AP Art History Unit 2 Ancient Mediterranean

AP Art History Course Study Guide Unit 2: Ancient Mediterranean 12. White Temple and its Ziggurat (Uruk [modern Warka, Iraq]. Sumerians. 3500-3000 B.C.E. Mud Brick) a. Context: i. Located in Iraq b. Content: i. 40 feet tall ii. Tripartite plan 1. Rectangular central hall 2. Three entrances iii. White temple 1. North, west and east entrances 2. Chambers with northeast with wood shelves 3. North end contained a podium and altar 4. Found lion & leopard bones iv. Ziggurat 1. Raised platform with sloping sides 2. Has a stairway and has c. Form: i. Made out of mudrock and asphalt top ii. Whitewashed d. Function : i. For government and religious purpose ii. Rituals & sacrifices ( dedicated to Anu) 13. Palette of King Narmer (Predynastic Egypt. 3000-2920 B.C.E. Greywacke.) a. Context: i. Found in the temple of Horus ii. Made during the unification of lower and upper Egypt iii. For King Narmer AP Art History Course Study Guide b. Content: i. Contains The head of goddess Bat ii. King Narmer with a bull tail and a lower Egpytian custom (kilt) iii. Enemies decapitated and castrated iv. Bull (King Narmer) knocking down walls c. Form: i. Carved from a grayish siltstone ii. 2 feet long d. Function: i. Used for grinding up makeup (ex: Eye makeup and lipstick) ii. Ceremonial; dedicated to a god iii. Was also an object placed in graves 14. Statues of Votive Figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq) (Sumerians. 2900-2600 B.C.E. Gypsum inlaid with shell and black limestone) a. Context: i. Aspects of Mesopotamia religion is the votive figures ii. Worshippers set up statues so that the statues would worship in place of the owners when owners leave the shrine b. Content: i. Figure of male and female donors ii. Eyes are larger than hands (hierarchical scale) iii. Inscription - wish to be granted and/or ask a god to look upon worshipers favorably c. Form: i. Alabaster ii. Pedestal iii. 1 feet 3 inches iv. Individualistic characteristics v. Eyes made of lapis lazulivi. V-shaped bodies vii. Brows - dark shells, limestone,bitumen d. Function: i. Portable ii. Stand- in worshipper AP Art History Course Study Guide 15. Seated Scribe (Saqqara, Egypt. Old Kingdom, Fourth Dynasty 2620-2500 B.C.E. Painted Limestones) a. Context: i. Depicts a seated scribe ii. Scribes were the one of the few people that could write and read Egyptian iii. Scribes were used to write down history and records b. Content: i. Scribe holds a papyrus scroll ii. Tranquil face = wisdom iii. Scribe at work iv. Sitting = position of royalty or respect c. Form: i. Body is limestone ii. Nipples are made of wood iii. Individualistic features iv. The scribe would have been placed on a description d. Function: i. For funerals ii. Created due to the respect the scribe had in society 16. Standard of Ur from the Royal Tombs at UR (modern Tell el-Muqayyar, Iraq). (Sumerian. 2600-2400 B.C.E. Wood inlaid with shell, lapis lazuli, and red limestone) a. Context: i. Found in south Iraq ii. Prosperous and fertile grounds iii. Found in the graves of Ur (one grave contained 74 sacrifices) b. Content: i. One side shows men bringing crops and fish ii. Another side is the war iii. Enemies of war- naked and bleeding given to the king iv. Divided into 3 registers v. Hierarchical scale King is larger than others to show importance vi. Talons folding an arrow- symbol of war vii. Olive branch - symbol of peace c. Form: AP Art History Course Study Guide i. Mosaic tiles made from shells (from Persia), red limestone (from India), blue lapis lazuli (from Afghanistan) ii. Small; portable d. Function: i. Mostly unknown ii. Possibilities 1. Music box 2. Commemoration art 3. A wallet (something to hold currency) iii. Standard was a flag brought into battle (maybe held a flag in the past) 17. Great Pyramids of Giza (Menkaura, Khafre, Khufu) and Great Sphinx (Giza, Egypt. Old Kingdom, Fourth Dynasty. 2550-2490 B.C.E. Cut Limestone) a. Context: i. Tallest things for over 4000 years ii. People were buried with all the things they need in life iii. Cosway=elevated road led to nile-river iv. When dead=boat arrive up cosway funeral temple taken to pyramid v. Pyramid of Khufu: 1. Tallest of the 3 (481ft), 2300000 blocks over 50 tons 2. king/queen chamber vi. Pyramid of Khafre: 1. 