The Middle-Aged Flavian Woman in an example of a Roman portrait. Roman portraits sought to balance a sense of idealism while taking a naturalistic approach. The woman depicted exemplifies this balance. The sculptor shows a high attention to anatomical detail and proportionality. According to Stokstad, even though the woman shown is remarkably realistic in her wrinkles and sagging skin, she still represents a hint of idealism. Her aged face and features show signs of an accomplished life and virtue. (190)

This statue of Constantine the Great was commissioned to be displayed in the Basilica Nova. It was used in place of the emperor himself whenever the law required his presence (212). The face is strong and muscular, displaying “no hint of human fragility or imperfection” (212).

The difference in the craftsmanship and attention to detail shown in each of these two pieces is stark. Even in the very beginning of the transition from Classical Roman to Early Byzantine art is plain to see. Although sculpted after the Flavian Woman, Constantine looks closer related to Archaic Greek Sculpture.

Parthenon Project

The Ionic elements on the exterior of the structure generally have to do with the

proportions rather than specific architectural details. According to Pollitt, the columns on

the Parthenon are slightly more slender than the traditional Doric columns. Furthermore,

the façade of the Parthenon is eight columns wide (octostyle), while older temples in the

Doric style are six columns wide (hexastyle). The interior of the Parthenon has four Ionic

columns. Pollitt goes on to say that the inclusion of Ionic forms into such an important

and symbolic civic structure is intended to claim a “kinship with the Ionians” (79). 

Here you can see the exterior of the parthenon and the interior Ionic Columns.

A couple shots from mine and Jennie's trip to the Parthenon. 

Changes in Pottery Style

Greek vases made a very distinctive change of style following the Persian sack of Athens as Grecian art moved more firmly into the classical era. Prior to the 5th century the forms on the vases showed more signs of ancient near eastern influences rather than the distinctive style we know today. These two oil flasks (Lekythos) created just 100 years apart show the sharp change in style. The first is a black figure vase attributed to the Amasis Painter. On it you can see the predominately geometric figures common in the archaic period that lack depth and emotion. The second vase shows the change in style. According to the Met website, "The use of a brush in red-figure technique was better suited to the naturalistic representation of anatomy, garments, and emotions." The later artists took advantage of the red-figure technique to create vases more suited to the prevailing style. 

(http://www.metmuseum.org/toah/works-of-art/31.11.10)

(http://www.metmuseum.org/toah/works-of-art/17.230.35)

Egypt Project.

http://prezi.com/pcei9bkrlofx/ancient-egyptian-project/

Individual Blog Part Two

From The Near East to Greece.

Church part 2

The most interesting thing about the downtown church was how it seemed to be simultaneously in three different time periods. It is done in an Egyptian style which gives it a 1000s year old feel, but at the time it looks like a church built in the mid-1800s. The floor layout, sanctuary design and relation to the street all speak of the 19th century churches we are familiar with. On top of these two periods, the church is also situated in the present day. The decoration of the church was fascinating because we are so used to churches influenced by ancient Rome. The colors seemed unusual to me, especially as they were presented in the stained glass windows.