Summary Of The Red Figure Volute Krater

Various pieces of art found thousands of years ago depict characters based on certain events and legends. I will be analyzing two works of art: The Sound Box of the Great Lyre, a wooden music box (33 x 11 cm) found in present-day Iraq c. 2600-2500 BCE, and Lapith Fighting a Centaur, a high metope relief (1.42 m) on the side of the Parthenon in Ancient Greece c. 447-432 BCE. The former represents a bull with a low relief under its head, depicting animals mimicking the lifestyle of humans. The latter exemplifies a nude man struggling against a mythical creature that is half-man half-horse2. Although these works are from across the world with completely different cultures, they both have similar

he Harvester’s Vase, a fascinating 3500 year old stone sculpture from the Aegean Bronze Age was a product of cultural interactions between the Minoans and the outside world. The vase is “unprecedented” in ancient art history due in part to the animated facial features and accurate human anatomy, thanks to the Minoans long history in making art and their mercantile economy. While Mycenaeans and Hellenic Greeks are more well-known and studied, Minoans played a huge in part in laying the foundations of Western art. Discovered in ruins of the Hagia Triada on the island of Crete. The Harvester’s vase was created around 1500 to 1450 BC, the vase is unique in that it is one of the few well preserved artifacts of the Minoan Kamares where they have

The museum placed this work in the Discovery Room on the 6th floor, approximately six to seven feet off the ground in a glass case. Although the work contains only a head, a neck, and a suggestion of shoulders, the presence of smooth skin and a relaxed brow exemplify the kouros style. The sculpture is crafted from a creamy, off-white marble but it is unknown if there are any traces of paint. Further, the sculpture measures

However, the result of the Vyses concentration expended on the production of the stoneware vessels and attendant ash-glazes culminated in the re-working of the figure group Morning Ride. Even so, it is difficult to understand the reasoning why Vyse found it expedient to remodel this figure rather than devising an additional composition, and Marsh, in his Walker’s article, does not mention it. Indeed, this present model is occasionally mistaken for the 1925 original (Fig. 62). Furthermore, the 1929 model should not be viewed as a previous model bearing a similar title. In sculptural terms, this edition is a pointed up version of the original. Doubtless, Vyse expended much the same industry in the as he had done when modelling the smaller 1925 version. The present version, thought by collectors to be the suitable of the two, and possibly justification for the time

I went to the Cantor Center for Visual Arts on Stanford Campus on 2/28/13. I saw a lot of sculptures and vases there. They are very beautiful and interested. The most interested one I think was Kleophon Painter, “Volute Krater”, ca. 430 BCE, Greece, red-figure terra cotta vase, size 26’ ¾” * 19’ *19’. Hazel D. Hansen Fund, 12, 1972 Cantor Arts Center at Stanford University. This vase is located in the Iris & B Gerald Cantor Center from the classical period between 479-323 BCE in Greece. The Kleophon Painter is an anonymous Athenian vase painter in red figure style. The name he is named because of a youth named “Kleophon”. He is also good at Achilles Painter; a number of “black figure” works in the mid-to-late 5th

The size of the krater being the second largest artwork, at approximately thirty inches, in the room helps it stand out from other pieces, but is still eclipsed by the Terracotta Krater (750-735 BCE) at approximately forty-two inches. Size is not the only thing both kraters share that continued across time, contrasting colors also prevails in both pieces. The Red Figure Volute Krater (330-320 BCE) illustrating a white subject against a black background and the Terracotta Krater (750-735 BCE) with black subjects and yellow or lighter background. Kraters themselves are known to be used to water down wine, but with the funerary scenes on both kraters they would have been more likely used as grave markers. The placement of the Red Figure Volute Krater (330-320 BCE) being next to other grave markers within the museum helps to exemplify this as well as the information label associated to it. The use of visually encompassing the main figure persisted across time, but with slight differences. In the Red Figure Volute Krater (330-320 BCE) the main subject is surrounded by a “Naiskos”, or funerary shrine, whereas the Terracotta Krater (750-735 BCE) the main subject is covered or surrounded with burial cloth. Another visual aspect that both kraters have are figures on the outsides showing respect towards the deceased. On both kraters the figures showing respect are illustrated as women since in that era men were not to show emotions or attend the funeral. The Red Figure Volute Krater shows this by the reddish-brown figure how women were portrayed and the Terracotta Krater by small marks indicating breast. Across the length of time, both kraters also have other commonalities such as the main figure’s nudity for their heroism or divinity and the inclusion of spears and/or war

Lastly, after further examination it became subtly apparent that the first three characters on the left side of the vase were not fully engaged in the ritual, the Maenad is facing left towards the two Satyrs on the left unlike the rest of the figures. The realistic nature of the painting, infers that Dionysus and his band of Maenads and Satyrs shared similar characteristics to humans. Next, the colors used on this column krater distinguish the identity of each character. For instance, the Satyrs were all pitch black, the Maenads were white with a myriad of black lies, and Dionysus had a brown skin tone. Lastly, the wide array of heart shaped vine leaves emphatically conveys that the Column krater was used for

The painting appeared only on front and back side. It is also red-figure, but it has a subtle yellow undertone. There is only two color on this vase black and brown. It looks much smoother and shinier than the krater. The amphora looks elongated and elegant.