2nds tallest but looks tallest because it’s on higher grounds 2. Contains a Sphinx: carved into the bedrock, symbol of royal power. Lion with the head of Khafre vii. Pyramid of Menkaure: 1. Smallest (213 ft) 2. Most complex chambers of the 3 3. Held Menkaure’s black stones 4. Held many statues of the king b. Content: i. 3 major pyramids for 3 rulers over 3 generations ii. Representations of the passages of the dead iii. Pyramids = close to cities c. Form: i. Bedrocks, corestones, Tura limestone, casing red granite, mortar, edges = aligned with cardinal points d. Function: i. Burial sites for kings AP Art History Course Study Guide ii. Royal mortuary complex iii. Social structure iv. Reflect solar cycle 18. King Menkaura and Queen (Old Kingdom, Fourth Dynasty. 2490-2472 B.C.E. Greywacke) a. Context: i. During the old kingdom during fourth dynasty ii. Menkaure was the son of Khafre b. Content: i. Depicts Egyptian king Menkaure and his wife(unsure who it is) ii. Wears traditional fake beard and headdress iii. Both are stepping forward with left foot shows stepping into the afterlife iv. Individualized & young facial and body characteristics v. Menkaura is slightly taller than his wife vi. Both have nude upper bodies and wearing a skirt c. Form: i. No inscription ii. Made out old greywacke (hard to carve) iii. Rigid postures d. Function: i. Communicates the divinity of the pharaoh ii. Memorial structure iii. Used to make sure the pharaoh would reach the afterlife 19. The Code of Stele of Hammurabi (Babylon [modern Iran]. Susian. 1792-1750 B.C.E. Basalt) a. Context: i. Babyloain kingdom ii. King Hammurabi came into power b. Content: i. King Hammurabi receiving the code from the god of justice (Shamash) ii. Laws written in cuneiform iii. small register (showing right to be king) iv. Over 300 laws that governed Babyloian society v. Law and punishments were severe c. Form: i. High relief ii. 7.4 ft tall iii. Basalt rock AP Art History Course Study Guide d. Function: i. To show the laws and punishments that will be enforced by Hammurbi 20. Temple of Amun-Re and Hypostyle Hall (Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: 1550 B.C.E.; Hall: 1250 B.C.E. Cut sandstone and mudbrick) a. Context: i. Heavily used New Kingdom ii. Temple: 1550 B.C.E. iii. Hall: 1250 B.C.E. iv. Certain areas = restrictive and only able to be accessed by elite v. Currently in poor state due to lack of preservation b. Content: i. Pharaohs continued to add to it overtime ii. Clerestory lighting = natural and coming from opening above iii. Creates a sort of heavenly godly feeling iv. Existed in Karnak, near Luxor. Egypt v. Obelisk and sphinx make it Egyptian c. Form: i. Made of cut sandstone and mudbrick ii. Axis designed and created on the 4 cardinal direction points, had a both a north/south and an east/west axes iii. Hypostyle = columns hence the name one of the largest temple construction iv. Axial temple: longitudinal split symmetry v. Pylon-long gate way/courtyard d. Function: i. Center of god Amun-Re ii. Also honors several Egyptain gods and goddess iii. Also known as the most select of places 21. Mortuary Temple of Hatshepsut (Near Luxor, Egypt. New Kingdom, 18th Dynasty. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite) AP Art History Course Study Guide a. Context: i. Hatshepsut = woman pharaoh ii. New kingdom iii. Hatshepsut wanted to prove that she was chosen to be Pharaoh b. Content: i. Kneeling statue of Hatshepsut - shows the masculine features of past Pharaohs (fake beard, deemphasized breast, and headdress) - 9 ft tall ii. Temple had a relief carvings and statues of the Pharaoh with the gods c. Form: i. Temple cut from a cliff side ii. Kneeling statue - made from granite iii. Temple had a colonnade terrace (aligned with the winter solstice ) d. Function: i. Funerary temple to Pharaoh Hatshepsut 22. Akhenaton, Nefertiti, and Three Daughters (New Kingdom [Amarna], 18th Dynasty 1353-1335 B.C.E. Limestone). a. Context: i. Akhenaton changed the kingdom to only worshipping one god (Aten, the sun god ) ii. Akhenaton and Nefertiti made themselves the representative of Aten iii. b. Content: i. Depicts Akhenaton, Nefertiti and his three daughters sitting on a throne ii. Aten is represented by a sun in the center iii. Ankhs (symbol of life) radiate from the sun toward the family iv. Shows family is connect to Aten c. Form: i. Bas - relief carving ii. Limestone iii. Disproportionate bodies iv. Softer body positions (sloping and relaxed forms) v. Around 32 cm. high vi. stylistic d. Function: i. Meant to be apart of house altar ii. Iconography - depicts a god AP Art History Course Study Guide 23. Tutankhamun’s Tomb, innermost coffin (New Kingdom, 18th Dynasty. 