In the Late Period, 26th Dynasty, 664-525 BCE, ancient Egyptians created several sculptures in which depict various gods and goddesses as a worship symbol for various practices. The statuette of Taweret (Plate 1-3) is a perfect example of a animalistic representation of the goddess Taweret, and the power that encased the meaning of the relic for the Egyptians. The sculpture now remains in the Hallie Ford Museum of Art in Salem, Oregon, as it was a gift of James and Aneta McIntyre. The approximately six inch tall statue remains in perfect condition, displayed with other statuettes who speak for the ancient Egyptian culture. Taweret is usually depicted as a pregnant hippopotamus, wearing a short, cylindrical headdress topped with two plumes …show more content…
The “Venus of Willendorf” (Plate 4) was another figure that was expressed as a female fertility figure. Both of these sculptures illustrated a goddess with a great emphasis on the reproductive parts, the enlargement and exaggeration of the breasts, and the stomach. Additionally, both sculptors approached a similar technique, carving away from a larger mass of stone in the subtractive technique. Also creating an overall sculpture in the round, allowing the viewer to view all sides of the three-dimensional object. Furthermore, the pieces are small in scale as Taweret stands about six inches tall and “Venus” at only four inches. Not only is the overall shape and height of the sculptures are similar in many ways, but the patterning is also featured in alike ways. Depicted on the head of “Venus” and the headdress on Taweret, there are small spheres in horizontal and vertical lines, or wrapping around the head in a circular pattern. On the other hand, there are several contrasting aspects of the two pieces that enhance the context behind their different …show more content…
While the statue of Taweret was founded in Egypt during the late period, 26th century, “Venus of Willendorf” originally came from southern Austria ca. 28,000-23,000 BCE in the Paleolithic Period. The materials used for the subtractive sculpture also different, not only in the overall color, but also the texture of the form. Taweret was made from basalt, which is a volcanic rock, and created a smooth black surface to the animalistic goddess. However, “Venus” is carved from limestone, which is a light brown color and creates a rough texture to the touch. Finally, the main differentiated aspect of the figures revolves around the contrasting features of the animalistic and humanistic representation of the goddesses. As explained before, Taweret is depicted as a hippopotamus, presumably carefully observed to obtain a realistic image of the animal. Contrastingly, the sculptor of “Venus of Willendorf” did not aim for naturalism in shape and proportion, but instead consciously chooses to enhance the reproductive parts and the curvature of the female figure to suggest the importance of fertility through the goddess. Yet, interestingly enough left the female face out of the sculpt, but instead suggested only a mass of curly hair through stylization, or some argued a woven hat made from plant fibers. This left mystery and neglection of deity identification during this period, and not a
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
It offers and understanding that women were held at a different standard then than they are now. This figurine shows that women had a larger mid-section but was because they either needed the body fat for long, cold winters or the better idea was because it showed they were fertile and they were able to produce babies and keep the legacy going on. It also provides a better image of what the men and women had to go through in order to survive, like the long hard winters, the needing to hunt for food and could mean sometimes not having food. Venus of Willendorf was not considered an obese women, “where features of fatness and fertility would have been highly desirable”, (PBS, 2006). I can use this article because it explains the whole point about a women’s image. Women were not looked at how skinny and “good looking” they were in a pair of jeans. Women, in this time, were looked at as if they can be fertile or not. Being able to have children was a huge thing in this time since it was one of the point of living, to have a
...e of Knidos, created by Praxiteles, can only be found in copies today, but at the time was the first sculpture of a goddess nude. He had transformed marble into the soft and radiant flesh of the goddess of love and taking on a worldly sensuousness. Originally located in a rotunda where it could be seen from all angles. Female nudity was very rare to the Greeks, especially that of a goddess. The sculptor made it look like Aphrodite’s nudity was nonchalant, which made it more sensuous with a welcoming look on her face. With several copies, all being found to be slightly different, all still capture the goddess’s womanly beauty that is not too sexually aggressive. With he hourglass torso, sloped shoulders, large hips and thighs, slim calves and ankles, and small feet and hands, this statue is the polar opposite of any manly figure, which is why it is known to be luring.
These two statues are famous to the Egyptian art era. They represent the woman’s position and the man’s position at that day and age. Traditionally, the rulers of Egypt were male. So, when Hatshepsut, Dynasty 18, ca. 1473-1458 B.C., assumed the titles and functions of king she was portrayed in royal male costumes. Such representations were more for a political statement, rather than a reflection of the way she actually looked. In this sculpture, she sits upon a throne and wears the royal kilt and the striped nemes (NEM-iss) headdress with the uraeus (cobra) and is bare chested like a man. However, she does not wear the royal beard, and the proportions of her body are delicate and feminine.
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)
Egyptian art is infamous across the world - classified by the monumental pyramids, and the Sphinx. Although these are both valid forms of Egyptian art, they do not make up the entire artistic history of the country. On the contrary, perhaps the most replicated example of classic Egyptian art, from the Old Kingdom, can be found in their rendering of the human form. An interest in portraiture developed early in Egypt. (Gardner, 75) Whether painted on pottery, or cut into rock, the figures all had notably Egyptian characteristics. "The seated statue is one of only a very small number of basic formulaic types employed by the sculptors of the Old Kingdom." (Gardner, 75)
The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.
The image that has been produced over time about the Goddess of Desire, the renowned Aphrodite, is one of a longhaired beauty, riding atop a scallop shell to bestow her beauteous wonders upon the mortal earth and Olympus. This is an icon of femininity and perfection, the most stunning of the already statuesque gods and goddesses. Doves and sparrows are her counterparts as is the sweet and playful Cupid in later Roman myths. However, this seemingly flawless picture of delicacy and sensual delights is far from perfect. In fact, when looked at a little more closely, the mien of Aphrodite becomes distorted, her beauty playing out to actually be her curse. In the next pages we will delve into the true nature of the Love Goddess, contemplate the source of her ‘deeds’ and then determine how high a pedestal she actually rests upon.
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
Witcombe further speculates that these statuettes may have served as a representation of the Mother Goddess, also referred to as Earth Mother and that the deity may have been represented in the form of a leader or matriarch.
Botticelli depicts Venus standing a relaxing pose with long golden wavy hair that falls to her knees skin blemish free and pale as the seafoam she’s born from with one hand (right) gently placed over her right breast she uses the other (left) grasping for