The 's Very Own Blacksmith Fountain

German art historian, Johann Joachim Winckelmann (18th century), speculated that “Greek art, like Greek poetry, has according to Scaliger, four principal periods.” He goes on to explain there are different types of Greek art such as the “grand and lofty”. Put of the four mentioned styles, it is clear the option which pertains most greatly to sculpture was after the previously mentioned style, where artists “acquired more grace and pleasingness. This style should be named the beautiful.” He later explains that the last style is imitators, likely referring the Roman’s remakes of Greek sculptures, which infers sculpture became a more important part of society (after the Romans took over) due to the fact they considered them worth recreating.

Each artist was influenced by the culture and location in which they created the artwork. For example, Nefertiti was the queen of Egypt with Akhenaton her husband. The style of this sculpture is Egyptian because of its location. Because Neffertiti was queen, the culture changed how the artist portrayed her. In fact, Fred Kleiner a well-known author of multiple art history articles and books says that “The sculptor seems to have adjusted the likeness of his subject to meet the era’s standard of spiritual beauty” (76). She likely would have taken offence if the artist did not change her appearance biased on the cultures ideal. This artwork was commissioned, which also played a role in the influence of this piece. Not to mention that the king commissioned this piece, and obviously no one wants to get on his bad side.

     Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her

Pollock-Krasner Foundation, Artists Rights Society (ARS). (2017). Collection. Retrieved from MOMA Museum of Modern Art, US: Museum of Modern Art [US]/https://www.moma.org/collection/works/78699

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

In the article, Public Art and Street Art, by Patrick Frank, the author, talks about the idea and meaning behind public art.

To fully understand street art as a concept in itself, it is vital to explore why the art is made on, and for, the street. According to Chung (2009) art on the street “allows artists a platform to reach a broader audience than traditional art forms”. This is supported by Young (2016) who argues that the “street is the biggest gallery you could ever want”, the author goes on to note that often a “galleries audience is self-selecting and homogenous”- belonging in an “elitist art world”. This implies that unlike classical art in galleries, street art cannot discriminate and is open and available to everyone despite their background or beliefs. Not only does the street allow the art to be widely seen, its accessibility indicates the ideas of

In ‘Street Art: The Transfiguration of the Commonplaces,’ Nicholas Arden Riggle claims that the experience of seeing public art is different as the setting of a work can change the perception of the spectator. Thus by moving public art into a museum, it would eliminate the “material use of street” and change their purpose. When talking about Tilted Arc he argues that the public space is internal to its meaning, this would change the meaning and the art. The following quote by Richard Serra was said at the hearing and reflects what was his vision for the work and the

From an historical perspective, this piece is an excellent example of early classical Rome. You can sense the respect and admiration that the average Roman citizen had for Augustus, in the fine details of the sculpture.

The art and the concept of beauty have been changing along of the history. From the Paleolithic period until the classic style in Greece, it shows how those concepts of beauty and femininity made a difference according to all the sculptures that were found in each period.

When people think about Greek art they thin about the Classical period comes to mind. “During this time, the Greeks achieved their highest level of work and pressed exploration of form and perspective in art to limits well beyond its previous bounds. ”(Willian Biers) The Classical period had different posses just like the Chiastic pose in the Kritios Boy statue helps show how they changed different ways and had new ideas on making sculptures. “Kritios boy statue was small then life size standing a height of 1.24 m “(William Biers).

time to visit museums. When public art is funded by the government, the artist’s imagination is

The fact that it’s made of marble shows strength because, marble is a very strong product. In spite that the statues are without heads on the bodies the remainder of the statues is intact because of the marble. The beauty, and texture of the marble is high glosses look and smooth to touch makes for a great product to represent the beauty in this sculpture. Because, of the marbles beauty the curves help to enhance and show off every feature. How the navel is slightly indented, curve in the hips, formation of the breast, the split down the back, and the detail to the vaginal area all accentuated because of the marble. It’s known that, “Hellenistic kings became prominent patrons of the arts, commissioning public works of architecture and sculpture, as well as private luxury items that demonstrated their wealth and taste.” Making it desirable to touch because of the realistic features, even though marble maybe cold to touch its smooth as

This sculpture comes from the Romans, specifically, the era of high imperial art. During this era, Rome was ruled by Trajan during 98-117 CE, which is also the time period for this sculpture. The lighting is slightly dramatic, creating stark lights and darks in the figure. It gives it a sense of authority. The hair is in the Roman style, and is similar to that of Augustus. This marble sculpture’s head is of the emperor Trajan, and it was a bust of some sort. However, the nude body was later added. The sculpture is in a variation of contrapposto, with the the right arm contracted and fingers spread out. The full open sculpture makes Trajan seem more youthful, which applies more culturally to the Greeks, who are concerned with beauty and

One of the pieces defining characteristics, what makes it such a marvel, is how the physique is anatomically perfect. This speaks of a highly developed culture, with an intricate understanding of anatomy and physiology. But, also of a culture that privileges physical strength and beauty. The Greeks of the time were either artists or warriors, or often both, so strength and beauty were central in their world. Laocoon and His Sons is a much more naturalistic piece than earlier Greek works; in which the figures were often idolized; lacking luster, life, emotion, humanity. Cleobis and Biton, a set of sculptures from the Archaic Period, exemplify this quite well; posing, rigid, golem like figures; lacking the humanity they are supposed to represent. The Hellenistic baroque style of Laocoon and His Sons gives us a much more true-to-life representation in comparison to earlier works. This work has inspired artists and regular humans alike down through the centuries, one of whom it is particularly well known to have influenced greatly was Michelangelo; as can be seen in some of his pieces; e.g: The rebellious Slave.