Societies today, from all over the world, developed throughout centuries through ancient art. Ancient art was developed differently in every time period until art became what it is now. Art was developed in many ways by using different tools and methods. With time, the methods and tools differentiated becoming more civilized. The Statue of Venus and the Stela of Iku represent the ancient art that was common in the time period in which they were created.
The Statue of Venus, one of the many roman ancient arts, was found in Alexandria, Egypt. It ascertained the date from the first or second century A.D. The piece of art is roman but portrays Greek influence. By the proportions of the body and nudity of the statue, it is visible that Venus is …show more content…
Many families during this time, admired the statue of Venus because one of her virtues was fertility. In this time, producing an heir was critical to the family, as Venus influenced women and families. Aside from being roman with much Greek influence, the difference between it being roman and Greek can be seen by inferencing that there was the support holding the statue’s leg which Greeks thought that it affected its honor and it would not have been respected to the fullest. During this time, marble was used to blend and create the “best” human features. Romans thought the statue’s leg would be a great feature that will help support the marble. The statue using a contrapposto stance shows Venus standing with one leg carrying most of her weight and the other leg more relaxed. Her shoulders and arms portray relaxation since it does not show the remaining parts of the body, inferences are …show more content…
The era is the 11th dynasty in Egypt. The art shows two figures; Iku and Mer-imat, his wife. They both stand side by side, she with a hand on his shoulder posing behind, shows that she is a follower of her husband. His figure which is bigger in size depicts leadership and authority by holding a staff and scepter. The staff and scepter at the time, symbolized great power because those tools were used to control groups of people. The tactic was a method used by the Egyptian in which men were depicted darker than the woman to emphasize the outcomes of hard work. The woman on the other hand, are depicted lighter to illustrate better life routine being at home, protected from exposure. Iku shows a darker skin than Mer-imat. This art displays proportions which followed the Canon of proportions that were used in every Ancient Egyptian art and were likely to be carved on grids. The figures face frontward portraying a side view which shows that they were compliant with the universe. The scene was carved from a limestone that had insufficient plaster, onto a stela, which is a fragmented block. Not having enough plaster made it easier for the paint to darkened over
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Statuettes, for example, this one where basic offerings to the divine beings in the late Egyptian world. Travelers regularly bought them from nearby sellers to leave as votives at religious locales. This sample delineates Osiris, divine force of the dead and image of resurrection. He wears the atef crown (a tall cap encompassed by upright quills), a mummy cover and neckline, and holds the evildoer and thrash, the badge of a united Egypt. Beside the pyramids, mummies and their pine boxes are the articles most connected with old Egypt.
In the early Archaic period, the Greek sculptures were very similar to the Geometric art period. As the Greeks are being exposed to other art, they started to make their statuary look more like a real human beings instead of the gods with no facial structure. During the New York Kouros, the Kroisos, from Anavysos, Greece, statue is a good example of how the statue of a young male, posing in a natural stance. With closed hollow eyes, no expression on his face.
During the reign of the New Kingdom pharaoh Amenhotep IV, also called Akhenaten, the art of ancient Egypt underwent a considerable change. This is unsurprising given the fact that the shift throughout Egypt in culture and religion was so immense. So, logically, it follows that the stylistic choices in art during that time period would alter significantly. In order to fully understand the extent to which the artists active during the reign of Akhenaten revolutionized art, it is very important to compare the work of that time period with some of the art created during other prevalent eras in ancient Egypt.
The Roman Empire, at its height (c. 117 CE), was the most extensive political and social structure of western civilization. Under Trajan, the empire reached its greatest territorial expanse and his admiration for Greek culture spurred new building programs and classicizing works of art throughout the empire. The marble representation of Trajan at the San Antonio Museum of Art known as (The Lansdowne Trajan, 98-117 A.D.) establishes Trajan as a skilled military commander, an affluent ruler and a god that’s why the torso of this sculpture belonged to a statue of a youthful god and later consolidated with Trajan's head. In The Lansdowne Trajan, the unknown artist utilized fine marble, contrapposto pose, shape and line to capture the dynamism of
These Roman replicas “go back with certainty to a Greek original in the post-Praxitelean style of about 300 B.C.” (Alexander, 245). After Praxiteles’s undraped Knidos, Aphrodite’s nude image became so popular that his students began creating depictions of their own. However, with the emerging artistic current overturning the classical canons, the “sculptors went their several ways, and their Aphrodites became eclectic or sentimentalised” (Alexander, 245). They began creating their own versions of the statue, inspired by the Hellenistic period’s prioritisation of movement, detail and expression over the traditional, yet boring paradigms of movements past.