1323 B.C.E. Gold with inlay of enamel and semi precious stones) a. Context: i. Tut is the son of Akhenaten and Nefertiti b. Content: i. Pharaoh Tut sarcophagus had three coffins for the kings body ii. Inner coffin was made out of solid gold iii. Outer coffins had gems like lapis lazuli and turquoise iv. Had a death mask v. The pharaoh held a crook and flail (symbols of the Pharaoh’s right to rule) vi. Had depictions of Nekhbet (a vulture) and Wadjet (cobra) vii. Back of death mask is covered in a spell to help the Pharaoh get to the afterlife viii. Wore a fake beard c. Form: i. Innermost coffin was made out of gold ii. Gold with many different gems d. Function: i. Meant to protect the body of the pharaoh ii. Help the pharaoh reach the afterlife 24. Last judgement of Hu-Nefer, from his tomb. Book of the Dead (New Kingdom, 19th Dynasty. 1275 B.C.E. Painted papyrus scroll) a. Context: i. Book of Dead = text with spells, prayers and inscriptions that helped the dead in the afterlife ii. “Coffin Text’ instructions written on coffin iii. Founded buried with HuNefer iv. Horus 4 children are responsible for carving for Hunefer’s internal organs, represent 4 cardinal points v. Art contains Egyptian conventions AP Art History Course Study Guide b. Content: i. Upper left = Hunefer speaking to deities explaining how he has lived a good ife and deserve to be in afterlife ii. Depicted in white robe iii. Led by Anubis=jackalheaded god who is carrying an Ankh-symbol of eternal life iv. Anubis = seemed with a scale, weighing Hunefer’s heart with a feather, from Ma’at (associated with living an ethical, ordered life). If feather weighs more = ethical life. If heart weighs more=beast Ammit (crocodile lion, hippo beast) will devour, Hunefer’s heart = unethical life v. Horus (a falcon head son of Osiris) hold an ankh introduces film to Osiris wife and Neftis (Osiris sister) stand behind ostris and join him in making judgment on Hunefer c. Form: i. Drawing/ painting on papyrus scroll d. Function: i. To prove Hunefer had lived an ethical life and deserved to enter the afterlife 25. Lamassu from the Citadel of Sargon II, Dur Sharrukin (modern Khorsabad. Iraq) (NeoAssyrian. 720-705 B.C.E. Alabaster.) a. Context: i. Mesopotamia was often in war and being conquered by different people ii. Palace of Sargon iii. Founded the capital in modern day Khorsabad iv. Made during the height of Assyrian power b. Content: i. Human headed winged bull (protective genies called Lamassu) guarded entrances ii. Carved from a single block iii. The Lamassu has five legs iv. Curly long tail v. Expressive eyes vi. Has a crown, detailed wings, double horns,decorations, beard, earrings vii. Looked as if it is moving forward if seen from the side c. Form: AP Art History Course Study Guide i. High relief ii. 13.9 ft tall d. Function: i. A spiritual guardian figure of city and important places ii. Symbol of the kings power iii. Held up the citadel 26. Athenian Agora (Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan) a. Context: i. Was invaded by the Perisans but was rebuilt later on ii. Citizens (male Athenians) were able to participate in government iii. Meritocracy and equality before the law b. Content: i. The stoa - government, business ii. Athena -patron goddess c. Form: i. Buildings were made out of marble d. Function: i. Originally a burial ground during the Bronze and Iron ages ii. Started as a market place then transformed into a government building iii. Progressed into a sacred temple dedicated to Athena 27. Anavysos Kouros (Archaic Greek. 530 B.C.E. Marble with remnants of paint) a. Context: i. During the Archaic period ii. First obtained iron tools iii. Unknown artist iv. Found in a cemetery Anavysos v. Grave marker for Krisos b. Content: i. Young naked male ii. A little bit larger than life size iii. Kouros - youth iv. Set up by an aristocratic family c. Form: i. Idealized male body- strong and lean ii. Stiff body posture - influenced by egyptain art iii. Naked body iv. Neatly braided hair AP Art History Course Study Guide d. Function: i. It was very popular ii. Used as grave markers iii. Offerings to a god 28. Peplos Kore from the Acropolis (Archaic Greek. 