundreds of years after this plaque was created, it could be evidence for the first documentation of a long oral tradition13. Although there is no known patron of the work, it was most likely intended to be played and seen by an audience and give respect to the dead. In contrast, the Lapith Fighting a Centaur was apart of the Parthenon and had been widely known for centuries; it wasn’t a recent discovery. The relief, along with the 96 others on the building, depicts a legendary war between two factions. Even though these were mythic tales, they played a large role in Ancient Greek lives. The reliefs were created to most-likely educate the people of Greece about their gods and to recreate their religious

David is holding Goliath’s head in his left hand, and the sword in his right. His face has a nonchalant expression on it while he is holding the head as if he is not impressed or phased by his decapitated head. There is more variety with David’s human-like face and Goliath’s green and bleeding face. There is unity in the similar color scheme, but the visual elements are varied in order to achieve intricate and complex relationships in it. The piece is asymmetrical with david taking a large portion of the left side, however there is

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 legal, cultural, and structural developments during the Roman Empire (753 BCE- 476 CE) have had an effect on Western civilization. Influenced by the ideals of the ancient Greeks, the empire lived through many worldwide transformations that changed the way in which emperors governed and ruled the Roman people, and these adaptations can be seen in the style of artwork in each Roman reign. One of the most notable changes in art style is in the Late Empire Period, during the third and fourth centuries, where the change in government, from imperial rule to the tetrarchy, led artists to focus on the message of the piece rather than the individual represented, and become more abstract and geometric rather than classical and individualistic.[footnoteRef:1] Another notable period of change was under Constantine I, who overthrew the tetrarchy, and was the first Roman emperor to embrace Christianity. [1: Marilyn Stokstad and Michael W. Cothren, Art History. 4th ed., Vol 1 (London: Laurence King Publishing, 2011), 207.]

Its architecture has Greek form with a high structure of marble that shows off a large frieze portraying an epic battle on the base’s walls. The cracked figures on the frieze fight violently against each other, and even with the test of time, their features are descriptive and their faces show much varied expression. The most impressive part of the Altar of Zeus is the sculptural frieze depicting the struggle of the gods and the giants. It is clear on the altar’s frieze’s that the artist/sculpture of the alter worked towards a natural view of the characters on them, borrowed from the classical period but sculpted them to be in more of realistic portrayal. The construction of a frieze seemed to be a fairly popular architectural enhancement at the time; this outer frieze is one of the most famous. The sculpted figures on it create a new height of Greek realistic representations and architecture in modeling, composition, and expression of emotion. The emotions of the figures are one of the aesthetics that makes the frieze so unique and beautiful. As the battle scene is unified; the winning and losing sides are clearly cut. The artist makes the battle and its characters easily perceivable. The look of suffering in defeat is on all the giants’ twisted faces. Drastically opposite is Zeus and his fellow gods who are seen as completely expressionless. The overall style of the frieze is very intense, to say the

Correlation of the Obelisk with the Old Temple is figuratively supported by Julio Tello’s stylistic comparison of the monument with the Lanzon, which was another key monolithic art at Chavin. The Lanzon, however, is still embedded in the compound of the Old Temple in Chavin as it secures its temporal placement. Rowe’s characterization of the monument at Chavin entails a representational and conventional meaning that results from its multiple conventions that make it difficult to decipher (James 8). The conventions include repetition, the artistic employment of standardized measures, symmetry, and metaphoric or substitutional representation for instance,

The hands that created the plaque The Mourning Athena used the subtractive method and was carved into Marian marble. The art piece Plaque: Warrior and Attendants used the casting technique, formed by melted brass. Brass and Bronze casting technique are still used today which has allowed many of the art pieces from the Classical period to still be preserved today in modern museums. The Mourning Athena and Plaque: Warrior and Attendants were both created during the peak of their society, which flourished in many aspects of creativity.

Not only does the viewer have a greater visual reality of the room that is depicted, but it can be also seen as if the viewer is standing in the back of the room, as if they are a part of the painting itself, witnessing this scene. This has a large significance of adding the viewer into the space and simply creates some sort of connection that the audience can create as if they are involved within the event that is taking place (Hicks). The mirror also shows what society was like at this time, because of the fact that only the privileged were able to see their own faces and their own reflections (Hicks). In general, the mirror simply represents “a human love affair with

The dominant visual element that stands out in this Gentileschi piece is emphasis/focal point. It is clear that she wants the viewers eyes to be drawn to Esther. She accomplishes this first through tonal value. Gentileschi uses chiaroscuro to illuminate Esther’s face and causes her to be the focal point of the piece. Esther is also emphasized through implied line. The king and ladies eyes direct the viewer towards Esther. The asymmetric balance also accentuates Esther.

Plate! is a sketch of Moses' Tabernacle as it is clearly described in the book of Exodus from chapters 24 through 40. It was received

Mosaic art in the Middle Byzantine period was focused

The Christ Pantocrator, the base is made of a special wood board., In this Mosaic art, numerous materials are used to developed colors, styles and outlines, mostly, small pieces of painted stone. The artist of this piece of work also used a lot of rare minerals, colored glass, handmade tiles, and/or seashells. Just like in this painting, blemish types of technique painting was used in many of the Byzantine arts. The artist will normally start with geographical lines, into the gesso, or paint the lines, taking special care of detailing with the facial features to get the right emotions. The wood is covered with the plaster and the image is formed by arranging small colored stone or glass pieces and affixing them to a hard, stable surface

Gerome effectively used scale, contour, texture, and aerial perspective in his painting. The gladiator stands high and tall in the foreground of the painting, whiles the Emperor and people in the stands pale in comparison to the gladiator in size. Also the detail of the gladiator is much more in depth than the detail of the common people in the background. Gerome also placed the gladiator in front of objects in the background, which have a paler, bluer hue to them. Gerome's excellent use of perspective allows him to bring even more of a sense of realism into the painting, which is absorbed by the viewer, making the scene even more realistic.

In the case of The Eye, there were however some reflections involved beforehand, as it was his first artwork to be not only commissioned by an important institution, but also one to be installed in a public space. Simply in term of the matter, The Eye diverges from his usual pieces, which are made out of various materials giving an eclectic and ephemeral element to his compositions. Made out exclusively of one substance, bronze, the statue digresses from his style mainly because of technical constraints, as it must remain in front of the museum for years. Altmejd also mentions being concerned by making such emblem, as he wanted to create something so impressive and shocking it’d have the power to make people cease their walking and stare at

For the painting, I chose the two other golden means we had discussed in class besides the golden rectangle. I used the first one because all the faces in the painting fell on one of the lines. Most of their eyes also follow the line. I used the second golden mean because the faces are placed along the horizontal line and the diagonal line. The bodies of the men in the painting are also placed along the arc.