Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures

Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures

Read it carefully!!!

 

 

1. 3-5 typed pages double-spaced.

2. citing this textbook (no online research)

3. Make sure to have a thesis statement and use examples from images that i attached.

4. Make sure you include examples from the majority of chapters covered.

5. no plagiarism.

 

6. Here are the topics

Describe the development of depicting the human form from Paleolithic art through the arts of Ancient near-East, Ancient Egypt, the Aegean and Greek cultures.  Think about how humans are represented and what functions representation of humans have served.  Is there in fact a clear “development”?

 

7. Here is examples for citation. (use only this contents what i wrote on this question and should see and use the picture what i uploaded)

 

 

1. PALEOLITHIC and NEOLITHIC

-PALEOLISTHIC (OLD STONE AGE) ART, ca. 30,000–9000 BCE

VENUS OF WILLENDORF The composite feline-human from Germany is exceptional for the Stone Age. The vast majority of prehistoric sculptures depict either animals or humans. In the earliest art, humankind consists almost exclusively of women as opposed to men, and the painters and sculptors almost invariably showed them nude, although scholars generally assume that during the Ice Age both women and men wore garments covering parts of their bodies. When archaeologists first discovered Paleolithic statuettes of women, they dubbed them “Venuses,” after the Greco-Roman goddess of beauty and love, whom artists usually depicted nude (FIG. 5-62). The nickname is inappropriate and misleading. It is doubtful that the Old Stone Age figurines represented deities of any kind. One of the oldest and the most famous of the prehistoric female figures is the tiny limestone figurine of a woman that long has been known as the Venus of Willendorf (FIG. 1-5) after its findspot in Austria. Its cluster of almost ball-like shapes is unusual, the result in part of the sculptor’s response to the natural shape of the stone selected for carving. The anatomical exaggeration has suggested to many that this and similar statuettes served as fertility images. But other Paleolithic stone women of far more slender proportions exist, and the meaning of these images is as elusive as everything else about Paleolithic Paleolithic Art 3 1-4 Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000 BCE. Mammoth ivory, 11 5 – 8 high. Ulmer Museum, Ulm. One of the oldest known sculptures is this large ivory figure of a human with a feline head. It is uncertain whether the work depicts a composite creature or a human wearing an animal mask. 1-5 Nude woman (Venus of Willendorf ), from Willendorf, Austria, ca. 28,000–25,000 BCE. Limestone, 4 1 – 4 high. Naturhistorisches Museum,Vienna. The anatomical exaggerations in this tiny figurine from Willendorf are typical of Paleolithic representations of women, whose child-bearing capabilities ensured the survival of the species. 1 in. 1 in. 73558_02_Ch01_p001-015.qxd 10/20/08 8:10 AM Page 3 art. Yet the preponderance of female over male figures in the Old Stone Age seems to indicate a preoccupation with women, whose child-bearing capabilities ensured the survival of the species. One thing at least is clear. The Venus of Willendorf sculptor did not aim for naturalism in shape and proportion. As with most Paleolithic figures, the sculptor did not carve any facial features. Here the carver suggested only a mass of curly hair or, as some researchers have recently argued, a hat woven from plant fibers—evidence for the art of textile manufacture at a very early date. In either case, the emphasis is on female anatomy. The breasts of the Willendorf woman are enormous, far larger than the tiny forearms and hands that rest upon them. The carver also took pains to scratch into the stone the outline of the pubic triangle. Sculptors often omitted this detail in other early figurines, leading some scholars to question the nature of these figures as fertility images. Whatever the purpose of these statuettes, the makers’ intent seems to have been to represent not a specific woman but the female form.

 

 

-NEOLITHIC (NEW STONE AGE) ART, ca. 8000–2300 BCE

AIN GHAZAL Near Amman, Jordan, the construction of a highway in 1974 revealed another important Neolithic settlement in ancient Palestine at the site of Ain Ghazal, occupied from ca. 7200 to ca. 5000 BCE. The inhabitants built houses of irregularly shaped stones, but carefully plastered and then painted their floors and walls red. The most striking finds at Ain Ghazal, however, are two caches containing three dozen plaster statuettes (FIG. 1-15) and busts, some with two heads, datable to ca. 6500 BCE. The sculptures appear to have been ritually buried. The figures were fashioned of white plaster, which was built up over a core of reeds and twine. The sculptors used black bitumen, a tarlike substance, to delineate the pupils of the eyes. On some of the later figures painters added clothing. Only rarely did the artists indicate the gender of the figures. Whatever their purpose, by their size (as much as three feet tall) and sophisticated technique, the Ain Ghazal statuettes and busts are distinguished from Paleolithic figurines such as the tiny Venus of Willendorf (FIG. 1-5) and even the foot-tall Hohlenstein-Stadel ivory statuette (FIG. 1-4). They mark the beginning of monumental sculpture in the ancient Near East.

