Egyptian Wall Painting

Upon visiting the Huntsville Museum of Art, I was very surprised to find all of the tremendous galleries that were currently up at the museum. In addition, after exploring the entire museum there was one gallery that really intrigued me, and this was the gallery of Antoine Ponchin and his son Jos. Henri Ponchin. What made the Ponchin gallery so interesting to me was both the father and the son were landscape artist. Moreover, both Ponchins travelled to many locations to paint magnificent pictures. Choosing a picture to paint about from this gallery was a challenge for me mainly because both Antoine and Jos. Henri Ponchin had a similar painting style, but I finally concluded to write about a painting from Antoine Ponchin titled The Roman Ruins.

Throughout history Mexican and Mexican-American identity underwent trials and tribulations of political and social stature. One of the ways best to display and communicate identity is by art because murals are a powerful tool when it comes to developing and shaping a voice for people to be heard or remembered. Murals are important in that they are monumental, public and pedagogical (notes). One example of how powerful and important murals can be, are the murals of Chicano Park and stories behind them that gives us a visual understanding of how social and political ideals were dealt with.

On the Cycladic islands, early bronze age individuals utilized white marble to make puppets of individuals. The stone workers made smooth, preoccupied representations of human assumes that were discovered for the most part in graves. The larger part of figures are of naked ladies and they all fit in with a particular type of tradition. The type of the figures was symmetrical, with arms collapsed under the bosom. Countenances are featureless with the exception of a purported nose. Joints are appeared with chiseled lines and the artists utilized an outline plan where three equivalent circles characterized the type of the figures. The marble figures were hued with painted themes, which could have identified with the arrangement of bodies for internment.

As you enter into a temple each room is more sacred than the one before it. Ordinary ancient Egyptians may have been allowed to enter the courtyard on special festival days, but could go no further into the temple. A row of columns surrounds the courtyard.The columns in the next room have pating to look like plants. The ones in the center where the light shines, are open as though they are blooming in the sun. The columns in the dark corners of the room are closed as though they have no light to blum . If you walk to the doorway into the next hall ,called the hypostyle hall.This hall does not have any light shining in, and it is very dark. Only special priests were allowed to see this part of the temple.You may have

Two very important historic buildings from the Greek and Roman civilizations, namely the Parthenon and the Pantheon respectively, are worthy of academic exploration. An analysis of their function and style will help to put their design and features into perspective, and create a better appreciation for their emulation in Western civilization. These buildings possess very unique individual characteristic designs, which bears testimony to the societies from which they originate. However, they are also a resourceful database of knowledge in terms of their symbolism, rich heritage of their era and application to the present civilization. Their permanent contribution to historical reference and modern society, are a token of their expression

Diego Rivera was a big man both literally and figuratively. He dominated the Mexican art world from after the Mexican revolution until his death. In the online article entitled, “The Painting on the Wall”, by Peter Schjeldahl, we see Rivera revive and put to use the antique medium of fresco painting. The Fresco painting used things such as pigments to impregnate a paste of marble, dust and water-treated lime (Schjeldahl). This helped to dry rocks into a more hardened state. Because of Rivera’s positive energy, he was able to win the hearts of all sorts of people. These people ranged from the French all the way to the American people.

The Two Buildings; Parthenon in Athens and Pantheon in Rome are both classical heritage of the former world powers. Both buildings were temple built and dedicated to the gods of Athens and Romans. The excellent strength and the durability of these temples are unimaginable. Going by the length of time that these buildings have been in existence, one cannot but admires the brilliance of the ancient Greek and Roman architects for such excellent edifices that have outlived many generations, and yet remain a symbol of ancient Greek and Roman history. In this piece of work, it is essential to compare the two buildings while systematically considering their similarities and differences that have memorialized their existence until now.

Through this essay I will be discussing the comparisons and the contrast between temples in Greek architecture and roman architecture. I will be commenting on the forms, materials, technology and the siting to compare and contrast the architecture of ancient Greece and Ancient Rome. Also I will discuss how these points reflect the structure of the Greek and roman societies from which the temples emerged.