He is a marble statue found in the ruins of the Athenian Acropolis, a bit smaller than life-sized, and is dated at 480 BC, a transitionary period from the Archaic to Early Classical era of Greek art. He is an emerging youth nearing the cusp of puberty, with a weight shift characteristic of this artistic period. Overall, the piece displays an incredible understanding of human physiology, and has moved away from the twisted perspectives and unnatural stiffness of earlier art. An anatomical chain of events occurs with the weight shift, and his overall musculature and skeletal structure are unforced and lifelike. He is the most famous Early Classical statue.
The thermae also boasted exquisite marble statues, one of the most famous being the Farnese Bull, or the Toro Farnese. It depicts Dirce, wife of Lykos, tied to a bull as punishment for her abuse of Amphion and Zethus’ mother. According to Pliny the Elder, a marble sculpture of the Farnese Bull was carved from a “single block of marble” by the brothers Apollonius of Tralles and Tauriscus who hail from the Greek island of Rhodes. This sculpture was carved at the end of the 2nd century BCE, so therefore the sculpture found in the Baths of Caracalla may have been a replica. This is attributed to the Roman’s interest in Greek art and architecture, thus we see a lot of Hellenistic influences in Roman buildings, such as the baths.
However this is a notion that was likely limited to the upper classes of societies, lower classes, in particular prostitutes, though not depicted nude in statue, were likely exposed in a more public setting during this period. During the Hellenistic period this concept shifted, with an increase in depictions of women including goddesses Hera and Aphrodite (Shipley, 105). This is exemplified The Aphrodite of Knidos and The Winged Victory of Samothrace, showing the growing acceptance of the female form and a more gender-neutral standard of beauty. The increasing focus on feminine beauty in such pieces was an aspect of the new Baroque style of the period, which used elements such as eroticism as depicted through the detailed, thin draped cloth on the sculpture belted to accentuate the goddesses figure. This was meant as a means of
UXT Task 2 Austin Olooaringo (ID# 000556089) Western Governors University Work: Alexandros of Antioch, Venus de Milo, c. 130−100 BC Period: classical Period A1. Initial Thoughts My initial thought was the display of feminine beauty and grace as seen from an artist perspective dating back in time. The goddess Aphrodite is a sculptural elegance that has continued to fascinate the art world and remains relevant from the time of its discovery on the island of Melos around 1820. Her posture and demeanor reflect confidence of her personality and womanhood.
The arms of the emperor is stretched out as if he is addressing his troops or people. It’s an artwork indicating a strong and efficient leader with a composed face. The statue also has cupid at his feet which is a sign used to state that his family has lineage from Venus. The Romans believed that
The Greek sculptures reach the new height of beauty, not only because the mastery of the technique, but also the fascination of human body. Greek art uses the outer appearance to reflect the inner power, it is the representative pattern of western art. The myth inspires the creation of sculpture. The fantasy of nature and society and the admire of god’s shape and personality makes the sculpture more multiple and abundant.
Ushistory. Org states “Ancient Greek art emphasized the importance and accomplishments of human beings. Even though much of Greek art was meant to honor the gods, those very gods were created in the image of humans”( Ushistory.org, 1). Ancient Greek sculptures made of either stone or wood and very few this day. Some sculptures the greeks made were freehanded, human form and preferred nudes.
Another shape that caught my eye was that of the half shell that Venus stands on. In classical antiquity, the seashell was a symbol for a woman’s vulva. There also seems to be a build-up of water at the base of the shell which suggests movement and her location in relation to the
Made from parian marble sculpted separately before being fixed with vertical legs, this piece of art is usually thought to portray Aphrodite, the ancient Greek goddess of physical love and beauty. Venus de Milo is a statue of a naked woman with no arms, restoration experts have said that the statues arms and original base or plinth have been lost almost since the work arrived in Paris in 1820. It has been said that this was partly due to an error of identification because when the statue was originally reassembled, the other pieces that came of the left hand and arm were not believed to belong to it because of their overall rough appearance. This goddess is often shown with mystery, her attitude always tends to be unknown. However to this day, many experts are confident that these additional pieces were part of the original work of art despite the variation in the final product since it was often common to spend less time and effort to the parts believed to be less visible of a sculpture, Many sculpture reconstruction experts guess that the separately carved right arm of the Venus de Milo laid across her torso with her right hand rested on her raised left knee, hence her clasping the clothing covering