Flemish artist Jacob Jordaens developed a naturalistic Baroque style in his oil canvas depiction of the Judgement of Paris. Jordaens use of form, saturated colors, effects of texture, and the fact that his female models are believed to representations of his wife make him unique during the Baroque era. The Judgement of Paris is a painting that illustrates a vital scene/moment in classical history, Greek mythology. Many Greek gods and goddess, such as Hera, Athena, Aphrodite, Hermes, and Paris of Troy, are portrayed in the artwork. The content of the painting depicts the wedding banquet of Peleus and Thetis. Almost all the goddess are invited, except Eris, goddess of strife. Out of spite, Eris throws a golden apple with the words "to the …show more content…
Aphrodite leg is creating a V shape. Hera seems to be modeled after Aphrodite of Knidos, with her hand somewhat modestly place to cover the female part and her body shape is also quite similar too Aphrodite of Knidos. Athena on the other hand, is giving the audience her full back. Her body creates “s” shape with gives a sense of motion. All four females depicted in the painting have that ideal female body congruent with Greek ideal at that time, 0.7 waists to hip ratio, unfit, non-muscular body. Same can be said with all the males depicted in the painting, they all adhere to the male ideal body; they are all extremely muscular and ripped, ready to protect their town and women, even Eros, a child has an extremely muscular body. Paris is seen horizontally extending his arm towards to Aphrodite granting her the apple, show casing every arm muscle just like in Discus Thrower, as if the artist just capture the exact moment of motion. There is an implied line, directing the viewer’s eyes towards the focal point, Aphrodite and Paris. All the character’s eye direction in the painting is going towards Paris choice of giving the apple to Aphrodite instead of choosing to give it to Hera or Athena. Furthermore, a dog, next to Paris, is seen horizontally lying down on the floor, which according to Greek culture, dogs were the protectors, they are calm, loyal and devoted to their masters. The viewer based on location and proximity of the dog to Paris can conclude that he will protect Paris from harm, foreshadowing the Trojan War, which Paris escapes alive. There is also iconography in the painting such as Eros, to identify Aphrodite, a peacock to identify Hera, and armor for
In this documentary report I shall look at the account of Urban II’s speech we are given by Fulcher of Chartres and assess it’s usefulness according to it’s likely reliability and it’s concurrence with the other accounts of Urban’s speech and the evidence we have from his letters. I shall first look at who Fulcher of Chartres was, as his role in society is important for understanding how he may have come to be aware of or present at the council of Clermont. A brief look at Fulcher will also provide an insight into what his opinions may have been and how this may colour his representation of the events. I shall also look at the message as we see it in Fulcher’s version of events and then at the overall view we are given from the evidence. I shall also look at the conclusions that ‘modern’ scholars have come to. Finally I shall look at the outcomes of this council and how much the outcomes reflect the aims we are told about in the accounts of the council of Clermont.
The viewing of the documentary “The Queen of Versailles” was an eye opener, going into the film we don’t feel sorry for what is about to happen to them but towards the end we find that nothing will make them happy. The documentary does an incredible job of showing us a world that we will probably never see, as well as, showing us what’s really important in life. It does a great job of portraying the American dream and all the problems they may come with creating that dream. The documentary begins in 2008 and the Siegel’s are making more money than they know what to do with. Everything seems to going perfect for the family. Westgate Resorts is making tons of cash by selling timeshares to their middle class customers whom the Siegel’s lovingly
The Apollo statue consists of a garment that is shown in a pattern like manner. The robe does not display realism but symbolism due to its lack of variation in the folds. The Aule Metele however, shows a great deal of realism in the drooping folds and twisted shoulder strap. It looks as though the material is in fact freely moving and could be manipulated. The muscle structure of the Apollo statue also displays a great deal of generalization. The limbs are robust and irregularly plump in areas as can be seen in the calf area of the right leg. The Aule Metele displays a great deal of understanding of muscle as well as bone structure in the limbs as can be seen in the edges created in the extended right arm of the figure.
