Terms and facts- Hierarchical scaleFrom the Prehistoric and Neolithic-Post and Lintel, Megalith, tumulus, hengeFrom Mesopotamia-The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or StelaFrom Minoa-Labrys, The myth of King Minos and the MinotaurFrom Mycenae-Corbelled vaults and domes, repousse, Tholos, Megaron, kraterFrom Ancient Egypt-Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna PeriodFrom Ancient Greece-Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design)Know the seven steps to lost wax castingKnow the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capitalThe two styles of Greek vase painting-black figure and red figure-the basic differences in look

You should look up exam one of these myths and know the basic story or the main story about the character listed:

Prometheus and Fire Apollo and DaphnePygmalion and Galatea NiobePersephone and Hades PandoraTantalus-Son of Zeus The DanaidesAlcyone and Ceyx Idas and MarpessaThe Fall of Icarus Theseus and the Minotaur

Perseus and the Medusa Jason and MedeaHercules and the Stymphalian Birds

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Sculpture

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Seven steps in the lost-wax casting process

Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polish

Figure 5-12 Plan of a typical Greek temple.The CELLA, is the room where the deity’s sculpture would have been housed. Think harmony, balance and order. Proportional exactness helped achieve this harmony and order. Order in the world, art and the cosmos Despite its grandeur, the Greek temple was elegantly simple in floor plan, stressing order through symmetry, balance

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Archaic Greek Temple

Diagram of the Classical architectural orders

Diagram of the Classical architectural orders, differentiating between the Doric, Ionic, and Corinthian. Key parts of Greek temple design, such as the pediment, stylobate, entablature, frieze, capital, column, shaft, and base are also identified

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EXEKIAS, Achilles and

Ajax playing a dice

game (detail from an

Athenian black-figure

amphora), from Vulci,

Italy, ca. 540–530 BCE.

Whole vessel 2’ high;

detail 8 1/2” high.

Musei Vaticani, Rome.

Now we see a whole

scene and no hierarchy

at all. Still some

patterning used. This is

black figure pottery on

this large vessel-

amphora.

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EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche Antikensammlungen, Munich.

Red figure painting could allow more artistic choice and detail. There could even be differences in the red hues.

Note the ¾ view of theis figure, an early foray into foreshortening, so a sense of the figures exist in a space is achieved now.

Landscape with volcano eruption, wall painting

Landscape with volcano eruption, Çatalhöyük, Turkey, c. 6150 BCE. Wall painting: Ankara Museum of Anatolian Civilizations, Turkey. Watercolor copy: Private collection

Considered to be the first landscape painting known showing the town layout, volcano reference at the top can be the one from an earlier Neolithic town 60 miles away, since no volcano is near Chatal Hoyuk. Chatal Hoyuk means “forked mound”.

Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 3

HISTORY AND CONTEXT

Chapter 3.1 The Prehistoric and Ancient Mediterranean

Hieroglyphics

Often images of

objects, but can

represent ideas or

sounds

The Rosetta Stone,

discovered in 1799,

made the translation

possible

Hieroglyphics

Demotic

Greek

Stele of Hammurabi.

c. 1760 BCE.7 ‘ x 28”

Hammurabi, King of Babylon reunited

Mesopotamia and instituted the Code of

Hammurabi, a comprehensive set of laws

addressing nearly all aspects of both civil and

criminal offenses.

Hammurabi is portrayed receiving the laws

directly from Shamash the sun god. (a parallel

to Moses). Shamash is the dominate figure—

he is seated on his throne, wears a crown and

has flames issuing from his shoulders.

Although Hammurabi is subservient to the god

he still makes a powerful authority statement

by addressing the god directly. Even though he

has his hand raised in reverence he shows that

he has a personal relationship with the gods

while mere mortals do not.

The Phaistos Disc

2000 BCE.

There are 45

characters on the

disc. Pressed

deals into the wet

clay to print.First

printed text ever

found

Written language

is called “Linear

A”

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Figure 1-4 Nude woman

(Venus of Willendorf), from Willendorf,

Austria, ca. 28,000–

25,000 BCE. Limestone,

4 1/4” high.

Naturhistorisches

Museum, Vienna.

Seated Goddess of Catal

Hoyuk 6000 BCE

Clay 16.5 cm

Found in a grain storage vessel.

