The New Acropolis Museum was inaugurated in the year 2009, near the base of the Acropolis with a view of the Parthenon. The museum was a facility of around 226,000 square feet of glass and concrete, which cost $200 million dollars. The design was introduced in 2001, so it could be completed in time for the Olympics in 2004. This goal was unsuccessful due to legal battles that delayed the construction process for years said The New York Times. Since the museum opened it is running strong with an average of 5 million visitors per year, coming to see all the different collections. The museum is broken into three floors, offering different historical artwork. The first floor is divided into two sections, one from the archaic period and the other from Propylaia with objects that date around the classical time period to antiquity. On the first floor the visitors are greeted by magnificent sculptures of the first temples on the Acropolis. Displayed here also are votive offerings from worshippers. Some of these offerings include the archaic Korai, the Hippeis, statues of Athena the goddess, Sculptures of male figures, marble reliefs, and smaller bronze and clay offerings. The Acropolis Museum wants to conduct research on this small collection of archaic statues, which keep their color. In figure #1 I present the archaic Korai, which is white skinned and expresses grace- radiance youth. As opposed to the brown skinned warriors and athletes who are a sign of virtue. Then as we
Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare
It is important to first begin with the basics of each piece of artwork. The graywacke statue of Menkaure and a Queen was made between c. 2490-2472 BCE during the Old Kingdom period in Giza, Egypt. Although the artist is unknown, it is understood that the time during which this artwork was made was during the Old Kingdom period, which lasted from c. 2575-2150 BCE. This statue is smaller in height than the average human being, being 51 ½ inches tall, which is a little over four and a quarter feet tall (Stokstad and Cothren: 60). The stone that it is made from is a rocky, rough stone, that took a considerable amount of sanding to get the statue to look as smooth as it is. The second set of statues I will be comparing and contrasting to the Menkaure and Queen are the limestone statues, Anavysos Kouros and the Peplos Kore. Both were made in c. 530 BCE during the Archaic period in Athens, Greece. Similar to Menkaure and a Queen, the Anavysos Kouros and the Peplos Kore do not have a known artist, however it is known that the time period in which the statues were made was during the Archaic Period, which lasted from c. 600-480 BCE. These statues are more life-like in size. The Kouros statue is around the size of a tall male, six feet four inches tall. On the other hand, the Kore statue is smaller in stature, about four foot tall . Both statues were made from carved marble, although some of the other kouros and kore statues that were made were from terra cotta, wood, or limestone
The cultural artifact that I propose to study is a bust of Queen Nefertiti, who was the Royal Wife of the Pharaoh Akhenaten. The bust is said to be painted with stucco-coated limestone, created in 1345 B.C by Thutmose who was a talented sculptor. The bust was discovered in 1912 in Thutmose’s workshop by Ludwig Borchardt and his archaeological team. The bust had many owners in Germany throughout the years, however, it is currently on display at the Neues Museum in Berlin. The Nefertiti bust is a cultural phenomenon, especially for ancient Egypt as well as Berlin. Germany had the bust for over a century now and it has been their pride and joy. The argument between Egypt and Germany over the bust has been going on for decades. Egypt believes that the bust belongs to them and that it was taken
Comparison Essay CA painter &Amphora with Nike and Youth Myths and monument / LO1 - 232 Fall 2017 Zihan Zhong The greek pottery has a wide range of type and style, especially the vase. The painted vessels show us the greek art’s history and let us know more about the ancient Greeks’ mind and life. CA painter’s bell krater is a large earthenware with painting around its center part. As a bell shape vase, it has a large opening and a round body.
This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.
After looking at the vast antique collection found in the Sir John Soanes’s Museum, London, I was able to identify with 2 objects that I felt had the most interest to me. Found in the Colonnade and Dome room, I will compare and contrast the statue of Apollo Belvedere, a Greek god originally made from bronze and discovered in Rome in the late 15th century. The second is a statue of the Ephesian Diana, an Egyptian sculpture derived of marble. There are a number of statues replicating the pagan goddess, Artemis from Ephesus and can be found dating back to the first and second centuries AD. The one depicted above from the Soane museum dates back to 2nd century AD, and the head turreted crown indicates this.
Cleveland Museum of Art (Ohio) has in its collection a very valuable piece – an Athenian neck-amphora produced in c. 550 – 500 BC. The vase was executed in the black-figure technique, and it is attributed to Antimenes Painter. The amphora is richly decorated. One part represents Herakles and the lion between Iolaos holding club and Athena with Boeotian shield. The other part features Dionysos standing with satyrs and maenads. I like the amphora very much, especially its decoration and an interesting subject matter.
There are a number of art and architectural features found in the Athenian Agora, Kerimeikos and the Acropolis. The Agora or market place has a number of buildings such as the Tholos, The Eponymous Heroes and the Strategion. The Kerimeikos or Ceramicus was the potters ' quarter of the city, from which the word "ceramic" is derived, and was also the site of an important cemetery and numerous funerary sculptures erected around the area. The Acropolis had many major buildings, the most prominent of them being the Parthenon and the Temple of Athena Nike. An evaluation of primary and secondary literary sources gives insight into the main purposes of the buildings and the art within such as pottery and sculptures found within the context of these sites. To an extent the art and architecture in these sites reflect the significant cultural practices and beliefs of the ancient Athenians as it gives insight into what they truly valued.
When examining the statue, there is an old woman bent and weary. Her posture helps clue us in , with her age and health. The figure is dressed in cloth that hangs off her shoulders. She carries a basket that is filled with what we may think are offerings. Then on her head, there are vines that create a band around the top of her head maybe 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 this period, artist begin to introduce more inner beauty than physical beauty. We get to learn more about the structure itself, then settle for what is given and seen.
Ancient Greek and Roman culture left numerous magnificent monuments that attest to the architectural skill of these two civilizations. These monuments remain standing until today which is a good evidence on their knowledge of how to choose building materials, make building formulas, how to design, and other secrets of how to build strong buildings that last for centuries.
First of all, the sculpture will fill our lives with the beauty of art as citizens. For example, “the History of Public Art” article gives a background on ancient greek statues and temples, and it states that the “structures helped unite the citizens of the communities of which they stood by providing a concrete focus for national identity and pride” (The History of Public Art). For
Athens, sometime around 50 A.D. You find yourself in one of the greatest cultural and philosophical centers of the world, making it comparable to a visit to Boston or Oxford (Mare 196). Though its glory has gradually faded since its founding, the city retains its beauty. Certainly the lush, green trees and the rocky outcrops in the city would be attractive to you. But what draws your focus the most is the brilliant architecture of the city’s buildings. Several temples dot the landscape, two of which demand your attention: the Hephaesteum, a building dedicated to the god Hephaestus (or Vulcan), and the Parthenon, a building dedicated to Athena (Arnold 384). The former enlightens the entrance of the city, while the latter stands atop the
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.
Historical buildings play an important role in describing the social and cultural beliefs and values of a place of its establishment. People visiting the historic buildings are able to develop a proper insight into the community beliefs and practices that exist at the time of construction of a building (DuTemple, 2003). In this context, the present essay examines and evaluates the way in which the architectural building of ‘The Colosseum’ describes the societal and cultural values of Rome. In addition to this, the essay also demonstrates the technical and spatial features of the buildings and illustrates the way through the building is able to develop a language of classical architecture in Rome. The thesis statement of the present essay can be stated as ‘The extent to which the architectural building of ‘The Colosseum’ in Rome depicts the cultural and societal values and principles practiced in Ancient Roman Society’.