The author talks about the meaning behind the two pieces, Doryphoros (Spearbearer) and Aphrodite of Knidos. He begins by going into the basic history of what men and women at the time were expected to do during their short lived lives. He paired these two pieces because of the masculinity and femininity that divides and unites the two classical Greek sculptures. Stewart talks about genders and the gender roles that were expected of men and women at the time the artwork was made in ancient Greece. Both pieces are linked to power and vulnerability. The author goes into full detail throughout his research, giving background, reasoning, and explanation between the importance of the pieces, linking them to the important of idealized perfection.
Viewing the Lansdowne Hermes with a naked eye and what you will see is a larger than life-size statue depicting a man with an ideal body leaning with the majority of his weight on his right foot. His right arm is resting on his right buttock in an almost effortless pose. The left side of his body tells a different story. His left foot has barely any weight on it, and his left arm is supporting a pretty large portion of cloth wrapped so it perfectly wraps around the shoulder and rests just above the wrist. It appears that he was at one time holding some sort of sword or stick. To the naked eye that is what this sculpture seems to be, accepting a sculpture as a piece of art. Glancing at the Lansdowne Hermes you can appreciate beauty of art for beauty of art. However the sculptor had much more in mind when he created this figure from a large unscathed piece of marble.
She repeated “Some say” and “others” to show that the definitions of beauty are distinct between people. She listed three masculine opinions about beauty “thronging cavalry, foot soldiers, a fleet” are the most beautiful to them. “A foot soldier - armed with long spears, protected by shields and body armor, and grouped in closed ranks.” (EH). That is the beauty of strength, bravery, and exploit. As a perspective of female, she though that the most beautiful in the world was whatever one love best. She also gave the myth of Homer for the instance. Helen – the most beautiful woman in the world- was having a happy life with the King of Sparta and a nine-year-old daughter. Unfortunately, because of the promise of god Aphrodite with Paris, she unintendedly fell in love with Paris. It was the Goddess to blame on. In the fragment, “the goddess seduced her wits and left her to wander”. In unconscious state, she forgot all about her current life and beloved family, her yearning was to approach her lover. One intriguing detail is a woman named Anactoria. It was probably because of a certain circumstance, Sappho and Anactoria are separated after a period of time together so that Sappho can visualize clearly “her lovely step, her sparkling glance and her face”. Description about Anactoria and the Lydia troops adds the sentimental to the tone and restate Sappho opinion about
It is determined the Antonine Woman as Venus is a woman of aristocratic status. The portrait is made of fine-grain marble, a medium only upper-class persons could afford. Also, only persons of wealth could afford to have such a protrait made. The woman is portrayed as Venus, a goddess who is connected to the imperial family, and members of a royal family would often have themselves depicted as a deity. (De Puma 26) We know she is being portrayed as Venus because of her bare breast and the upper-arm ring. The bare breast is a key to Venus because she is the goddess of sexuality and desirability. The upper arm ring can be an attribute of Venus as the Statue of Aphrodite (Venus) by Praxiletels displays the same jewelry on a nude body. (Fantham 175)
During the Hellenistic period, importance shifted towards the depiction of heroes and nobility. The Judgment of Paris and Alexander mosaic are perfect examples. The Judgment of Paris describes a contest to see who is the “fairest” goddess of them all. This choice was left Paris, the prince of Troy. After he made his choice, his prize Helene was abducted, eventually leading to the Trojan War. This is just one version of the myth. A picture can bring about different interpretations. One can assume that multiple differences would lead to conflict in the everyday lives of ancient Rome and Greece. However, the variations of these myths was truly fascinating addition to history. Art has helped expand the imagination of many, helping the transfer of information for generations. The Alexander mosaic is one of the most historically influential mosaics during this time. The Alexander mosaic dates back to 100 B.C. and lays out the Battle of Issus with use of multiple textures and colors to show depth. Alexander the Great was a Roman hero admired by many during his conquest. Every young child aspired to be half the warrior he was. This child would eventually become a hero in reality, displaying the true power of a simple myth. The Alexander mosaic helps show his greatness in this heated battle. The combinations of logos and muthos aids in the mystery myths
She places in people the desire to have sexual relations and causes fear in men of the power of seduction by women. Her marriage to her husband was ignored as she had affairs with immortal and mortal men. Her infidelity in her marriage places her on the side with Greek men, rather than Greek women because only Greek men were able to cheat on their wives; not the other way around. In conclusion, the three important rules discussed in this paper that Greek women were required to obey, can be seen in the myths of the goddesses Hera, Athena, and Aphrodite. Whether or not the Greek goddesses obeyed or did not obey these rules, their importance to the Greek culture is ever strong.
