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Recommended: The museum experience
The Pompeii exhibition at LACMA was an astounding visualization of history. The exhibition provided all sorts of objects; from sculptures, glass figures, painted art, and more. These art pieces specify the kind of life that was taking place in the Bay of Naples during the second century. As we know the cities around the Bay of Naples, which include Pompeii and Herculaneum, became tourist attractions when the cities were excavated after they were buried from the volcanic eruption of Mount Vesuvius. However, the comprehension of how the art pieces made their way into the museum is just a little fact of the history behind them. With this exhibition we are able to feel like we are back in time and living in the exhilarating time of Pompeii.
At the start of the exhibition we are presented with various busts and sculptures of certain, and presumably famous, figures. It is when we see the sculpture of Aphrodite (see Fig. 1) that we start sensing the significance of the exhibition. These sculptures were the norm during the second century in the Bay of Naples, and by viewing the intricate details in each art piece we understand how worthy each work meant to each of the artists. The sculpture of Aphrodite portrayed a serene greeting to the exhibitors. She stood in the middle welcoming us with a soft and warm smile. Through this sculpture we view how the Pompeii artist was following the Greek perception of the human body such as what we see in Polykleitos’ sculpture, Doryphoros; Aphrodite stands with the weight shifted on to her left foot portraying the cross balance of the human body. Once we appreciate the first art room we are then presented with various pieces of the gardens that were found around the Bay of Naples.
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...hristen Kobke were on display including The Forum at Pompeii. The Forum painting depicts a tragic scene of Pompeii as it sits torn and destructed. Novels and photo albums also are displayed at the end of the exhibition. However, one of the last sculptures on view, Nydia, The Blind Girl of Pompeii (see Fig. 4), provides us with the fact that many people were truly inspired by the great tragic story of Pompeii. The sculpture of Nydia expresses the sadness and horror that many had experienced during that time.
The Pompeii exhibition featured a number of objects, and how these objects were showed to the public presented a story. We were welcomed by the people into the home and gardens. Later we were given our parting with the photo albums and illuminated Pompeii art. This exhibition shows how much information and history can be presented in a few pieces of art.
In this analysis, an examination will be provided on how sources from Pompeii and Herculaneum can be interpreted to make known the role and status that women of first century AD possessed. Specifically, reference will be made to the Fresco from the triclinium of the Villa of the Mysteries, Inscription of the Eumachia Building and the tablets of Poppaea Note. Nevertheless, prior to analysing the evidence that these sources reveal; it should be noted that the women of Pompeii are not to be placed in a homogenous grouping. This is a result of the diversified roles and status that women occupied in Pompeii and Herculaneum. To provide a comprehensive analysis of the roles and status women possessed, the report will be categorised into a domestic, professional and slave context; to ensure the dichotomy in the grouping of women is made explicit.
As time kept passing, more and more magnificent sculptures were made by numerous artists. One of the most memorable sculpture was Aphrodite of Knidos, goddess of love and beauty. Back in the Late Classical Period, the civilians were only used to seeing ideal male nude bodies, but Praxiteles decided to make a different approach and sculpted the first female nude. Because he obviously had never seen a goddess before, he used his imagination and sculpted bathing Aphrodite as humanlike possible. He did not make it look idealistic, but instead made it beautiful with flaws.
The small, crudely carved statuette of an obese woman contrasts heavily with the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status as a goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3. The adage of the adage.
The nineteenth century proved to be a big step toward exploring Pompeii and Herculaneum because Giuseppe Fiorelli introduced more scientific methods of excavating the site in 1865. Documentation and records were also carefully kept and finds were left in its original place. The ‘treasure hunting’ style was popular in the first century excavation on both Herculaneum and Pompeii. Paintings, mosaics, statues, columns, vases, and coins were looted and removed to be added to the collections of wealthy individuals and museums. For the most part, most of the objects were taken without the information such as location being
It is understandable that Vout took on a discursive tone when attempting to explain her point of view regarding the depictions of the youths in the Hellenistic age. The subject’s content is far too broad to be encompassed within a small range of thinking. This observation is evident in Vout’s temporary straying from the main points to wider subjects; however, she always brings her tangents back to the principal objectives. The primary ideas that she focuses on concern the rendering of children in art forms during Hellenistic times. This idea is then divided into differen...
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
Because, recreation was so crucial to Greece, the story of Theseus and Helen appeared in many other forms. Although in the other vases I examined the characters were not deliberately labeled, the themes and styles remained constant and hinted at the same myth. Our narrator is consistent with the style of other vases using the red-figure technique, but different in imagery. Unlike the Bell Krater at the Chazen, which merely shows the pursuit, several of the vases show a darker depiction of the story. The vases vary in the sequence of events of the myth and show different events such as the rape, the rescue, or the kidnap. In particular a krater shown at Munich, Antikensammlungen shows the act of abduction. The details of the cloth draped over the characters possesses the same style as the Bell Krater. With complex drapery and a similar reach of the hand, the vases show many similar features. However, in this vessel, Theseus is shown exposed carrying Helen away. Despite the on going kidnap the faces remain true to Grecian style and paints an emotionless expression; the characters are neutral and unexpressive. Similarly, another Krater shown in the British Museum in London, continues to exhibit the same style of red-figures, details in the drapery and cloth, and expressionless face. The vase extends the dark thematics and shows the rape. Although the scene
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
Castriota, David. The Ara Pacis Augustae and the imagery of abundance in later Greek and early Roman imperial art. Princeton, N.J.: Princeton University Press, 1995. (P. 64)
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
The primary focus of ancient Greek sculptures was that of the human body. Almost all Greek sculptures are of nude subjects. As the first society to focus on nude subjects, Greek sculptors attempted to "depict man in what they believed was the image of the gods and so would come to celebrate the body by striving for verisimilitude or true – likeness (realism and naturalism!)."(Riffert) Not only did the Greeks celebrate the human form in their art but also in everyday life. (Riffert) One of the favorite topics for sculptors was that of the athlete. In Greek culture athletes were described as "hero–athletes". (Riffert) This shows that athletes were revered and looked upon as heroes. The influence of athleticism is evident in many famous sculptures. I will attempt to show how the human form influenced Greek art. It is important to note that many of the Greek sculptures discussed do not exist in their original form but rather in Roman copies of the original bronze sculptures. (Riffert)
When we all hear the name Aphrodite, we can all reach agreement that the first point that comes to mind is love and beauty. In the “Ancient Roman Mythology” book, she is des...
The “The Myth And The Reality” exhibition is intended for the visitors who are interested in
In classical Greek literature the subject of love is commonly a prominent theme. However, throughout these varied texts the subject of Love becomes a multi-faceted being. From this common occurrence in literature we can assume that this subject had a large impact on day-to-day life. One text that explores the many faces of love in everyday life is Plato’s Symposium. In this text we hear a number of views on the subject of love and what the true nature of love is. This essay will focus on a speech by Pausanius. Pausanius’s speech concentrates on the goddess Aphrodite. In particular he looks at her two forms, as a promoter of “Celestial Love” as well as “Common Love.” This idea of “Common Love” can be seen in a real life context in the tragedy “Hippolytus” by Euripides. This brings the philosophical views made by Pausanius into a real-life context.