These 2 figures of art both demonstrate elegance of human action as they both have characteristics that put emphasis on body parts and movement of the human body. “The Winged Victory of Samothrace” is a sculpture crafted from Parian marble in Gree during Circa 220-185 BC by Charles Champoiseau, and is also known as the “Nike of Samothrace”. “Unique Forms of Continuity in Space” is also a sculpture, but it’s crafted from bronze in 1913 by Umberto Boccioni.
The Nike sculpture represents the goddess Samothrace, or Nike and she’s standing on what looks like a platform, but she looks like she’s standing in a windy area as her wings are spread out and the drapes in her dress appear to be blown. Her arms and head are missing, but the focus is put primarily on her abdomen, wings and her dress. There is wind around her because it’s “whipping her, pulling back that drapery that flows behind her” and never stops moving (Musée Du Louvre). The scultpure appears calm, but there’s energy
…show more content…
It’s been “concluded” that the scultpure was made in Rhodes because many artists there had specialized in marble, but there is no clear evidence of this claim. The exact date of when this statue was produced is also unknown, but many believe that the artist worked on the “Winged Victory” “between 220 and 185 BC” (Musée Du Louvre). Samothrace is known as the Goddess of Victory, and so she stands as also a figure of victory and a statue of her is seen as a monument of protection and good luck when it came to war. It’s been said that the sculpture was built as a monument and an “offering”, meant to be a “religious act in honor” of the Gods of fertility (Louvre Museum). Although others have suggested that the monument is also dedicated to the Rhodians “in commemoration of a specific naval victory” after they won a large sea battle in Myonnisos in 190 BC. (Louvre
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.
We find that, in conclusion, that these pieces are very similar in many ways. They are both originally created in the same style and time period. They are Hellenistic and dramatic, although in their own, individualistic way. Each sculpture was created in different mediums and have different stories. These are both very individualistic pieces of Greco/Roman sculpture that has influenced many artists throughout time and will
Many art works such as statues are placed throughout the world in different settings. The most common setting for statues is found in funerary settings. The importance of statues in funerary settings is that they are use to project the power the person had before his death. The seated statue of Khafre enthroned from Gizeh, Egypt, illustrates the idealized pharaoh. Another sculpture is Kouros, from Anavysos, Greece that depicts the heroism of Kroisos dying in battle. The Kouros and Khafre are similar in the way that they both radiate power and serve the purpose of honoring the dead men, yet Khafre has a greater significance because it illustrates the pharaoh in a flawless form and the audience can tell that he was a great ruler by the perfect cut sculpture.
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.
In the summer of 1944, General George S. Patton and his 3rd Army successfully broke through heavy German Forces resistance from the Normandy invasion. German forces were in total disarray by the end of August 1944. Patton pleaded with his boss, General Omar Bradley, that if 3rd U.S. Army could be allocated as little as 400,000 gallons of fuel, he could be inside Germany in two days. Time was crucial before the inevitable reaction by the Germans to shore up their defense, preventing Patton from advancing. General Bradley refused Patton's request for more fuel; Unfortunately, General Patton advanced to Germany. Morale ran high throughout Patton’s Army, and there was no sign of heavy resistance before the German border. Consequently, by early September, the 3rd U.S Army had ground to a virtual halt along the flooded Moselle River. In places, Patton's tanks and vehicles ran out of fuel on the battlefield and their swift momentum outran their supply lines (Fugate, 1999). Lack of logistics allowed the German forces to take advantage of Patton’s Army and initiate one of the largest tank battles of World War II, the Battle of Arracourt.
Third Impressionist exhibition in Paris, held in 1877. Currently displayed in the Art Institute of
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
Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
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.
statue was found in the Hera's Temple. Contained in the Temple of Zeus was one
In regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
Nike of Samothrace is a beautiful winged sculpture also referred to as the Winged Victory of Samothrace is estimated to have been created between 200-190 BC. The BC marble sculpture of the Greek goddess Nike who was also known as Victoria (Victory) was not discovered until 1863. The sculpture was created to honor the Greek goddess and the sea battles of that time. On the other hand, the fearsome looking sculpture called the Coatlicue was created 1300-1500 in Tenochtitlan, Mexico. The Coatlicue was once buried because of the way it looks and Christians thought that images of the Aztec Gods were of the devil. The Christian were also afraid that if the Indian people were to see the stone images then they would start to worship them and abandon
The “Equestrian Statue of Marcus Aurelius” was one of the lucky bronze pieces from Ancient Rome. It was lucky because the Ancient Romans often melted their bronze creations to make new ones. While this helped supply artists with material for new statues, the melting of statues has left modern cultures without knowledge of possibly hundreds of Ancient Rome’s finest pieces. Thankfully this statue survived is now at the Museo Capitolino in Rome, where it is an inside exhibit to keep safe from the harsh elements and pollution.
The Nike of Samothrace captures the essence of the goddess in a dramatic pose. Her body leans forward as her robust wings heave upwards, creating a magnificent balance and sense of motion. Recovered in the Sanctuary of the Great Gods by a French explorer in 1863, the statue stands 8 feet tall. The deep lines and contrasting textures of the feathers, fabric, and skin allude to the elegance of past Greek style. Of all similar remains from ancient Greek art, this famous Hellenistic sculpture best reflects the sense of pride, honor, and victory associated with the goddess.