She is flanked by two feline

animals, believed to be

leopards. Fertility figure and

mother goddess of both birth

and crops. Many more female

deities are found at this time

and place than male

counterparts.

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Figure 4-13 Snake Goddess, from the palace at

Knossos (Crete), Greece, ca. 1600 BCE. Faience, 1’ 1

1/2” high. Archaeological Museum, Irakleion.

ART ACTIVITY

Labrys – Double-headed axe attributed to matriarchal

power and female divinities later to sacrifice and male

power in other cultures

The roofbox lets in the light, illuminating the interior during the solstices. Corbelled vault.

Newgrange Ireland (Bru na Boinne) 3200 BCE

Exterior of the Treasury of Atreus (looking west), Mycenae, Greece, ca. 1300-

1250 BCE.

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Tholos (tomb) or Treasury of Atreus 1250

B.C.E. Above – corbelled vault construction.

Largest dome

constructed for

over 1400 years.

43 feet high, 50

feet wide.

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Figure 2-13 Victory stele of Naram-Sin, set up at Sippar,

Iraq, found at Susa, Iran, 2254–2218 BCE. Pink sandstone,

6’ 7” high. Musée du Louvre, Paris.

Shown leading his army, King

Naram-Sin is wearing the

horned headdress signifying

divinity

First time Mesopotamian king

shown as a god

Three stars overhead, looks like

he is scaling his way to the

heavens

Not in a horizontal format, but

still hierarchical in scale

•THE AKKADIANS

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Figure 3-1 Judgment of Hu-Nefer, detail of an illustrated Book of the Dead, from the tomb

of Hunefer, Thebes, Egypt, 19th Dynasty, ca. 1290-1275 BCE. Painted papyrus scroll, 1’ 3 ½”

high; full scroll 18’ ½” long. British Museum, London.

Know what is going on in the scene depicted. Positioning and portrayal of the bodies as a

hallmark of Egyptian painted imagery.

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Figure 3-2/3 Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, 3000–2920 BCE. Slate, 2’ 1” high.

Symbolized the unification of Upper and Lower Egypt. On the left Narmer is slaying two foes at once, the man and the falcon, a

symbol for the pharoah. The two interwined necks of the animals on the right – again unification symbology

DEPICTED A HISTORICAL PERSON, HIERARCHICAL ORDER OR SCALE, AND THE SETTING OF THE

BODY’S STYLE OF DEPICTION. A start of the canon of artistic laws for Ancient Egypt in the depiction of the

pharaoh, other humans, space, decoration, action, etc.

Pyramids at Giza: from left to right, the pyramids of Khufu, Khafre, and Menkaure

Giza (Gizeh) Video Link

https://www.youtube.com/watch?v=q6fyAn9Ea_I

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Figure 3-13 Menkaure and Khamerernebty(?), from

Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE.

Graywacke, 4’ 6 1/2” high. Museum of Fine Arts,

Boston.

SCULPTURE

OLD KINGDOM

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Kouros, from Attica, Greece,

ca. 600 BCE. Marble, 6’ 1/2” high.

Metropolitan Museum of Art, New York.

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POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from

Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high.

Museo Archeologico Nazionale, Naples.

Doryphoros of Polykleitos

•Originally titled Canon – a set of artistic

laws to achieve perfection, harmony,

beauty, the ideal

•Established Polykleitos’ canon of

proportions, setting ideal correlations

among body parts derived from

Pythagorus geometry and musical

harmony theories and ratios

•Contrapposto and counterbalance

•Notice the harmony of opposites

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PRAXITELES, Aphrodite of Knidos. Roman marble copy of

an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani,

Rome.

Aphodite of Knidos,

PRAXITELES

•Bold step to render a

goddess in the nude

•Sensuous and

humanizing qualities –

different from the cold,

aloof gods and athletes

of the High Classical

26Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome.

ABOVE Dying

warrior, from the east

pediment of the

Temple of Aphaia,

Aegina, Greece, ca.

480 BCE. Marble, 6’

1” long

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Seated boxer, ca. 100–50 BCE. Bronze, 4’2” high. Museo Nazionale Romano–

Palazzo Massimo alle Terme, Rome.

Note in the later Classical and

Hellenistic Periods how this statue does

not depict an “ideal”. More of a true to

life human with emotion, seated casually.

Note the smashed nose, age. Greece is

being taken over soon after Alexander

the Great by Rome