Bronze statuette of Cybele on a cart drawn by lions is a bronze 12 x 54 ¾ inch was made in the second half of the second century A.D. Today this artifact is in the Metropolitan Museum of Art, given as a gift in 1897 by Henry G. Marquand. This cult statue represents the Anatolian mother goddess Cybele, one of the many Roman goddesses as for Roman religion was polytheistic. Cybele was introduced later in Rome, during the second Punic War in the late third century and lingered on still beloved until early christian times. Unlike many deities of this time period who were present but not recognized, Cybele had been given rites as part of the official recognition of state, being a goddess whom was even worshipped in private ministries. She had even been given a temple on the Palatine Hill, one of Rome's most sacred spots. Her followers mainly women and farmers knew her as the goddess of untamed nature, fertility and protection in war. In this particular piece, when examining Cybele closely you can notice she is wearing a chiton, a crown, a veil or cloak of a sort that overlays the crown, and has pierced ears, though no actual earrings as for most of this piece is no longer here. Her crown is square like, in the effort to symbolize fortress walls as she is a protector of the …show more content…
She carries two objects that are well known attributes to her identity, a drum in her left hand and a libation bowl in the right. Her feet sit calm on a footrest and her figure seeming to be comfortable,
The marble Statuette of Youthful Dionysos stands about 30 inches tall. The arms, legs, nose, and
The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.
The Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
There is one figure in the sculpture that is unknown to me. The individual that is standing next to St. Peter and has his right hand on Judas' back. He can be portrayed as two things. He might be there along side Judas helping him. His hand may be to help Judas along in his betrayal. He could be pushing him towards Christ as if to say, "You can do it, go ahead." He can also be portrayed as against Judas. His hand might represent a type of concern as if to say, "What are you doing?" and "Why are you doing this?" Furthermore, there is some object in his left hand, which seems to be right next to Christ's head. It may be something to hurt Christ, or it may be something to stop Judas. Unless I can find out more about this individual, I cannot fully understand his significance in this sculpture.
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
The Egyptians created Ramesses’ statue 1279-1212 B.C. using granodiorite. The statue is currently being exhibited at the Museum of Fine Arts Houston. Its dimensions withouts a base are 59 3/4 x 23 1/2 x 30 inches (seems bigger than life-size). One must look at the statue from various sides in order to see its entirety. Ramesses II, known also as Ramesses the Great, ruled Egypt for over sixty years. there are thousands of statues made in his honor to proclaim his power and divinity.
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
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.
larger than life statue of the Arte dei Mercani di Calimala’s(the guild of the merchant
Zeus’ head was decorated with an olive wreath that symbolized peace. In his right hand he held Nike, symbolizing the importance of winning. In his left hand, a golden scepter representing royalty, topped with a golden eagle. His feet rested on a golden footstool that reached the eye level of his worshippers. A layer of gold flowed across his ivory shoulders. His face was calm, commanding, and bearded that represented the face of the powerful god. The temple represented Greek architecture 's fascination with proportion. Large bronze doors housed the wonders held within the temple. One of the most extraordinary things about the statue was Zeus ' expression. His eyes were so detailed that it was said that they could pierce your soul. Zeus ' throne was carved showing images from mythology of gods, demigods and other
In regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
The sculpture is small, approximately 4 3/8 inches, and is carved of oolitic stone, a porous limestone. Since this particular stone is not found in the area, it is believed that the sculpture was brought from another region. The size and shape of the figurine fit comfortably in the hand, which suggests the figurine was meant to be carried. Witcombe, sec. -.... ... middle of paper ...
According to the text in the book “Culture and Values: A Survey of Humanities” the statue, which was quite rare before the fourth century, is a classic Greaco-Roman depiction of Christ as the Good Shepherd (142). This statue, unlike the mosaic by the same name, only shows a single sheep, the lost sheep which Christ seeks out. In the parable from Luke 15 vs 3-7, Christ reveals that a good Shepherd will, if losing one sheep, he drops everything to find that one sheep. The Statue is a literal depiction of the good shepherd searching for his lost sheep. The mosaic, on the other hand, does not show Christ searching for his flock, but rather it shows his flock calm and secure in his presences. They are at rest and at peace, and all are gazing at their master. The statue, much like the mosaic...
The “Equestrian Statue of Marcus Aurelius” was one of the lucky bronze pieces from Ancient Rome. It was lucky because the Ancient Romans often melted their bronze creations to make new ones. While this helped supply artists with material for new statues, the melting of statues has left modern cultures without knowledge of possibly hundreds of Ancient Rome’s finest pieces. Thankfully this statue survived is now at the Museo Capitolino in Rome, where it is an inside exhibit to keep safe from the harsh elements and pollution.