Standing at a height of twelve inches tall, this Vessel was one of many Aztec artifacts form 1300 A.D. It is made from brown earthenware clay and is painted with red with intricate details in black. It was used to represent death and the power in it, through the red and black paint. This piece is highly polished to show the black and red color contrast. This vessel was from The Aztec who was inspired by the horror of blood and death. On this piece, as well as of the other pieces in this collection, there is a stamp of the horror of death, to express that there is no higher brutality than the deceased. This stamp signifies the religious and cultural significances of the Aztec barbarians since it displays the warrior of a cruel God and that they

In the terracotta volute-krater, the viewer immediately sees from any angle that there is indeed a raging battle afoot in the register occupying the body of the vase. The amazonachae, a battle between the mythical Amazon (a race of warrior women) and Greeks, were a popular subject of works, particularly in Athens. On one face of the neck of the vase, there rages a fight between centaurs and Lapiths. Meanwhile, the Byzantine Plate with the Battle of David and Goliath depicts the titular duel from the holy text. Despite drawing the viewer’s eyes to the larger middle register depicting the biblical fight, the silver plate’s top register begins the plate’s narrative: David is confronting the giant Goliath. More importantly, among the two holding their hands out in blessing (thumb to ring finger), David has the the blessing of God (depicted as a hand descending from the sky). In this narrative, David’s victory is assured; after all, he has the approval of God; such is not the case in the amazonachae nor the centauromachia depicted on the volute-krater, in which victory is still uncertain.

A jug in the shape of a Siren comes from Italian Peninsula. The jug is made of terracotta and bucchero pesante. This artifact stands 29.1 cm tall and credited to Mr. Roger Fund in 1918; its accession number is 18. 145. 25 in The Metropolitan Museum of Art. The jug is relatively worn because of the white and intermittent silhouette of the Siren. Above the two round claws of the siren, it is the widest part of the jug, its body. There is an obscured pattern occupied the center of its bell, and feathers are orderly depicted on each side of the central part. At the back, there is a partial part of the tail. On its short neck, there are two strips of square decorations. The head of the Siren is nearly one-half tall of its body. The high-arched

The sculpture made of marble at the length of 7 ft (2.13m), is known as Married Couple (Larth Tetnies and Thanchvil Tarnai) Embracing dated during 350-300 BCE. The marble sculpture is actually a lid of a sarcophagus shaped like a bed displaying a man and a woman laying on their side beside each other. The artist smoothly carved part of the marble to purposely show a bed-like sheet on the man and woman and carved two pillows seen underneath the couple’s heads. The main focus point or subject of the sculpture is the couple as they are clearly shown in the center beside each other, looking into each other eyes, and their arms reaching to touch each other as if they were about to hug. The couple are shown to be wearing nothing but jewelry, the

As the Votive of Eannatum stood behind a glass case, the miniature of 12 x 4-½ x 4 inches had me amazed at its craftsmanship. As I look tru the glass case into the back of the statue, I can clear see genuine allegiance on his back. Moving the front, the statue was in bad shape at one point, the legs were broken and place back on. At the same time, the hand from below the elbow were broken and glue back on and the same goes for the wrists. Do not know if it was found in broken pieces and restore or it was the original shape of the sculpture. The craftsmanship that when into the skirt that he is wearing, looks like long pointy shape connecting in the back with five layers each getting smaller towards the waist. The papilla and the center of the

The art piece that I have chosen to describe about is the painting by Claude-Joseph Vernet. The painting was created during year 1774-1775, and was adapted by Mrs. John B. O,” The foundation for the Arts,” in Dallas Museum of arts in 1983. The image caught my attention quickly as I passed in front of it.

The different forms of early art from ancient Greece and Rome were not only used in grand objects such as architecture and sculpture. Much art was government sponsored and intended for public display, which instilled a sense of pride. Greeks and Romans also used art to decorate other commonly used day-to-day items. Some examples would include pitchers, funerary kraters, and vases. In the case of this article the Red Figure Fish Plate. The plate or platter demonstrates that although it is over two thousand years old, the people from that time in history found it important to incorporate art into many parts of their lives. Even to the point where it is used to decorate things they used in their house or the houses themselves.