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The relationship between early Greece and Egypt
Ancient greek art
Ancient greek art and literature
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On Grave Stele of a Little Girl Grave Stele of a Little Girl is an Ancient Grecian work from roughly 450-440 BC that depicts a small girl bidding her doves farewell. The girl has wavy hair pulled up behind her head and cascading down to her shoulders, as well as a tunic-like dress, presumably a peplos, that creases down her body, and recedes along her sandals. The creases in this gown reveal her stance to be slightly shifting forward, with the gravity of her attention being directed towards the doves she holds. Her face is turned down sullenly towards the birds. Grave Stele of a Little Girl uses detailed lines that define form and textured skin and hair to emphasize the humanity and youth of the figure to create a sullen piece with a heavy gravity of tragedy. The proportion and directional force place focus on the birds and the girl’s face, highlighting …show more content…
It’s used most heavily in her hair and throughout her dress to show the volume and how it aligns along her form, which helps to give depth to the work. The definition of both also adds to the sullen tone of her figure by showing her stance and posture. Her posture suggests a saddened, slightly defeated mood by showing her begin to crumple. It also gives the girl a sense of maturity, by displaying her sadness in a way that resembles resignation as opposed to utter defeat. Proportion in this piece is mainly used to show age. The girl is only three to four times the size of the bird, which shows how small and young she is in comparison. Presumably, an older woman or man would be shown to be quite a bit larger than the bird. Instead, her hands are roughly around the size, if not smaller, than the wing of the bird, and the slight sort of chubbiness of her limbs gives her a child-like appearance. This display of age helps to convey the tragedy of the piece because there’s more emotional weight in showing the sadness of a child by society’s
The artwork is very interesting as the painting is very detailed and have a strong sense of symbolism behind the center piece. The content of the Monument to Mignard can be looked at a grieving woman thinking about her husband on a platform of a monument. There is two cupids grieving to the left of the man and in front of the woman. One cupid sitting on the edge of the platform clutching a dead bird on its arm, symbolizing that there is death between the two lovers. The other cupid that is standing up crying holding its right hand against the side of the man, which symbolize that the man has passed away and not among the living. There is an angel looking down at the vicinity of the man, woman, and the two cupids. The angel himself could be the angel of death, which takes the dead to heaven. The painting takes place inside building that is probably around the roman era because of the perfect arches and their integration of the Greek Doric columns. There is a total of eight columns, four on each side that supports the arch in the upper middle par...
The tile of the poem “Bird” is simple and leads the reader smoothly into the body of the poem, which is contained in a single stanza of twenty lines. Laux immediately begins to describe a red-breasted bird trying to break into her home. She writes, “She tests a low branch, violet blossoms/swaying beside her” and it is interesting to note that Laux refers to the bird as being female (Laux 212). This is the first clue that the bird is a symbol for someone, or a group of people (women). The use of a bird in poetry often signifies freedom, and Laux’s use of the female bird implies female freedom and independence. She follows with an interesting image of the bird’s “beak and breast/held back, claws raking at the pan” and this conjures a mental picture of a bird who is flying not head first into a window, but almost holding herself back even as she flies forward (Laux 212). This makes the bird seem stubborn, and follows with the theme of the independent female.
A Hellenistic masterpiece, she is caught at the very moment in which she alights on the prow of a warship. Right leg outstretched, her hips bend left and her shoulders twist back to the right, creating a beautiful sense of torsion through the contrapposto technique. Her massive wings are blown back by the speed of her flight and the ship, possibly in the moment just before she furls them. Damp from the spray of the sea, her tunic is plastered tightly around her body by the driving wind, held in place with two belts, one around her waist and the other beneath her breasts. A second piece of cloth called a himation has slipped from around her waist and streams out on either side behind her, blown tightly against her thighs. Both garments exhibit virtuoso handling of the drapery—the wet folds of the fine cloth can be felt by the viewer, cool in the misty gusts, and the transitions to where her skin can be seen underneath is flawless.
In the midst of one of the busiest cities in the world there lies a sanctuary. There lies an area where all men are equal, where poverty is non-existent, where all men are united under two things; the first being death and the second being America. Arlington National Cemetery is a tribute to all of the fallen heroes, the patriots, the soldiers, the pioneers, all who have cried American tears. I have been forever changed since visiting Arlington National Cemetery and it is a visit that every American should make.
The “Little Bird” by Imogen Heap, represents the human effort to hide ugliness. Humans are attracted to beautiful things, yet they themselves are not. Humans are naturally bitter and are without morals; it is society that puts us into place. So human effort is focused on fixing themselves and their surroundings. The little bird symbolizes a metaphysical being that humanity looks towards for help.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
Stebbins, Elinor. "Athena." Sweet Briar College { History of Art Program }. Web. 27 Feb. 2011. .
The Venus of Willendorf was believed to be created 25,000 years ago, is none-freestanding sculpture and is sculpted out of oolitic limestone. The subject matter, I believe it to convey a fertility figure for men and woman to gaze upon. The Venus of Willendorf is a none-freestanding female nude stature, which is an 11 centimeters high, made out of oolitic limestone and now resides in Naturhistorisches Museum. She was found in 1908 in Austria in a village called Willendorf. The stature has been carved out of oolitic limestone and has been given a red ochre tint. This small oolitic limestone figure representing a woman in the nude has no known artist and no information on why it was created. I believe that
The Romantic Era was a time when writers wrote with passion in relation to elements of writing such as the fantastic or supernatural, the improbable, the sentimental, and the horrifying. Edgar Allan Poe was one of the many writers who used elements such as these in his writings. Poe was famous for reflecting the dark aspects of his mind in a story, creating detailed imagery intriguing the reader. The fantastic and supernatural elements are expressed in The Premature Burial as impossible and in a sense, horrifying. The idea of people walking after their believed death is very extreme thinking in a world that seems normal.
Perhaps this is a direct response to the eroticization of owning a painting produced by a woman; the representation’s realism prevents the presumably male audience from viewing her face in entirety. Her body is shown in action and foreshortened, removing any possibility for it to be compared to the perfectly proportioned female figures so often used to
The images related to birds are the major symbolic images in the narrative from the very beginning of the novel:
Gender credo has signified political and cultural values in Greek and Roman era. In particular women representation in artwork has pondered and reinforced the values of their times. In the articles, "Parthenon and Parthenoi: A Mythological Interpretation of the Parthenon Frieze" by Joan B. Connelly and "The Muted Other" by Natalie Boyment Kampen, the Parthenon frieze, the Ara Pacis: Imperial Family frieze, and Cornelia: Mother of the Gracchi, are pieces depicted to characterize women in their implemented roles.
Rahn, Peter J. “Funeral Memorials of the First Priestess of Athena Nike.” The Annual of the
6. Shear, Ione Mylonas. “Maidens in Greek Architecture : The Origin of the « Caryatids ».” In: Bulletin de correspondance hellénique. Volume 123, livraison 1, 1999. pp. 65-85.
Shows a close up view of the previously described dress, showing the asymmetry of the back closure. The author uses this as a diagnostic of the Queens posture, saying after years of limping from her bad knee, her tailor purposefully altered her dresses to give the illusion of a straight spine where there wasn’t one. This was done to minimize any speculation of her health.