When comparing the head of Akhenaten and the relief of Seti I there are some very obvious differences. For starters the technique that the two are made from are different. The head of Akhenaten is a sunken relief while the Relief of Seti I is a raised relief. The appearance of the two figures is different in many of ways. The head of Akhenaten facial features is exaggerated. For example, his ear is larger than his eye. His chin is larger and rounder compared to the chin of Seti I. Akhenaten lips and nose are largely proportioned as well. The relief of Seti I is created in a more realistic way. The facial features of Seti I are more rounded and natural looking. His chin almost lines up with his pressed lips. His nose is less prominent compares to the head of Akhenaten. The two crowns both of these reliefs have are also different in shape and style. …show more content…
One of the more obvious differences would be the crown that the two are wearing. The crown that Akhenaten is wearing is shaped in an oblong type of way while his crown sits straight up on his head. The Statue of Tuthmosis II crown sits flat on his head and is shaped differently. The positions that the arms are in are different for both statues. The statue of Tuthmosis II has his arms placed beside him and his hands balled into a fist. For the statue of Akhenaten, his arms are crossed over his chest with his hands balled into a fist. Even though one of his arms is missing you can still see this detail because his hand still remains on his chest. The shape of the lower sections of their bodies is also not the same. The figure of the statue of Akhenaten has a rounder figure compared to the one of Tuthmosis II which is
The emotion in the figures is also very different. In the archaic figure, the face contains emotion other than the archaic smile. The eyes are closed with no facial expression. The classical statue on the other hand does not have any facial expressions but has open eyes and no smile.
While they might be in the same stiff stance, the Kritios boy is looser and more realistic. The Kouros Youth is thinner and very sharp. If you look at the legs of the Kouros Youth, you can see that the edges of the muscles are sharp in comparison to the very round legs and body of the Kritios boy. The Kritios boy is looking much more realistic and round. The hair between the two statues is also very different. While the Kouros Youth has long, stylized hair, the Kritios boy has shorter, fuller hair. We are getting closer and closer to the idealized Greek body with even the face on the Kritios boy, with the lips showing a Greek ideal. You can tell that the eyes in the Kritios boy would have been inlaid while the Kouros Youth would have
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.
Though the figures are not far from each other is height comparison, they seem to contain a distinct amount of difference in other aspects. First of all, they were made from different materials. While the Apollo statue is terracotta, the Aule Metele is of bronze. Generally speaking, the Apollo statue appears in a very symbolical manner in that his features are not well defined in detail while the Aule Metele displays a type of inspiring complexity with detail.
The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.
The Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
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.
A piece of art can leave distinct impressions with the viewer. The Assyrian Winged Protective Deity provides a plethora of stimulants for the eye. The relief emulates brute strength and power through the overall stature of the figure. The cuneiform writing above the relief greatly influenced the impression a viewer can receive through its narration about the figure. Other than Gilgamesh and the Assyrian Winged Protective Deity both being from Mesopotamia, they have numerous similarities.
In this paper I am exploring “Portrait of Augustus as general” and “Khafre enthroned”. From exploring and getting to know the Statues in my Art History Book I have compared these statues (Kleiner, 2013). The first and most obvious similarity between the two is in the artists’ idealization and immortalization of their subjects. Both Khafre and Augustus are portrayed in an idealized manner, designed to give the impression of nobility, timelessness, and divinity. The two statues were the political advertisements of their times that showed the public images of reliable leaders who one
The pieces of art I will be comparing and contrasting are the three statues of David, by Donatello (Donato di Niccolò di Betto Bardi), Michelangelo (Michelangelo di Lodovico Buonarroti Simoni), and Bernini (Gian Lorenzo Bernini). The statues are modeled after the biblical David, who was destined to become the second king of Israel. Also most famously known as the slayer of the Philistine giant Goliath with a stone and a sling. The sculptures are all based on the same biblical hero, but differ from one another. Each David is unique in its own certain way.
Compare and contrast the imagery of the Egyptian Palette of Narmer with the Akkadian Stele of Naram-Sin. How do they represent their respective kings, as rulers and also as human figures? How are the other figures represented? How do the artists approach the narrative (storytelling) process?
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
Both figures are in a very traditional, standing pose for the time period in which they were created. The sculpture of Augustus is based on the Greek classical statue of the Spear Bearer or Doryphoros by Polykleitos. He is standing in contrapposto, a very classical standing pose wherein the weight of the body is shifted naturally so the figure’s weight is more on one leg, with the other leg slightly bent behind and the hips tilted. Mycerinus and Kha-merer-nebty II are both in the standard Egyptian canon standing pose, in which the figures are rigidly frontal with the pharaoh’s arms down at his sides and fists clenched. Like Augustus, one leg is slightly ahead and one is behind, but there is no contrapposto, the figure’s weight is shared equally by both legs and the hips are squared and level.
The kouros was sculpted out of marble and the statue of Menkaure was made out of slate. The kouros is completely nude while the king is clothed in a kilt and a headdress. King Menkaure is making a fist around an object in both hands and the kouros has his hands in a loose fist. The kouros also does not have as much of the stone around him for “support” as the statue of King Menkaure and His Queen do. King Menkaure and His Queen was meant to be viewed from the front and therefore two-dimensional, while the kouros is meant to be viewed from all sides and is a three-dimensional
These two gods have different effects on the story: Poseidon is trying to cause pain and suffering for Odysseus, while Athena is trying to help Telemachus and give him hope that his father will return soon. The role of these gods is important to both journeys as Odysseus and Telemachus try to reunite their family.