530 B.C.E. Marble, painted details) a. Context: i. Created in 530 BCE ii. Unknown artist b. Content: i. Young maiden ii. A peplos robe iii. Arm extended while holding something iv. Rigid stance - Eqytian influence v. Facial expression - transcendent & wise c. Form: i. Once brightly pigmented ( red hair colored eyes) ii. Missing left arm iii. Tightened wrist iv. Wearing a dress v. Neatly braided hair d. Function: i. To honor or depict a goddess ii. Placeholder in front of a temple iii. Physical representation of a goddess 29. Sarcophagus of the Spouses (Etruscan. 520 B.C.E. Terra cotta) a. Context: i. Found in Etrusan tomb ii. Etrusans lived in northern Italy iii. Made in 520 BCE iv. Etrusan women held a higher importance b. Content: i. Deceased woman and man together in intimacy ii. Archaic smile iii. Both people are reaching out iv. The sarcophagus takes form of a bed c. Form: i. Painted terra cotta ii. High-relief iii. Relaxed figure AP Art History Course Study Guide d. Function: i. Grave marker 30. Audience Hall (apadana) of Darius and Xerxes (Persepolis, Iran. Persian. 520-465 B.C.E. Limestone) a. Content: i. 72 columns, each 24 meters tall, extremely intricate ii. Columbs capitals = animals: bulls, eagles, lions, all symbol of royalty iii. 2 monuments of staircases 1. The walls were carved with illustrations of hundreds of figures bringing offerings to the king from all the states conquered by Persian Empire b. Form: i. Carved primarily of limestone ii. The carvings on the wall were bas-relief iii. Display the importance and authority of King iv. Column capital = high relief v. Hall = hypostyle architecture c. Function: i. Represents the expensive nature of the Persian Empire and emperor’s power ii. Ceremonial Hall iii. Served as the center of Persian Empire’s capital 31. Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo (master sculptor Vulca. 510-500 B.C.E. Original temple of wood, mudbrick, or tufa [volcanic rock]; terra cotta sculpture) a. Context: i. Found in Ertuscan b. Content: i. Long deep tufa - block foundations 1. Square footprint ii. Triple cellar (Three-room configuration) iii. Temple held masks, antefixes, decorative details iv. Terra cotta statues were once placed on the edge of the roof 1. Which was set up in a horizontal register c. Form: i. Terra cotta ii. Tufa - a porous rock similar to limestone AP Art History Course Study Guide iii. iv. v. vi. Doric columns Stone foundations Wood, mudbrick, terra cotta superstructure Split into two 1. Deep front porch with wide space Tuscan columns 2. Triple cella 3. Back portion has triple cella vii. High podium d. Function: i. Dedicated to Minerva ii. Shows Etruscan assimilation of Greek gods iii. Values of the gods and goddess changed slightly for Etrucsan 32. Tomb of the Triclinium (Tarquinia, Italy. Etruscan 480-470 B.C.E. Tufa and Fresco) a. Context: i. Iron Age - peak of Etrsucan culture ii. Wealth based on natural resources iii. Iron from Greece and north Africa iv. Etruscans believed that the afterlife will be like life on Earth v. Funerary customs 1. Did not bury people 2. Intricate funerals for members of the elite 3. Funerals had games, banquet, music and dancing 4. Tombs had furniture 5. Carved the deceased into the sarcophagus 6. Had a triclinium - three couched dining room vi. Tomb found in Tarquinia b. Content: i. Tomb has chambers ii. Painted fresco walls iii. Left wall - four dancers and a male musician iv. Right wall has a similar painting v. One fresco painting is faded most likely had 3 couches with recliner diners and 2 attendants vi. Animals under couches vii. Men dressed in robes viii. Trees and shrubs ix. Nude cup bearer x. Tomb ceiling is checkered AP Art History Course Study Guide c. Form: i. Fresco paintings ii. Cambers cut out of subterranean rock iii. Stylistic depictions iv. Angular and stiff postures v. Gender depiction vi. Men - darker skin tone vii. Women - lighter skin tone d. Function: i. For funerary rituals ii. Contained the deceased and offerings to God iii. Shared a final meal with the deceased 1. Proportion of meal was left in 2. Reinforce social economic 33. Niobides Krater (Anonymous vase painter of Classical Greece known as the Niobid Painter. 460-45- B.C.E. Clay, red-figure technique [white highlights]) a. Context: i. Methods: Throwing clay is centered or rotating wheels. While rotating, the potter pulls up the clay and forms it to desired shape. Turning and joining: Trimming superfluous and uneven clay to refine the shape of a vase/reduce the thickness walls. Burnishing: used to create smooth surfaces ii. Each period of time had it’s own techniques 1. Geometric period: geometric patterns 2. Orientalizing period: animals professions and near eastern motifs 3. Archaic and Classical Periods: vase displays human and mythological activities. iii. To produce the characteristic red and black colors: used liquid clay as paint b. Content: i. 2 sides ii. Front: Niobe: 14 kids and bragged about it 1. Leto = mother of Apollo and Artemis. They got revenge for their mother by killing Niobe’s kid 2. Perfect profile a. Artemis = reaching quiver for another arrow b. Apollo = drawing his bow back 3. Niobe kids = more frontal AP Art History Course Study Guide iii. Back: Hercules holding club and wearing lion skin 1. Athena = left 2. Maybe it's not a painting of Hercules, maybe Greek soldiers are coming to honor him and ask for protection c. Form: i. Figure = stiff, early classical period, severe style. Made of clay d. Function: i. Type of Vessel = calyx-krater ii. Large purch bowl iii. Used to mix water and wine 34. Doryphoros (Spear Bearer) (Polykleitos. Original 450-440 B.C.E. Roman copy [marble] of Greek original [bronze]) a. Context: i. Found in palestra (place for athletes to work in) in Pompeii ii. One of the most copied sculpture in Greeks iii. Created at time when Greeks were in awe of the mathematics of perfection of human body iv. Manipulated symmetry v. Graceful arrangement of the body based on tilted shoulders and hips and bent knees b. Content: i. Celebrates the human body, it's beauty, and strength ii. Earliest examples of contrapposto: s-shaped curve off his spine, better balance, weight on his right foot, more naturalistic, tilted life-like appearance iii. Strong sense of harmony: Left arm/ right leg=relaxed, right arm/left leg=tensed iv. Broad shoulders/thick torso, muscular v. Hold an iron spear vi. Depicts everyone ideal self c. Form: i. White marble ii. Subtractive sculpture iii. Life size=84 inches d. Function: i. People can learn from it ii. Understand proportions iii. Canons - a set of guidelines, outlining the ideal man based on ratios and measurements iv. Showcase the beauty AP Art History Course Study Guide 35. Acropolis (Athena, Greece. Iktinos and Kallikrates. 447-410 B.C.E. Marble.) a. Context: i. has been ransacked and burnt, blown up, etc multiple times b. Content: i. there are multiple buildings most notably the Parthenon, Temple of Nike, old Temple of Athena, Altar of Athena Polias, Rome and Augustus altar, Athena Promachos, Erechtheion, and Propylaea. All with unique detail and purpose. c. Form: i. Extremely large, classical period d. Function: i. Most important religious center in Greece 36. Grave Stele of Hegeso (Attributed to Kallimachos 410 B.C.E. marble and paint) a. Context: i. Diphlon cemetery in Athens ii. Hegeso: woman, domestic, basically in a house on the stele: 2 walls and a roof iii. Not citizens of Athens iv. Women were defined by their relationship to men v. noble , her father grave plot was super magnificent vi. Attributed to the sculptor Kallimachos b. Content: i. Relief sculpture of Hegeso and servant girl ii. Servant holds jewelry box and Hegeso holds and look at a necklace (dowry) iii. Drapery: elaborate forms and swirls, very close to her body iv. She does not touch the ground: her foot is on a pedestal v. Inscription says Hegeso, daughter of Proxenos c. Form: i. Stele 5’2” ii. Detailing of drapery: naturalistic, follows fold of body d. Function: i. Grave stones 37. Winged Victory of Samothrace (Hellenistic Greek 190 B.C.E Marble) a. Context: i. Stands on the prow of a huge marble ship to spread the messages ii. Had huge impact on the traditions of western art that followed iii. Louvre in Paris, France AP Art History Course Study Guide b. Content: i. Depicts Nike = goddess of victory ii. Missing her head and both arms but used to hold a trumpet or cupping her hand around her mouth to announce a naval victory iii. The way her body is sculpted=creates a spiraling effect: her wings reach back her chest forward, her feet down iv. Wet drapery technique c. Form: i. Over 9ft tall ii. Made of Thasian and Parian marble iii. Was found in temple complex on the island of Samothrace called sanctuary of the Great Gods d. Function: i. statue=ex-voto (offering to deity) most commemorate a naval victory ii. The offering would serve to gain the deities favor protecting sailors and armies against storms and enemies. 