Egyptian tomb art
5000 BC -300AD. Combines painting and relief sculptures. The subject matter is both religious and historical/storytelling. This examples shows Osiris guiding people in their journey to the underworld, where hopefully their "Ka" or spirit will unite with their mummified body.
Egyptian relief sculpture
1323-1295 B.C. This art piece is a sculpture(Relief Sculpture). The reason for this sculpture would be religion and history. This sculpture includes Akhenaten whom changed Egypts religion during his reign from polytheism to monotheism. In the sculpture it shows Akhenaten and his followers worshiping the sun God.
Bust of Queen Nefrititi
1352-1336 B.C this is a sculpture and a bust. the purpose is religious, history. a 3300-year-old painted limestone bust of Nefertiti, the Great Royal Wife of the Egyptian Pharaoh Akhenaten and is one of the most copied works of ancient Egypt.Nefertiti has become one of the most famous women from the ancient world as well as an icon of female beauty. It is believed to have been crafted in 1345 BC by the sculptor Thutmose.
Around 4000 BC. This is a painting and sculpture. The purpose is religious and aesthetic.These held important colors and motifs. They showed a person's status and wealth. This one held the Eye of Horus, the Egyptian god of the sky.
King Tut funeral mask
1341 BC - 1323 BC this is a sculpture, and painting. the purpose would be religious, aesthetic, storytelling
The death mask of Egyptian pharaoh Tutankhamun is made of gold inlaid with colored glass and semiprecious stone. The mask comes from the innermost mummy case in the pharaoh's tomb, and stands 54 cm (21 in) high.
Pyramids at Giza
Egyptian, about 2530-2470 BC, architecture political/religous, pyramids of Cheops, Chefren, and Mycerinus, oldest of 7 wonders of the world, symbol or power. These pyramids followed Urine's belt and points to the dagger's tip.
448-432 BC this is an example of architecture and sculpture. The purpose was political, religious, aesthetic, storytelling. The Parthenon is a temple that towers above the city of Athens, symbolizing the Athenians' wealth and power. The temple is dedicated to Athena Parthenos, a Greek goddess and the city-symbol of Athens. This temple served as a monument to Athena because they believed that she helped the Greeks conquer the Persian Empire in the Persian Wars.
Greek column orders
570 BC-560 BC The purpose of this is history, religious. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform; This is ornamental, it is a Greek architecture, symbolizes Greece's wealth and power.
Archaic Greek statues
Around 1200 BC the purpose is history, utilitarian.The arts of ancient Greece have exercised an enormous influence on the culture of many countries all over the world, particularly in the areas of sculpture and architecture. In the West, the art of the Roman Empire was largely derived from Greek models. In the East, Alexander the Great's conquests initiated several centuries of exchange between Greek, Central Asian and Indian cultures, resulting in Greco-Buddhist art, with ramifications as far as Japan.
King Laocoon and his sons
c.a. 42-20 B.C., a Hellenistic greek sculpture made of marble, storytelling and religious, told Virgil's Aeneid (punished by gods for trying to warn about the Trojan Horse), it is beauty in a scene of death
Nike of Samothrace
Black figured Greek vase
Type of Greek pottery that originated in Corinth c. 700 bc and continued to be popular until the advent of red-figure pottery c. 530 bc. In black-figure painting, figures and ornamentation were drawn on the natural clay surface of a vase in glossy black pigment; the finishing details were incised into the black.
Red figured Greek vase
flourished from the late 6th to the late 4th century bc. During this period most of the more important vases were painted in this style or in the earlier, black-figure style. In the latter, figures were painted in glossy black pigment in silhouette on the orange-red surface of the vase; details were added largely by incising. In the red-figure style, decoration was also outlined in black, but the background outside the outline was filled in with black, leaving the figures red. Details were painted rather than incised, thus allowing more flexibility in the rendering of human form, movements, and, above all, expressions and allowing scope for shading and a more satisfactory kind of perspective.