 

 

2. THE ANCIENT NEAR EAST 

-SUMERIAN ART, ca. 3500–2332 BCE

STANDARD OF UR Agriculture and trade brought considerable wealth to some of the city-states of ancient Sumer. Nowhere is this clearer than in the so-called Royal Cemetery at Ur, the city that was home to the biblical Abraham. In the third millennium BCE, the leading families of Ur buried their dead in chambers beneath the earth. Scholars still debate whether these deceased were true kings and queens or simply aristocrats and priests, but the Sumerians laid them to rest in regal fashion. Archaeologists exploring the Ur cemetery uncovered gold helmets and daggers with handles of lapis lazuli (a rich azure-blue stone imported from Afghanistan), golden beakers and bowls, jewelry of gold and lapis, musical instruments, chariots, and other luxurious items. Dozens of bodies were also found in the richest tombs. A retinue of musicians, servants, charioteers, and soldiers was sacrificed in order to accompany the “kings and queens” into the afterlife. (Comparable rituals are documented in other societies, for example, in ancient America.) Not the costliest object found in the “royal” graves, but probably the most significant from the viewpoint of the history of art, is the socalled Standard of Ur (FIGS. 2-8 and 2-9). This rectangular box of uncertain function has sloping sides inlaid with shell, lapis lazuli, and red limestone. The excavator, Leonard Woolley, thought the object was originally mounted on a pole, and he considered it a kind of military standard—hence its nickname. Art historians usually refer to the two long sides of the box as the “war side”and “peace side,”but the two sides may represent the first and second parts of a single narrative. The artist divided each into three horizontal bands. The narrative reads from left to right and bottom to top. On the war side (FIG. 2-8), four ass-drawn four-wheeled war chariots mow down enemies, whose bodies appear on the ground in front of and beneath the animals. The gait of the asses accelerates along the band from left to right. Above, foot soldiers gather up and lead away captured foes. In the uppermost register, soldiers present bound captives (who have been stripped naked to degrade them) to a kinglike figure, who has stepped out of his chariot. His central place in the composition and his greater stature (his head breaks through the border at the top) set him apart from all the other figures.In the lowest band on the peace side (FIG. 2-9), men carry provisions, possibly war booty, on their backs. Above, attendants bring animals, perhaps also spoils of war, and fish for the great banquet depicted in the uppermost register. There, seated dignitaries and a larger-than-life “king” (third from the left) feast, while a lyre player and singer entertain the group. Art historians have interpreted the scene both as a victory celebration and as a banquet in connection with cult ritual. The two are not necessarily incompatible. The absence of an inscription prevents connecting the scenes with a specific event or person, but the Standard of Ur undoubtedly is another early example of historical narrative.

 

 

-AKKADIAN PORTRAITURE

A magnificent copper head of an Akkadian king (FIG. 2-12) found at Nineveh embodies this new concept of absolute monarchy. The head is all that survives of a statue that was knocked over in antiquity, perhaps when the Medes, a people that occupied the land south of the Caspian Sea (MAP 2-1), sacked Nineveh in 612 BCE. But the damage to the portrait was not due solely to the statue’s toppling. There are also signs of deliberate mutilation. To make a political statement, the enemy gouged out the eyes (once inlaid with precious or semiprecious stones), broke off the lower part of the beard, and slashed the ears of the royal portrait. Nonetheless, the king’s majestic serenity, dignity, and authority are evident. So, too, is the masterful way the sculptor balanced naturalism and abstract patterning. The artist carefully observed and recorded the man’s distinctive features—the profile of the nose and the long, curly beard—and brilliantly communicated the differing textures of flesh and hair, even the contrasting textures of the mustache, beard, and braided hair on the top of the head. The coiffure’s triangles, lozenges, and overlapping disks of hair and the great arching eyebrows that give so much character to the portrait reveal that the sculptor was also sensitive to formal pattern. No less remarkable is the fact this is a life-size, hollow-cast metal sculpture (see “Hollow-Casting Life-Size Bronze Statues,” Chapter 5, page 108), one of the earliest known. The head demonstrates the artisan’s sophisticated skill in casting and polishing copper and in engraving the details. The portrait is the earliest known great monumental work of hollow-cast sculpture