38. Great Altar of Zeus and Athena at Pergamon (Asia Minor [present day Turkey]. Hellenistic Greek. 175 B.C.E. Marble [architecture and sculpture]) a. Context: i. Geographically desirable ii. Pergamon Museum: tried to recreate it b. Content: i. Battle of Greek myth pantheon of gods V.S. giant to determine the controller of the universe ii. Athena 1. Fights Alkyoneus, main giant, as his mother looks in horror 2. Appears triumphant as she fights 3. Being crowned by winged Nike 4. Uses battle shakes to aid in defeating the Giants 5. Gigantoleira= slayer of the giants. iii. Zeus: 1. Battles 3 giants at once with help of an eagle (above) and his lightning bolt 2. Cloaked in realistically ruffled robes 3. 2 of 3 giants he had already defeated AP Art History Course Study Guide c. Form: i. 35.64x33.4 metres ii. High relief sculpture iii. More prominent gods and figures=higher relief d. Function: i. Worship of Greek gods ii. Representation of Greek power iii. Sacrifices=made on top of stairs 39. House of the Vettii (Pompeii, Italy. Imperial Roman. Second century B.C.E.; rebuilt 6279 C.E. Cut stone and fresco) a. Context: i. House owned by Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus ii. Conviva= Augutalis- a position at the highest civic office a freeman could attain b. Content: i. Wall painting=decorative schema ii. 4th style wall painting=expansive iii. Contains large central Halls (Atria) iv. Largest of room opening on peristyle contains painting in red/black 1. Mythical winged gods of Love v. Impluvium (water basin) lies at center of atrium for collecting rain vi. Increasingly sexual nature of paintings and artwork marks a decline in Pompeii moral standards vii. Phallic figures god priapus, females being sexual, and depictions of nude males symbolizes fertility viii. Painting depicts Cupid collecting grapes c. Form: i. Covers 1,100 sq meters ii. Demonstrates Pompeii’s late artistic and architectural style iii. The house paintings=indicate a theme of forward-thinking d. Function: i. 2 lockrooms for storing valuables were displayed proudly in the vestibulum ii. The brothers went from freedmen to very wealthy AP Art History Course Study Guide 40. Alexander Mosaic from the House of the Faun, Pompeii (Republican Roman 100 B.C.E. Mosaic) a. Context: i. Found in the city of Pompeii which was preserved in ash after the eruption of Mount Vesuvius ii. It was found in the House of Faun, named after the bronze statue of a faun found there iii. The Battle of Issus (333 BC) which was a turning point in ancient history because the ruler of Persia (Darius III) is ordering a retreat of his troops iv. Darius has a look of desperation and history says that Alexander pitied his family and let them live v. Alexander is not depicted in his typical form here. It's; more natural b. Content: i. Depicts the Battle of of Alexander the Great and Darius III ii. Very dramatic and chaotic scene with a sense of mentum as the massive chariot is turning around iii. Excellent use of foreshortening in the horse iv. Alexander breastplate has Medusa’s head, which was used as a magical protection spell from evil, it also symbolizes divine birth c. Form: i. Floor mosaic, 2.72 by 5.13 meters ii. Made from more than one million and a half pieces of stones and glass iii. Possibly based on a wall painting done in 315 B.C.E. hellenistic period by a greek artist named Philoxenos because it matches a description of the painting written by Pliny d. Function: i. Found in the House of Faun which was the nicest mansion found in Pompeii which means it was piece of art aristocrats would have invested in for perhaps their own enjoyment and for the enjoyment of guests 41. Seated Boxer (Hellenistic Greek. 