Prehistoric, as well as pieces of historic art, has (at times) been elusive to specific date labels mostly because people did not date or sign their work. Many pieces are undated, which has left art historians and others guessing as to what period different pieces are from. In order to know when a specific sculpture, painting, or work of architecture was created, the historian must look at from where the artifact originated. Was it used across the Aegean? Or mainly in Crete? Archeology is an excellent time period dating tool. (83) The excavation and discovery of Aegean art must give credit to archeology, as it is a wonderful way to use the surrounding land (and geography) to discover the context of a piece of of art. Before I read this chapter, I was excited to learn more about this period and its art. From fourth to seventh grade, my Mother used a curriculum that incorporated art, history, and geography from the prehistoric to modern age. Because of that study and some of my own previous research, I recognized quite a few of pieces in this chapter of Aegean art including Bull-leaping (4-8), the Funerary Mask (4-22), and the Snake goddess (4-12). The world has a variety of cultures within its countries and their history. This variety has made Aegean art differ from art studied so far. The area of Asia Minor, the Peloponnesus, the Cyclades and Crete is surrounded by water, which made it thrive in trading, imports and exports. At times, this influenced their art towards the marine style (water, fish and sea life and creatures). I thought it was interesting (though not surprising) that these people, as well as those before them, continued to clearly portray women as images of fertility. Pictures of men fighting... ... middle of paper ... ... becomes distracted by her bare, white, chest. This is a picture of the style of the people and how they lived their lives, as well as an unpleasant figure of their goddess. This chapter was very pleasing to amble through, as I have studied this area and its people previously. The Aegean area is unique because of its geographical situation, which influenced the people in that era to portray art the way they did. I was surprised at the delicacy of the swallows in Landscape with Swallows, as well as the intricate etchings of gold on the Inlaid Dagger Blade (4-23). The Aegean people were truly creative artists, influenced not only be their location but by the people who were artists before them. Works Cited Kleiner, Fred. Gardner's Art through the Ages Wadsworth: Cengage Learning, 2009
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.
Renfrew, Colin. The Emergence of Civilisation: The Cyclades and the Aegean in the Third Millennium B.C. London: Metheun 1972.
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
For the Greeks, Homer's Odyssey was much more than just an entertaining tale of gods, monsters, and men, it served as cultural paradigm from which every important role and relationship could be defined. This book, much more so than its counter part The Iliad, gives an eclectic view of the Achean's peacetime civilization. Through Odyssey, we gain an understanding of what is proper or improper in relationships between father and son, god and mortal, servant and master, guest and host, and--importantly--man and woman. Women play a vital role in the movement of this narrative. Unlike in The Iliad, where they are chiefly prizes to be won, bereft of identity, the women of Odyssey are unique in their personality, intentions, and relationship towards men. Yet, despite the fact that no two women in this epic are alike, each--through her vices or virtues-- helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks.
Onians, John. Art and Thought in the Hellenistic Age: The Greek World View 350-50 B.C. London: Thames and Hudson, Ltd., 1979.
Athena and Calypso are the most significant goddesses presented in The Odyssey. While Athena embodies both feminine and not so feminine traits, Calypso embodies the sexual nature of women and the thought and feelings of sexualized women. Calypso, for example, sheds light on the double standards that exist between gods and goddesses: “Hard-hearted you are, you gods! You unrivaled lords of jealousy- scandalized when
In the following essay, I will be comparing the Hagia Sophia in the City of Istanbul, and the Suleymaniye Mosque of Istanbul. Both of these pieces of art are very significant to the in modern-day Turkey. The art pieces will be covered in more detail further on in this comparative essay, and finally, I will be judging the pieces at the end of this essay
Throughout the history of Ancient Greece thousands of great works of art were produced. Works were created in many different media, ranging from life-size statues to larger than life architectural structures. One type of art that can sometimes be overlooked, though, is pottery. There are many examples of great Greek pottery, but the two that will be used as a sample are Artemis Slaying Actaeon and Woman and Maid. By considering the backgrounds of these works, and comparing them directly we are able get a taste not only of the artistic styles of the time, but also a taste of ancient Greek culture.
Morris, Ian. Classical Greece: ancient histories and modern archaeologies. Cambridge [England: Cambridge University Press, 1994. Print.
be writing about a day in the life of a Greek artist. Artists in ancient Greece
Archibald, Zofia. Discovering the World of the Ancient Greeks. New York: Facts On File, 1991. Print.
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
Stebbins, Elinor. "Athena." Sweet Briar College { History of Art Program }. Web. 27 Feb. 2011. .
Castriota, David. The Ara Pacis Augustae and the imagery of abundance in later Greek and early Roman imperial art. Princeton, N.J.: Princeton University Press, 1995. (P. 64)
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground