Odysseus is disguised as a beggar and this fact is only known by Athene and Telemachus. Athene is helping Odysseus and Telemachus to hide and put away the suitors’ weapons Telemachus tells Eurycleia to “keep the women in their rooms” so that he can place his father’s “goodly armor” in the chamber because it smells like smoke. Odysseus tells him to say this so no one gets suspicious and the can hide all the weapons. After putting away “the helmets, bulging shields, and pointed spears”, Telemachus goes to rest (183).
Power and Pathos Essay The Seated Boxer, 300-200 B.C.E. is a work that may look as if the statue emanates power, but in actuality, emanates pity and sadness when examined more closely. This work of art was created during the Hellenistic era where Greek art displayed dramatic, detailed expression art. The Seated Boxer expresses this same sort of art from the Hellenistic era as the sculptor etched intricate details to the Seated Boxer from the details on its face, to its entire posture that it has been sculpted in. Greek classical art, such as The Warrior, has been known to display perfection of the works of art and emanates the theme of power from its posture to its expression that it displays. The theme of pathos is more associated with a somber theme, such as Epigonos, where the works of art evokes a sense of empathy from the viewers as they examine its details, emotions, and the general feeling it expresses.
Humphrey, J.H. "Circus, Roman." Grove Art Online (2007). Oxford Art Online. Standing as an arena for chariot races, Humphrey discusses the monuments physicality and its specific functions and operations it posed, as well as the suspected influences from Greek hippodromes and Etruscan race-courses. It also discusses in detail the races and performances held there and how this was presented as a form of entertainment for the Roman
While reading “The Trouble with (the Term) Art,” written by Carolyn Dean in the summer of 2006, we are taken through an array of different scenarios that lead us to questions what art really is. Dean explores the idea that the word “art” is used far too often and too habitually, and that as we study the non-Western cultures we need to use much more discretion regarding what we call the different pieces of their culture. Throughout the essay, Dean supports her thesis that we too often categorize non-Western pieces as art by using different examples of how certain non-art pieces were deemed as art throughout the course of their history. Dean does this by using four key examples of how these ancient pieces are inappropriately called art to successfully support her thesis and avoid biases.
“Classical Ideal” In the documentary, “Art of the Western World-The Classical Ideal”, the narrator provides a history and a perspective on the Greek and Roman creation of the “Classical Ideal” to art and architecture. The narrator infers that the foundation of the two societies, namely their democratic falsifies and religious foundations, along with their focus on fitness, personal strength, calculations and intelligence, drove Greece and later Rome, to perfect their visions of balance, symmetry and beauty in their architecture and art. Greece and Rome are often held out as the greatest societies to have ever existed.
Although, like the Venus of Willendorf, he is the pinnacle of man and perfection, he differs from the Venus in that he is a particular person, has facial features, and is not exaggerated in certain areas. He has a more lifelike appearance; he could be someone’s son, brother, or friend, or someone seen in passing at the Athenian market. He functions as the Ideal, and something to be strived towards, as many pieces from this period were, which is indicative of the culture
Throughout the Archaic period, the majority of Greece’s affluent cities were ruled by tyrants. This “age of tyranny” as it was named, was not only a transitional stage in the Greek polis’ political development, but in the development of art during the Archaic period as well. A Greek tyrant was someone from the aristocracy that gained his political power through a military coup. In order for the military coup to be successful, along with the continuation of the tyrant’s new-found power, he needed the full support of the people.
The loss of Parthenon artifacts happened over centuries through various atrocities committed by military action. In Christopher Hitchens’s “lovely stones,” Hitchens argued that at least one lost part of the Parthenon, half of the adornment sold by Elgin, was recoverable. To rally support for the return of these pieces, Hitchens established an appeal to emotions through vivid imagery, an appeal to morality through sound analogies, and appeal to logic with past successful examples conservations done by Greek museums. Hitchens’ vivid imagery of the adornment in paragraph 3 highlighted that it was once the centerpiece of the Parthenon temple. Hitchens described the adornment with amazing detail.
This book has given me a greater understanding on the Classics as a whole. The book touches on a plethora of classical topics in chapter 2, and often compares the western civilization to our west. The author also gave me better understanding of the time periods. I didn’t know slaves had better treatment than the free people in Persia at the time, or that war was an enormous role in Classics age. From the western civilization class I’ve took earlier this year, this books discuss the importance of money in a war, when Sparta beat Athens, or when Rome beat the Carthaginians because of the new money they received to build ships.
Title The painting “Hercules and Deianira” by Antonio del Pollaiuolo depicts a myth from classical antiquity, of the centaur Nessus abducting the maiden Deianira from her lover, Hercules, who pursues and kills the man-beast. According to legend, the centaur would pull one more trick before his death, convincing Deianira that his blood could be used as a love tonic; when she gives Hercules a robe soaked in the blood potion, he dies in a fit of agony, revealing the centaur’s wicked hoax. The artist chooses for the moment of depiction an instant of pursuit, as Hercules realizes his folly and gives chase to the abductor, bow in hand. “Hercules and Deianira” is massively successful at translating the emotional character of the scene, a moment wrought with anger and anguish, into a visual
There has been a persistence of classical myths into the art and thought of Renaissance. This paper aims to discuss the relationship of the artistic and mythical representation of the story of Diana and Actaeon. The setting is a grotto in a dense forest, which was leafy and dark. Situated at the grotto is a pool and fountain. The goddess of hunt, Diana, together with her nymphs, flaunts themselves at the pool, naked.
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.
Almost every student has read “The Odyssey” by Homer at one point in their school career. The story the odyssey is still very much relevant to the modern world. This entire essay will be about how “The Odyssey” is still relevant today. The point of proving this is till is because it provides every helpful or imaginary thought to influence people. The odyssey is important and still relevant in the 21st century because it shows facts about the Trojan war, it could inspire people to become historians, and help educate people.
We see a clear transition from stiff figures containing no motion to the Greek’s beginning to understand the body’s physiognomy. This is a classic example of Contrapposto. Doryphoros stands on his right foot leaving the left leg relaxed and the right leg the weight-bearing. The left arm would have been the weight-bearing of the bronze spear, similarly, leaving the right arm relaxed. This sets a counterbalance in the composition of the body.
With its sensuous richness, color and movement, "Prometheus Bound” evokes strong emotions in the viewer. The painting is based on a Greek myth where the Titan Prometheus is punished by Zeus for stealing fire and giving it human. Prometheus is punished by being bound on a rock and having an eagle rip off his liver daily. The painting itself is large. The objects in the painting are also large.