100 B.C.E. Bronze) a. Context: AP Art History Course Study Guide i. ii. Breaking away from the traditional idealized, heroic male nude Still holding onto the pre-hellenisitic ideas: his body is idealized with perfect muscles but in contrast, his posture and face show humanity b. Content: i. The humanity found in this work creates a sense of presence ii. Muscular, powerful, and defeated iii. Covering his head and face is bits of copper which posed next to the bronze resembles blood, covering his face and hands with wounds c. Form: i. Lost wax casting (hollow cast) ii. Seated posture iii. Made in different sections that were welded together iv. Broken nose and shattered teeth d. Function: i. Attributed with healing powers ii. Represents the cultural shift of the Hellenistic period iii. Could have been a votive statue dedicated to a boxer iv. Identifying him as the boxer of Quirinal v. Could be made to represent the culture of boxing in Ancient Greece. 42. Head of a Roman Patrician (Republican Rome 75-50 B.C.E. Marble) a. Context: i. Patricians= worked in senate, wealthy and educated ii. Male gaze b. Content: i. Wrinkled and toothless with w/ sagging jowls ii. Physical traits meant to convey seriousness of mind and the virtue of a public career by showing the mark of the endeavors. iii. Wrinkles and other sign of ageing on this portrait serve to point out his admirable qualities of experience, seriousness and determination c. Form: i. Otricoli, head ii. 1’2” High iii. Marble 1. Polychromed (painted in several colors) 2. Terracotta was used and then painted with encaustic (otherwise referred to as a hot wax process) iv. Veristic style=verism 1. A form of realism (hyper-realistic) AP Art History Course Study Guide 2. Over exaggerated 3. Influenced by the tradition of ancestral imaginations. Death wax masks of notable ancestors were kept and display by the family d. Function: i. Displays respect ii. Symbolizes wisdom, determination, experience, valor, and strength of Roman Republicans 43. Augustus of Prima Porta (Imperial Roman. Early first century C.E. Marble) a. Context: i. Augustus claims to be reestablishing the senate but in reality is stabilizing Rome so he can be Rome first real emperor ii. Utilize canon of proportions iii. Cupid rides a dolphin and symbolizes Augustus win in battle of Actium iv. Cupid=show Augustus ancestors=Aeneas and Caesar b. Content: i. Political significance, filled with Roman political ideology ii. Idealized statue of him, very young and attractive iii. Cupid is pulling down his garment at his ankle symbolizes his own divine lineage iv. The cuirass or breast plate depicts the god of the sky and goddess of the Earth, divine convergence on his sides=female personification of the nations conquered by Rome. v. Sun God and Sky God (Sol and Caclus) are at top of Cuirass and shines down on all part of the Empire c. Form: i. Found in the villa of Livia (his wife) at Prima Porta ii. Free standing, sculpture in the round iii. Bas Relief carving on breast plate iv. Standing contrapposto d. Function: i. Propaganda: the statue shows the positive qualities wanted to portray himself to the people in godlike way ii. Demonstrating Augustus military power 44. Colosseum (Flavian Amphitheater) (Rome. Italy. Imperial Roman. 70-80 C.E. Stones and concrete) a. Context: i. Original called Flavian Amphitheater ii. Named after the family who paid for the Colosseum iii. Later was referred to as the Colosseum iv. Vespasian built this as a gift to the Greek people AP Art History Course Study Guide v. vi. Showed the social statues based on where a person was sitting POWs , slaves and no-citizens (besides women) were able to fight for their freedom b. Content: i. Had vaults and arches ii. Oval shaped iii. Four amin levels iv. 1-3 levels had arched windows v. 4 levels had no solid wall no windows( for slaves foreigners and women) vi. Flat stage with sand in the center 1. Sand was to absorb blood and bodily fluids 2. The hypogeum a. The underground part of the colosseum b. Had animal pens, trap doors, and a network vii. Level 1 - tuscan viii. Level 2 - ionic ix. Level 3 - Corthian x. Velarium 1. A retractable awning that was used as shade for onlookers c. Form: i. Oval Amphitheater (stadium) 1. To Greek theaters put together ii. Inner ring made from concrete iii. Outer ring made from Travertine ( limestone) iv. Held 50,000 -80,000 people v. Covers 6 acres vi. 50 meters high vii. 189 meters long viii. 156 meters wide d. Function: i. Public entrainment ii. Battles and swordfights 45. Forum of Trajan (Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete [architecture]; marble [column].) a. Context: i. Fora- open city ii. Were found in any Roman city at the heart iii. Always included a temple AP Art History Course Study Guide iv. Trajan had expanded the Roman Empire to all over the Mediterranean b. Content: i. Commemorate the Trajan’s victories ii. Highlights of when the Trajan defeated the Dacians iii. Shows his proud military acts iv. Full of Greek and Roman literature c. Form: i. Apollodorus of Damascus was the engineer ii. Had a massive entrance way iii. Column of Trajan 1. iv. Past the forum was Basilica Ulpia 1. Was filled with structures, carving 2. Laid the foundation of modern cruciform church d. Function: i. Commemorate the victories and accomplishments of the Trajan ii. Solidified power and greatness iii. Worked as civic, ceremonial space 46. Pantheon (Imperial Roman. 118-125 C.E. Concrete with stone facing) a. Context: i. Commissioned by Hadrian ii. Most influential building in the Renaissance iii. Inscription above doorway, reads tribute to Marcus Agibba b. Content: i. Fitted in bronze, pediment-sculpture that acted out the battle of titans, 8 arches=housed statues of deities & emperors, ii. Statues of Augustus & Agrippa stood in Apse at the end of colonnaded side aisles of entrance iii. Huge amount of geometric representation, floor=concentric circles/squares iv. Almost all of it's mathematically proportioned v. Hole in the Dome=oculus 1. One great window, when it rains water comes in AP Art History Course Study Guide 2. Reflects the movement of the heavens because of how sharp circle of light moves across building c. Form: i. Corinthian columns= monolithic ii. porch = rectilinear, upon entry the space opens up into a curvilinear, radial interior iii. Structural system looks like it is based on a series of interesting arches-8 in total all where deities would have been housed on the interior iv. Lighter materials used at the top of the dome v. 141 feet tall d. Function: i. Originally used as a temple to the gods, then made into a church ii. Hadrian would hold court iii. Pope used as a Catholic Church iv. Expression of Hadrian wealth v. Oculus’s light functions as sundial. 47. Ludovisi Battle Sarcophagus (Late Imperial Roman 250 C.E. Marble) a. Context: i. Sarcophagus start to appear more commonly in the beginning of 2nd century ii. Found near a tomb near porta tiburtina (gate in the Aurelian walls of Rome) iii. More focus on interaction between the people iv. Typical style of Late Imperial rome=emotional subject matters v. Borrows from Greeks in battle from art. Depth of imagers actions and interactions departure from Greek Arts b. Content: i. Roman=good guys in this piece, idealized, confident, young looking ii. The goths=Barbarians/Gauls (western Europe)=enemy, portrayed disdainfully iii. The hero=center, clear focal point, open-chested, strong, armoured, no weapon, no helmet=invincible iv. Movement is key in this piece v. Narrative piece c. Form: i. Very high relief AP Art History Course Study Guide ii. Detailed carving, at some point the piece has 4 layers of figures on top of one another iii. The figures along bottom are physically smaller, makes viewer feel like they are looking down upon them iv. Uses contrast of light and darkness to guide a viewer’s eye d. Function: i. Created to mark the grave of a rich, unidentified Roman Unit 3: Early Europe & Colonial Americas: 48. Catacomb of Priscila (Rome, Italy. Late Antique Europe 200-400 C.E. Excavated tufa and fresco) a. Context: i. Underground, in the north of Rome ii. The oldest part of the catacombs: closest to the entrance of Priscilla’s villa iii. A place where the earliest Christians were buried b. Content: i. 10km or more than 5 miles wide ii. At least 40,000 tombs iii. Multiple sarcophagus for family members iv. Scenes from the bible are depicted on the wall 1. Book of Daniel c. Form: i. Cubiculum ii. Passageways are stacked on top of each other iii. Roman first style painting: Building up of plaster on wall to look like marble d. Function: i. Burial location for the actual members of Priscilla’s family ii. Not a place for worship 49. Santa Sabina (Rome, Italy. Late Antique Europe 422-432 C.E. Brick and Stone, wooden roof) a. Context: i. In Rome, atop a hill ii. Example of an ancient Constantinian basilica iii. Roman Chrisitians chose it as the basis of their new churches