 

3. Egypt

-TOMB OF TUTANKHAMEN The principal item that Carter found in Tutankhamen’s tomb is the enshrined body of the pharaoh himself. The royal mummy reposed in the innermost of three coffins, nested one within the other. The innermost coffin (FIG. 3-34) was the most luxurious of the three. Made of beaten gold (about a quarter ton of it) and inlaid with semiprecious stones such as lapis lazuli, turquoise, and carnelian, it is a supreme monument to the sculptor’s and goldsmith’s crafts. The portrait mask (FIG. 3-1), which covered the king’s face, is also made of gold with inlaid semiprecious stones. It is a sensitive portrayal of the serene adolescent king dressed in his official regalia, including the nemes headdress and false beard. The general effects of the mask and of the tomb treasures as a whole are of grandeur and richness expressive of Egyptian power, pride, and affluence. Although Tutankhamen probably was considered too young to fight, his position as king required that he be represented as a conqueror. He is shown as such in the panels of a painted chest (FIG. 3-35) deposited in his tomb. The lid panel shows the king as a successful hunter pursuing droves of fleeing animals in the desert, and the side panel shows him as a great warrior. From a war chariot pulled by spirited, plumed horses, the pharaoh, shown larger than all other figures on the chest, draws his bow against a cluster of bearded Asian enemies, who fall in confusion before him. (The absence of a ground line in an Egyptian painting or relief implies chaos and death.) Tutankhamen slays the enemy, like game, in great numbers. Behind him are three tiers of undersized war chariots, which serve to magnify the king’s figure and to increase the count of his warriors. The themes are traditional, but the fluid, curvilinear forms are features reminiscent of the Amarna style.

 

4. Aegean cultures. 

-SNAKE GODDESS One of the most striking finds at the palace at Knossos was the faience (low-fired opaque glasslike silicate) statuette popularly known as the Snake Goddess (FIG. 4-12). Reconstructed from many pieces, it is one of several similar figurines that some scholars believe may represent mortal attendants rather than a deity, although the prominently exposed breasts suggest that these figurines stand in the long line of prehistoric fertility images usually considered divinities. The Knossos woman holds snakes in her hands and also supports a leopardlike feline on her head. This implied power over the animal world also seems appropriate for a deity. The frontality of the figure is reminiscent of Egyptian and Near Eastern statuary, but the costume, with its open bodice and flounced skirt, is distinctly Minoan. If the statuette represents a goddess, as seems likely, then it is yet another example of how human beings fashion their gods in their own image.

 

5. GREECE CULTURES

-VENUS DE MILO In the Hellenistic period, sculptors regularly followed Praxiteles’ lead in undressing Aphrodite, but they also openly explored the eroticism of the nude female form. The famous Venus de Milo (FIG. 5-83) is a larger-than-life-size marble statue of Aphrodite found on Melos together with its inscribed base (now lost) signed by the sculptor, Alexandros of Antioch-on-the-Meander. In this statue, the goddess of love is more modestly draped than the Aphrodite of Knidos (FIG. 5-62) but is more overtly sexual. Her left hand (separately preserved) holds the apple Paris awarded her when he judged her the most beautiful goddess of all. Her right hand may have lightly grasped the edge of her drapery near the left hip in a halfhearted attempt to keep it from slipping farther down her body. The sculptor intentionally designed the work to tease the spectator, imbuing his partially draped Aphrodite with a sexuality absent from Praxiteles’ entirely nude image of the goddess.

 

 

– ANAVYSOS KOUROS Sometime around 530 BCE a young man named Kroisos died a hero’s death in battle, and his family erected a kouros statue (FIG. 5-10) over his grave at Anavysos, not far from Athens. Fortunately, some of the paint is preserved, giving a better sense of the statue’s original appearance. The inscribed base invites visitors to “stay and mourn at the tomb of dead Kroisos, whom raging Ares destroyed one day as he fought in the foremost ranks.” The statue, with its distinctive Archaic smile, is no more a portrait of a specific youth than is the New York kouros. But two generations later, without rejecting the Egyptian stance, the Greek sculptor rendered the human body in a far more naturalistic manner. The head is no longer too large for the body, and the face is more rounded, with swelling cheeks replacing the flat planes of the earlier work. The long hair does not form a stiff backdrop to the head but falls naturally over the back. Rounded hips replace the V-shaped ridges of the New York kouros.