Midterm #2- Art 100-2
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San Bernardino Valley College *
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Arts Humanities
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Jan 9, 2024
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Art 100: Midterm #2
Image Identification
(3 points each
.
Title of the work, country or place of origin, and date it
was created.
Other aspects could include artist’s name, style used, materials used, size of work,
significance of the artwork).
1.
Pyramid of Djoser, Saqqara. 2667-2648 BCE.
2.
Pyramids of Giza, Egypt. 2550-2490 BCE.
3.
The Seated Scribe, Saqqara. 2450-2325 BCE.
4.
Queen Nefertiti, Thutmose. 1345 BCE.
5.
Abu Simbel, Aswan Governorate. 1264 BCE.
6.
Fayum Mummy Portraits, Fayum. 80-325 AD.
7.
Cycladic Art, Egypt. 2800-2000 BCE.
8.
Minoan Snake Goddess, Crete. 1600 BCE.
9.
Bull-Leaping Fresco, Knossos, Crete. 1450 BCE.
10.
Lions’ Gate of Mycenae, Argolis. 1250 BCE.
11.
Mask of Agamemnon, Mycenae. 1550–1500 BCE.
12. Treasury of Atreus, Mycenae. 1400–1250 BCE.
13.
Hirschfeld Krater, Athens.
750–735 BCE
14.
Ople, Corinth. 600 BCE.
15.
New York Kouros, Attica. 590–580 BCE.
16.
Peplos Kore, Athens. 530 BC
17.
Kritios Boy, Athens. 480 BCE.
18.
Discobolus, Munich. 460–450 BCE.
19.
Parthenon, Athens. 447–432 BCE.
20.
Laocoön and His Sons, Pergamon. 42-20 BCE.
Short Answer
(2 points each.
Fill in the blank with the most appropriate answer.)
1.
Because of his death and resurrection,
_____Osiris_______
is associated with the
flooding and retreating of the Nile and thus, with the crops along the Nile valley.
2.
The
______Narmer Pallette__________
represents the unification of Upper and Lower Egypt.
3.
A
_______Mastaba_______
is a type of Ancient Egyptian tomb in the form of a flat-roofed,
rectangular structure with outward sloping sides.
4.
____Amenhotep IV (Akhenaten)____
radically transformed the political, spiritual, and cultural
life of ancient Egypt and was later referred to as the 'heretic king'.
5.
Theseus was a founder-hero who, like Heracles, battled and overcame foes that were identified
with
__an archaic religious and social order____
.
6.
In contrast with the continuity of the Egyptians, the
____Greeks____
continually improved upon
their past accomplishments, changing styles and techniques.
7.
Chryselephantine is a term that refers to ancient mixed media sculpture made primarily of
_____Gold and Ivory_____.
8.
The art of the classical period is influenced by the Greeks triumph over the
___Persians_____
in
480 BCE.
9.
The sculptor Polykleitos developed a
____canon of proportions________
during the Classical
period.
10.
The female nude form appears in Greek art during the
______Late Classical________
period.
Essay
(20 points):
Review the materials from the lecture ‘Hidden Symbols of Greek Architecture,’ which
is available on Canvas. Choose several themes to discuss in a cohesive essay. Don’t feel the need to
explain everything. Make sure to have a creative title, introduction, body, and conclusion.
Ancient Greek and Classical Structures: Hand in Hand
Prominent symbols within ancient Greek architecture have shone through the contours of
carved stone and marble, and though the designs may not have looked like much
at first glance,
(especially to a pair of eyes that isn’t sure what to look at to begin with) it’s obvious that these structures
were meant to convey a certain essence. Themes relating to love, friendship, life, death, and divinity
have been tied into the ideals that George Hersey has theorized, which has influenced a completely
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different view that current archeological experts hold today. These theories today are the very reason
that the use of certain patterns carved within stones may be compared with anatomical features, or
symmetry being compared to perfection as much as a religious figure might be. Peers who are interested
in architectural history may consider George Hersey’s views on ancient Greek architecture, and reflect on
its connection to Classical structures.
George Hersey’s research remained abundant, his theories unveiling wonderful views upon
structures that revealed a historically altering angle in which to view these structures from now on. One
of these views I find interesting is the imagery of human anatomy being portrayed throughout ancient
Greek structures. This is especially how the use of tongues isn’t very obvious, but with a side-by-side
comparison, it’s definitely something to consider. This can also apply to the structures of triglyphs and
guttae, also known as “drops”, which can be compared to the imagery of skulls without jaws. Compared
to Classical architecture, one would think ancient Greek structures were more violent compared to
balanced and proportionate Classical ones. Symmetry is something repeatedly used within Classical
architecture, which is something also used in ancient Greek architecture, but one could say the
importance of symbolism is better represented in one more than the other.
Examples of symmetry can be clearly seen in both examples of architecture I’ve mentioned
before. Portrayals of perfection can be seen within each of them, but the ancient Greek examples can be
considered more symbolic since they use outright structures of female representations or animal heads
adorned with wreaths to resemble sacrifice, according to George Hersey’s views. Themes of
dismemberment and sacrifice are completely outright in these sculptures, whereas Classical architecture
simply prioritizes a sense of balance and straight lines paired with logic. When I see these differences, I
find Classical architecture completely boring! I’m not insinuating that the repeated symbols of sacrifice
and dismemberment should have been carried out longer, but instead the more optimistic symbols. For
example, luck, fortune, balance, and crops would be something I’d see as completely realistic to bring
into a Classical setting, perhaps even modern.
The fact that proportions in some columns were directly referenced from some aspects of
human anatomy such as their faces is something that I’m sure would be completely missed by an
untrained eye, and it’s wonderful to see that there are blueprints to prove this. This could also go for the
chained patterns adorning certain structures with a more odd combination of flatter discs stacked
alongside circular shapes. After comparing the fact that ancient Greeks would sprinkle in themes of
dismemberment and sacrifice within their buildings, due to George Hersey’s theories, it can be easy to
compare them to animal ankle bones. I think this is something that I can find some very deep interest in,
because I wonder if this society had played the game of chess in their time, if they could have
incorporated it just as they did with their game “knucklebones”. It truly is something to consider, and
after reading further into George Hersey’s ideas, I’d say that it wouldn’t be too farfetched to assume they
would go as far as incorporating any other games they could’ve played.
Themes of sacrifice and dismemberment is something I could truly see myself being interested in
when it comes to ancient Greek architecture, and the fact that some of these patterns and themes have
been lost when it comes to moving onto the Classical architecture area, I see a lot of creative freedom
lost within these structures. George Hersey has cultivated an admirable ideal when it comes to his
theories, and I think that his concepts could simultaneously be seen as both outlandish and genius. I
wonder what his thought process was to compare simple circular figures to dismembered tongues! I am
happy to know that these architectural masterpieces were not lost over time, and that their details of
precision and excellence were perfectly preserved in order for these theories to be brought up.
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