In the West Tower at The San Antonio Museum of Art I came across the sarcophagi. It was well detailed and interesting to look at; every time I would glance at it I would be drawn to another part of it. This is a three-dimensional piece of marble made by Romans. Sarcophagi were made to place human remains. The medium of this sarcophagus is Encaustic. On this sarcophagus, you can see the value of it moving from one side to the other. The balance of the sarcophagus was meant to be symmetrical, if I were to cut this in half I would have just about the same on both sides. It has rhythm and the images seem to mirror one another. Roman sarcophagi were mostly decorated on the front and two short sides. The resemblance of the garland and fruits on the
The first piece in this set is tilted The Fall of Giants, accession number 1974.607, and it is a detailed depiction of the grecian god Zeus, calling down a storm of stone that crushes every man underneath it. If not for close inspection, one would walk right past the stony mound and never notice the crushed limbs sticking out from underneath. Piamontini intended this in order to show the brutality of the gods, also representing symbolism of returning to the earth, the old religion is
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 these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
"Sarcophagus of the Spouses - Smarthistory." Smarthistory: a multimedia web-book about art and art history. N.p., n.d. Web. 16 Feb. 2014.
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.
This artifact is a terracotta volute-krater crafted by the Greeks in 450 B.C. That was during the classical period. The painter of the Wooly Satyrs was given the credit for this bowl. During that time, Greeks had just gained a great victory in the Persian Wars. However, Greeks rarely illustrate their history in their art. Instead, they would design images of the mythological wars between the Greeks and the Amazons. That was widely popular in the fifth century and was known as Amazonmachies. The terracotta volute-krater, which is a bowl used for mixing water and wine, includes those depictions of Amazonomachy. In fact, wall paintings that contained Amazonmachy were the influence for these volute-kraters. During the fifth century, Attic vase painting was well known, where iconography, displaying myths, and portraying a Greek male’s life was a usual occurrence.
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
In this Bronze statue, a Roman emperor is shown in a god like state. Like any statues at the times they depicted the ruler in a larger than life state. This specific statue is missing the head and lower part of the right leg. He is rising his right arm while the left is resting on his hip. Its exaggerated proportions depicts the ruler in a perfect state most likely disregarding his actual appearance.
Conlin, Diane Atnally. The artists of the Ara Pacis: the process of Hellenization in Roman relief sculpture. Chapel Hill: University of North Carolina Press, 1997. (P. 4)
This structure is very large and important in his propaganda strategy with the Julian family. No other structure was built like this across the Roman Empire. Only Hadrian’s Mausoleum competes with the size and quality of Augustus’ Mausoleum (Johnson, 1996, p.217). The mausoleum has characteristics of Etruscan tombs or tumuli. Etruscan tombs were large monuments and had tumuli, which are a circular retaining wall and a mound. Additionally, by creating an Etruscan monument, he showed the population of the empire that he was of Italian heritage and that he was reviving the religious and moral values of the past. Also, Augustus finished the establishment of his mausoleum and placed ashes of his ancestors in the tomb. He used his own mausoleum to link himself with the Julian family and Julius Caesar. By adding the ashes of his deceased ancestors he was again successful in including himself in the history of the
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.
larger than life statue of the Arte dei Mercani di Calimala’s(the guild of the merchant
The Spleen by Anne Finch, the Countess of Winchelsea, presents an interesting poetic illustration of depression in the spleen. The spleen for Finch is an enigma, it is mysterious, shape-shifting, and melancholic. Melancholy leads the subject to flashes of a grander, terrifying emotion: the sublime. The subject of Finch’s Pindaric ode experiences the sublime, and yet has the uncanny ability to reflect and reason on the feeling with acuity--even though the subject suffers from depression, which in effect dulls sensory information. The fact that she intensely perceives the sublime suggests a paradox where dulled senses can produce a penetrative emotional episode. To understand the paradox, the theory of the sublime and Finch’s engagement with the sublime in The Spleen must be traced to conceive the state of the dulled mind in the thrall of an infinite, and transcendent wave of emotion. The focus of this essay is that Finch understands that Dullness, as a by-product of depression, enables rational thought during a sublime experience. Furthermore, she thus illustrates her experience through images where she emphasizes her sensory information and her feelings, which were supposedly numbed by depression. Her feelings, indicated in The Spleen, are the crux to how Finch is able to simultaneously feel numb, and process the sublime.
In this paper I will clarify the relation between the integumentary system and the skeletal system. During this paper I will address how the two systems work together to maintain homeostasis and what occurs when balance is not maintained between the integumentary and skeletal system. During this paper I will explain how osteoporosis is directly linked between both the integumentary and skeletal system and ways to prevent or yield this disease.
The digestive system is a very important system in the human body. It is a group of organs that work together to turn food into energy and nutrients in the entire body. The food that was chewed in a humans’ mouth now passes through a long tube that is inside of the body that is known as the alimentary canal. The alimentary canal is made of the oral cavity, pharynx, esophagus, stomach, small intestines, and large intestines. Those few things are not the only important accessories of the digestive system there is also the teeth, tongue, salivary glands, liver, gallbladder, and pancreas.
Even the few sculptor’s names known to us, usually by chance, from the imperial period are Greek names and seem to confirm the assumption that these artists’ work should be regarded simply as a late phase of Greek art” (Hanfmann, 12). The Greeks were the first western culture to figure out how to accurately depict the human form which they did through the use of geometric ratios. It is also widely accepted that it was even Greek artists who first made marble portraits for the Romans as the Romans originally had no skill with the stone. “It was certainly at first Greek artists who were entrusted by eminent Romans with the execution of portraits of themselves and of important personalities in the Roman state, just as it was Greeks who depicted Aemilius Paulus victory at Pydna and later were largely responsible for the portraits of the emperors” (Kahler 16). The Romans mainly used terracotta for their sculptures and it was only when Augustus reigned that the marble quarries at Carrara were opened and marble was used on a large scale. The Romans inherited the use of realistic proportions, the sense of movement (contrapposto), and the overall beauty of Greek sculptures. A great example of Roman sculpture that was clearly carved by a Greek artist who was familiar with the Hellenistic styles of Greece, is the Relief of the Wedding of Amphitrite and Neptune. It “shows a mythological