Art Comparison Between Satyr And Nymph

This work of art is from the Greek, Hellenistic period, c. 270- 250 B.C.E. This fifteen inch marble bust corresponds to a member of the Ptolemaic dynasty according to the typical facial features of the ruling family at that time. The Ptolemaic dynasty occurred when there was a succession of Macedonian Greeks over Egypt from the death of Alexander the Great in 323 B.C. until the annexation of Egypt by Rome and the suicide of Cleopatra VII in 30 B.C. Therefore, this head was most likely created to symbolize a Ptolemaic Queen. Its subject matter, the themes or ideas in a work of art distinct from its form, is not evident

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

I can only tell by body language that they want to spread heroism between men and women. The use of marble links the sculpture to the glow and smoothness of the male skin. In this sculpture, it appears to be characterized by imagery aimed at the sense of the marble statue. The standing sculpture appears to be relaxed, while the median line makes an angle. While standing upright, the figure’s feet are place in a certain way that brings a shifting effect or movement and a stable poise.

For example, the warm tone of the orange and the rich dark green being illustrated across their clothing drapes a characteristic of higher authority and a feeling of security. The figure at the bottom of the guardian’s foot shows that his face is also dark green which expresses a conception that he is losing oxygen. Furthermore, the solid smooth glaze on the guardian’s armor within the sculpture gives the Lokapala guardians an appeal of a polished texture. Compared to the appearance given to the figures, the faces of the guardians have a rougher texture. Thus, the various forms of polished and rough textures amplify the artwork’s contrast to human skin and armor. The beaming lights around the display reflect on the glaze coat of the artwork, giving extreme depth of highlight and subtractive light throughout the piece. The Pair of Lokapala also interacts with the atmosphere of the low dimmed light of the museum and gives it an entrance of settle warmness and forms settle shadows on the figure’s facial features that emphasize their emotion of seriousness. Lastly, the artwork invites the viewer to walk around the piece, making the sculpture superiorly larger than the individual due to the elevated height and contrast between the guardians and the figures at the bottom that appear to be squished. The use of space is intentionally developed to evoke an element of power due to the guardian’s height, symbolizing the

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

This piece of art depicted the interaction between Dionysus and Pan in a form of sculpture. The sculpture was created from beautiful marble in A.D. 50 – 150. The work is three

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Further analysis of the painting demonstrates that Giampietrino does not fail to include classical references from ancient Roman prototypes, as he paints the huntress in a contrapposto pose, with the weight of her body on one leg, the knee slightly bent, and the hip thrust to the side. In addition, Giampietrino utilizes directed lighting from the upper left corner in an accurate representation. Thus, the right side of the painting appears to be cast in a shadow when compared to the left side, emphasizing the shadow created by the bow on the forest floor. Furthermore, the use of chiaroscuro is utilized to highlight the chin of the goddess as a means to demonstrate where the light would reflect on her face, as well as on the left knee, giving

painting which also ties into the scene being set at night in the darkness. Contrast is used well to

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the