Monuments are designed to encapsulate and preserve history so that future generations have access to the lessons of the past. However, a memorial or a statue can only show so much about an event of history, and thus, the creators of these monuments attempt to symbolically connote meaning in their work. The statue of John C. Calhoun is no exception to this. The creators of the John C. Calhoun monument artfully created the statue in a way that preserves his significance to the history of South Carolina as a state for generations to come. Calhoun is portrayed as a powerful and notable figure through the messages and aesthetics of the statue itself, and the hidden meanings they carry. Poetically speaking, the layout of a monument aesthetically

Within the pantheon almost all lines draw the viewers eyes to the Oculus. Another key element of the pantheon aside from the Oculus are the coffers, in addition to providing weight reduction within the dome the concentric rings created by the coffers radiate out from the Oculus carrying the ring down to meet the wall mimicking the Oculus (see fig. 1). Also present within the coffers are vertical line that converge at the Oculus. Both elements that bring attention to the focal point of the building. This trend continues onto the walls where the rectangular window like recesses in the walls are adorned with a pediment pointing upwards, likewise on the floor where rounded pillars are again capped with a pediment. furthermore, the floor of the pantheon is a collage of shaped with alternating circles and squares decorating the floor mirroring the square coffers and circular Oculus

Terrain, Edie Marshall’s installation of 1000 lushly worked oil paintings, is a record of a road trip through the Great Plains of North America. Over the duration of the trip, made in 2013, Marshall took over 1500 photos on her iPhone. Randomly shooting images on impulse, most of the photos are landscapes taken from the passenger seat of the moving car, though shots also include excursions into towns, cities, historic sites, an aquarium, hiking trails, parks, and roadside vistas. Upon returning from the trip Marshall took up the challenge of creating painting from these numerous photos. However, rather than eliminating images down to a few select, well-composed scenes to paint Marshal utilized the spontaneity with which the images were taken

The infrastructure of colonial Philadelphia was much different then it is now. The roads dating back then were also different. William Penn had a great idea for the layout of the streets and also the city. The bases for his street layout came after the London Fire of 1666. He realized the fire burnt everything down because of how close the streets were. He noticed if you spread the building out and made the roads bigger then fire wouldn 't spread. Philadelphia was one of the few cities in the colonial that had better made roads and a better road plan.

The style of the building and the purpose it is built give a brief and thoughtful storybook about the culture of the architect as art, generally, and architecture, particularly, is a language itself. Thus, buildings narrate the stories of the people among the history and tell their traditions and habits to the next generation through its design, inscriptions, and details. In this essay, I will discuss how both the style and function of the Greek Parthenon and the Roman Pantheon served as typical examples of their cultures in Athens and ancient Rome. In addition to the similarities and differences between these two cultures through the two buildings.

The three types of Ancient Greek art were a progression of styles than began in approximately 700 BCE under the Archaic style. The Archaic style was very primitive and can be likened to Ancient Egyptian art and sculpture. The Archaic style would display the human body in very rigid and unnatural forms. Archaic sculptures were also well known for the “Archaic Smile”. Historians believe that the Greeks displayed their human sculptures with a smile to signify that they were representing someone who was “alive”. The Classical style followed the Archaic style and began as early as 480 BCE. The Classical style occurred during the “Golden Age” of Greece and that can be exemplified in its art and sculpture. The art and sculpture represented

Located atop a hillock, the city’s core consists of the red sandstone palace complex and the Jami Masjid within which lies the marble tomb of Sufi saint Salim Chisti, whom Akbar revered. The approach from the Agra Gate had houses of nobles on either side, a bazaar, a mint house, the royal kitchen and the house of the noble of kitchens, reflecting great planning. From here the palace complex begins with from the Diwan-i-Aam an open raised courtyard with trabeate corridors, just behind which is a structure named the Diwan-i-Khass. This red sandstone building has an interesting interior with a circular carved pillar with serpentine brackets at its centre supporting four walkways to each corner of the square room. Asher and Brown maintain that Akbar sat atop this pillar and heard disputes with the arrangement symbolizing ‘dominion over the four quarters’, yet S.A.A Rizvi holds this was actually a royal jewel house owing to the chambers within the pillar. West of the Diwan i aam is the Anup-talao a pool with a pavilion in the centre. Near it are three trabeate structures- a Turkish Sultana’s House, which has intricate floral and geometric carving on it, which according to Rizvi was not a house, but a chamber of discussion, the Khwabkhana or Akbar’s sleeping chamber and next that the Daftar Khana or records office which had Akbar’s jharoka. West of this area, are a series of small trabeate palaces