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Votive Palet of King Narmer
(Pre-Old Kingdom Egypt) |
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The Pharaoh Khafre
(Old Kingdom, Egypt) |
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Zeus
(Early Classical Greek) |
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Doryphoros by Polykelitos
(High Classical Greek) |
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Ancestors of Christ
Chartes Cathedral Portal Figures
(French Gothic) |
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David by Donatello
(Early Italian Renaissance) |
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David by Michelangelo
(High Italian Renaissance) |
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David by Bernini
(Italian Baroque) |
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Ecstasy of St. Teresa
(Italian Baroque) |
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Bloodletting Ritual of Lady Xoc
(Maya Art) |
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Corn Deity Incense Burner
(Aztec Art) |
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Parthenon
(High Classical Greek--Doric Order) |
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Chartes Cathedral
(French Gothic) |
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Santo Spirito by Brunelleschi
(Early Italian Renaissance) |
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St. Peter's by Michelangelo
(High-Late Italian Renaissance) |
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Villa Rotonda by Palladio
(Late Italian Renaissance) |
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St. Peter's Colonnade by Bernini
(Italian Baroque) |
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| The part of the human spirit that defined a person's individuality and that would survive on earth after death (according to Egyptian belief) |
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| The most important/prominent subject in a piece of art is the biggest |
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| Breaking up the body into parts especially in terms of the directions the body is facing. i.e. Egyptian Art displays this in the way that the human form has a frontal torso with a profile head and legs. |
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| Gift made to a god or goddess |
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| A term describing the position assumed by the human body when the weight is borne on one leg while the other is relaxed (suggests potential for movement) i.e. Doryphoros |
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| A combination of every ideal athletic human body form that also established proportions for anatomical features (the head should be 1/8 of the body) |
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| Relief sculpture in which the forms project substantially from the background |
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| Relief sculpture in which flattened figures or forms project only very slightly from the background i.e. The Votive Palette of King Narmer |
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| Gothic Cathedral Tympanum |
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| Usually semicircular area enclosed by the arch above the lintel of an arched entryway; often decorated with sculpture |
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| Grand entrance to an important structure often decorated with sculpture |
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| French for "rebirth." Classical antiquity, particularly Greek, gave the basis for the rediscovery of art and literature |
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| New scientific and intellectual interests that included rhetoric, grammar, poetry, history, and moral philosophy based on the study of ancient works (Greek) |
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| Characterized by asymmetrical compositions, powerful effects of movement, and dramatic interpretations of the subject matter. (dynamism, drama, asymmetry) |
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| Unrelated to anatomical structure |
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| Generally applied to Greek art, although various cultures have different concepts of what is "ideal" |
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| Life-like, based observation of anatomy |
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| The particular way forms making up a particular work of art are chosen and fitted together. A complex concept with several meanings, including historical and individual. "How?" |
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| In sculpture: a subtractive process in which form is created by cutting into a medium, usually stone or wood, thereby releasing, or subtracting, excess parts of the medium. |
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| In sculpture: an additive process in which form is created with a malleable medium such as clay |
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Greek Temple optical refinements
(harmonious, ideal, beautiful) |
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Horizontal lines of the steps, stereobate, and entablature are raised slightly in the middle (to correct the sag the human eye imparts to a long horizontal and to add to the practical advantage of helping drain rainwater). Gives the building a sense of elasticity and of life.
Columns are also tilted inward to enhance the effect of stability and compactness.
Corner columns are closer together and thicker to compensate for the effect the light has on the corners.
Entre base is tilted upward at the southwest corner to make the building more impressive from different vantage points. |
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| Columns bulge outward about 1/3 of the way up from the bottom. Creates an effect of muscular elasticity that gives parthenon its organic quality. |
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Over life-size figures were present on the temple. The frieze and pediment carvings are low and high relief carvings and are narrative in nature that depict important events and depicted gods and goddesses. Carved for the enjoyment of the human viewer.
Had painting to highlight the details, gold leaf, and armor elements. |
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| Based on newly dynamic and grand uses for classical architectural forms that exceed bounds of classical ideals |
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