The Colosseum was opened in AD 80 by Vespasian's son and successor, Titus. Its purpose was utilitarian aesthetic, and architecture. Emperors used the Colosseum to entertain the public with free games. Those games were a symbol of prestige and power and they were a way for an emperor to increase his popularity. Games were held for a whole day or even several days in a row. They usually started with comical acts and displays of exotic animals and ended with fights to the death between animals and gladiators or between gladiators. These fighters were usually slaves, prisoners of war or condemned criminals. Sometimes free Romans and even Emperors took part in the action. Because of fires and earthquakes, two thirds of the original have been destroyed.
118-125 A.D Architecture and Religion. To Honor all gods and goddesses. The Pantheon had different stations for every god. there was a hole for light. It is a temple for all of the gods for ancient Rome, constructed By Publius Aelius Hadrianuss.
Statue of Constantine
280-337 AD The great head is carved in a typical, abstract, Constantinian style ("hieratic emperor style") of late Roman portrait statues, whereas the other body parts are naturalistic, even down to callused toes and bulging forearm veins. The head was perhaps meant to convey the transcendence of the other-worldly nature of the Emperor over the human sphere, notable in its larger-than-life eyes which gaze toward eternity from a rigidly impersonal, frontal face. The treatment of the head shows a synthesis of individualistic portraiture: the hooked nose, deep jaw and prominent chin characteristic of all images of Constantine, with the trends of Late Roman portraiture which focus on symbolism and abstraction, rather than detail.
Bronze statue of Marcus Aurelius
175 AD It is made of bronze and stands 3.5 m tall. he overall theme is one of power and divine grandeur — the emperor is over life-size and is holding out his hand in a gesture much like that in the Augustus' portraits. In this case the gesture may also signify clemency as some historians assert that a fallen enemy may have been sculpted begging for mercy under the horse's raised hoof (based on accounts from medieval times which suggest that a small figure of a bound barbarian chieftain once crouched underneath the horse's front right leg). Such an image was meant to portray the Emperor as victorious and all-conquering. However, shown without weapons or armor, Marcus Aurelius seems to be a bringer of peace rather than a military hero, for this is how he saw himself and his reign. He is riding without the use of stirrups, which had not yet been introduced to the West.
Portrait bust of Roman man
Circa 50-120 AD, This sculpture is what the Romans believed as what was noble. The Romans wanted to portray realistic (veristic) features and show how the object really looked. They believed that nobility was symbolized as a middle aged man with a stern, serious look responsible public bearing, and courageous endurance in the heat of battle.
Pompeii fresco from Villa of the Mysteries
50 AD Although covered with metres of ash and other volcanic material, the villa sustained only minor damage in the eruption of Vesuvius in 79 AD, and the majority of its walls, ceilings, and most particularly its frescoes survived largely undamaged.
The Villa is named for the paintings in one room of the residence. This space may have been a triclinium, and is decorated with very fine frescoes. Although the actual subject of the frescoes is hotly debated, the most common interpretation of the images is scenes of the initiation of a woman into a special cult of Dionysus, a mystery cult that required specific rites and rituals to become a member. Of all other interpretations, the most notable is that of Paul Veyne, who believes that it depicts a young woman undergoing the rites of marriage.
Palace of Knossos
Palace of Knossos
1700-1400 BC This palace, the largest known in Crete, with an area of 22,000 sq. metres (26,000 sq. yards), was excavated by A. Evans between 1899 and 1932, and spectacularly restored, sometimes excessively. It occupies the summit of a small hill, and to the east it dominates a ravine on to which the royal apartments look out, with their large megaron on the Minoan plan—open on two sides, reached by a large staircase. The three main entrances are to the north, the west and the south. The western wing was occupied by extensive storerooms and by official apartments—audience and reception halls, sanctuary; a large staircase leads to state rooms.
Minos lived here