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| 40,000 years ago cro-magnons (Humans) Painted, Sculpted, Musical Instrument, Items of wear and personal adornment |
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| Paleolithic 24,000 BCE Limestone |
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| From Paleolithic to Neolithic |
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Organized System of Agriculture
Maintenance of herds of domesticated animals
Permanent year round settlements
Domestic Architecture
Spear to bow and arrow hunting
Increase in trade and technology |
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| Layers of flat stones without masonry that form walls which each layer or course projecting slightly inward over the one below |
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| Themes in Ancient Near Eastern Art |
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Honoring the Gods
Exploring Visual Narrative
Expressing Political Power Military Prowess and Social Hierarchy |
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| A Temple tower consisting of a lofty pyramidal structure build in a successive stages with outside staircases and a shrine at the top |
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| an organizational device self-contained bands of imagery often in a vertical arrangement |
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| When was Assyrian Dominance |
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Authority of the King
Unified Egypt
Order Vs Chaos
The After Life
The Gods |
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Sky god represented by falcon
eyes = sun and moon
equated with king is a
manifestation of Horus
Horus is the protector of the king |
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| Great King of the Third Dynasty |
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| High Priest of the Sun God Re and chief administrator of King Djoser first recorded architect in history |
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Human-Headed Winged Lion
(Lamassu) from Palace of
Assurnasirpal II, Kalhu
(Nimrud), 883-859 BCE |
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Stele of Hammurabi, Susa (Iran), ca
1792-1750 BCE, Black Basalt, 7'
Babylonian |
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Panel With Four Horses
Chauvet Cave Paleolithic
30,000 BCE |
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People and Animals El Cogul, Neolithic
ca. 4000-2000 BCE, wall paintings |
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Votive Figures Sumerian
ca. 2900-2600 BCE
Limestone, alabaster, gypsum |
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Great Lyre with Bull’s Head, Royal Tomb, Ur (Iraq), ca. 2600-2500 BCE.
SUMERIAN
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Stele of Naram-Sin, from Susa
(Iran) 2254-2218 BCE, Pink Limestone, 6'7" tall. Akkadian |
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| Assurnasirpa II Killing Lions, Assyrian, Palace at Kalhu (Nimrud, Iraq), ca. 850 BCE |
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| The Divisions of Greek Art |
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Geometric
Archaic
Early, High, Late Classical
Hellenistic |
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| When was the Geometric Period? |
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Definition
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| Is the Geometrical Period a Historical Period? |
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| Statuette of a Man and Centaur c. 750 BCE late geometric bronze 4" |
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| Dipylon Krater, Geometric ca 750-700 BCE from cemetary outside Dipylon Gate. Athens, ceramic, Height 42" |
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| When Was the Archaic Period? |
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Amasis Painter, Dionysos with Maenads, ca. 540 BCE. Black-figure decoration on a ceramic amphora, 13”
ARCHAIC GREEK
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Exekias, Ajax and Achilles Playing Dice, Attic black-figure amphora, c. 540-30 BCE, h. 2’
ARCHAIC GREEK
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| Outline which defines a particular form. By using thick contour lines, the artist was able to suggest greater PLASTICITY or three-dimensionality. |
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| = Convention in which every aspect of a body or object is represented in its most characteristic or revealing viewpoint. |
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| A stone slab placed vertically and decorated with inscriptions or reliefs. Used as a grave marker or memorial |
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| The use of different sizes for powerful or holy figures and for ordinary people to indicate relative importance. The larger the figure the greater the importance |
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| an image created as a devotional offering to a god or other deity |
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| A stone coffin often rectangular and decorated with relief sculpture |
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| A looped cross signifying life used by ancient Egyptians |
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| The Royal Headress of Egypt |
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| A large cemetery or burial area literally a "city of the dead" |
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| A surrounding colonnade in Greek architecture a peristyle building is surrounded on the exterior by a colonnade also a peristyle court is an open colonnaded courtyard often having a pool and garden |
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| The principal interior room at the center of a Greek or Roman temple within which the cult stature was usually housed. Also called the naos |
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| The enclosed vestibule of a Greek or Roman temple found in front of the cella and marked by a row of columns at the entrance |
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| In classical architecture the stone foundation on which a temple colonnade stands |
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| A slight swelling of the shaft of a Greek column. The optical illusion of entasis makes the column appear from afar to be straight |
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| In the classical orders the horizontal elements above the columns and capitals the entablature consists of from bottom to top an architrave a frieze and a cornice |
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| The middle element of an entablature between the architrave and the cornice Usually decorated with sculpture painting or moldings Also any continuous flat band with relief sculpture or painted decorations |
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| Rectangular block between the metopes of a doric frieze. Identified by the three carved vertical grooves which approximate the appearance of the end of a wooden beam |
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| The carved or painted rectangular panel between the triglyphs of a Doriz frieze |
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| A triangular gable found over major architectural elements such as Classical Greek porticoes, windows, or doors. Formed by an entablature and the ends of a sloping roof or a raking cornice a similar architectural element is often used decoratively above a door or window sometimes with a curved upper molding a broken pediment is a variation on the traditional pediment with an open space at the center of the topmost angle and or the horizontal cornice |
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| The sculpted block that tops a column. According to the conventions of the orders capitals include different decorative elements. See order a historicated capital is one displaying a figural composition of a narrative scene |
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| The flat slab at the top of a capital directly under the entablature |
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| A cushionlike circular element found below the abacus of a doric capital. Also a similarly shaped molding( usually with egg-and-dart motifs) underneath the volutes of an Ionic capital. |
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| A spiral scroll as seen on an Ionic capital |
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| A mediterranean plant whose leaves are reproduced in architectural ornament used on moldings firezes and corinthian capitals |
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| In architecture evenly spaced rounded parallel vertical grooves incised on shafts of columns or columnar elements |
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| A slight swelling of the shaft of a Greek column. The optical illusion of entasis makes the column appear from afar to be straight |
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| A sacred or holy enclosure used for worship. In ancient Greece and Rome consisted of one or more temples and an altar in a church called the chancel or presbytery |
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| the convention of presenting standing figures with opposing alternations of tension and relaxation around a central axis; a weight shift used to convey a natural pose. |
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| Sanctuary of Athena Akros= High Polis=City Patron Perikles Foreman: Pheidias (sculptor) |
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| The Greek Goddess of wisdom courage warfare, strength and civilization. Also patron of major city in Greece |
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| Greek Goddess front lines of a battle name |
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Style in which artists are concerned with capturing the exterior likeness of a person
in a finely executed, meticulous manner. |
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| Columns typically used in roman architecture |
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Arch of Titus, Via Sacre, Rome, ca. 81 CE. Concrete and marble, height 50’
Pantheon, Rome, ca. 118-128 CE. Emperor Hadrian. |
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Flavian Amphitheater (Colosseum), Rome. 70-80 CE. Patron: Emperor Vespasian |
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Ara Pacis Augustae (Altar of Augustan Peace), Rome, 13-9 BCE, marble. |
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