When we all hear the name Aphrodite, we can all reach agreement that the first point that comes to mind is love and beauty. In the “Ancient Roman Mythology” book, she is des...
“The beginning of female art found in this Aphrodite depict her as a slightly overweight, broad-shouldered, wide-hipped figure with rougher textures and harsher lines” (Berz). The Greeks found this so appealing because it looked very similar to themselves in form but because Aphrodite is na...
The small, crudely carved statuette of an obese woman contrasts heavily with the graceful classical forms of sculpture such as Aphrodite of Cnidos, Praxiteles, 350 BCE. Although it would be difficult to associate the word beautiful with this statuette, there can be no doubt that it reflects the female form. The statuette has also been known as “la poire” or “the pear” due to its size and shape and more recently was donned the Woman from Willendorf. The removal of the title Venus served to take away the figurine’s status as a goddess and lower it to the human level, therefore allowing more consideration of the figurine’s purpose (Witcombe, sec. 3. The adage of the adage.
The primary focus of ancient Greek sculptures was that of the human body. Almost all Greek sculptures are of nude subjects. As the first society to focus on nude subjects, Greek sculptors attempted to "depict man in what they believed was the image of the gods and so would come to celebrate the body by striving for verisimilitude or true – likeness (realism and naturalism!)."(Riffert) Not only did the Greeks celebrate the human form in their art but also in everyday life. (Riffert) One of the favorite topics for sculptors was that of the athlete. In Greek culture athletes were described as "hero–athletes". (Riffert) This shows that athletes were revered and looked upon as heroes. The influence of athleticism is evident in many famous sculptures. I will attempt to show how the human form influenced Greek art. It is important to note that many of the Greek sculptures discussed do not exist in their original form but rather in Roman copies of the original bronze sculptures. (Riffert)
What makes the depiction between Athena and Aphrodite interesting is the different ways they are portrayed even sharing the similarity of being born strictly from male only. Athena from the all-powerful king of the gods Zeus and Aphrodite from Ouronos. Though they were both born from man alone, the content of these births caused Athena to be expressed in a more dignified, respected, and superior way. Hesiod’s recount of the births of Athena and Aphrodite in his Theogony reveals the source of Athena’s superiority. According to the Theogony, Ouranos’ genitals are thrown into the sea where they mix with the sea foam to result in Aphrodite (Hesiod 180-192). Aphrodite is said to be called, by Hesiod, “Philommedes, fond of a man’s genitals” ( Hesiod, 200-201). In contrast, Hesiod writes that Athena is born from Zeus’ head (Hesiod 924) after Zeus consumes her mother Metis, the goddess whose name means wisdom, for fear of her giving birth to someone who was destined to be his match in wisdom (Hesiod 894-900).
The French Revolution and the legacy of A Tale of Two Cities & nbsp; It is a commonplace of Dickensian criticism that the writer was influenced by Carlyle's The French Revolution in A Tale of Two Cities. Taking Dickens's comment that he read Carlyle's history "five hundred times" (I. Collins 46) as a starting point, many critics have discussed Carlyle's influence on several aspects of the novel, such as the narrative technique (Friedman 481-5), the imagery associated with the Revolution (I. Collins 52; Baumgarten 166; Lodge 131-2), and the narration of the historical episodes (Lodge 134; Friedman 489). And yet, Dickens's outlook on revolutionary violence differed significantly from that of Carlyle. As Irene Collins points out, Dickens "dislikes the violence of the revolutionaries, both in its popular form (the mob) and in its institutionalised form (the Terror). Unlike Carlyle, he can no longer see justice in the violence" (53).