AP Art History Presentation - The Unstandardized Standard

AP Art History Presentation
by Daphnide McDermet
Great Hall of the Bulls
ca. 15,000-13,000 BCE
Artist: Unknown
Materials: Red and yellow ocher powders mixed with water for paint and cave walls as the canvas
Location: Lascaux, Dordogne, France
Content: The Great Hall of the Bulls is a circular gallery in one of the Lascaux caves with paintings of bulls. The artists
used twisted perspective to show both the horns of the bulls while keeping the bulls’ bodies in the profile style common
to the Paleolithic style. The bulls are in herds and are all different sizes and move in different directions.
Context: The purpose of the Great Hall of the Bulls, like most Neolithic/Paleolithic cave paintings, is unknown. Some
have postulated that the Great Hall of the Bulls had some cultic significance, however, the true purpose is unknown.
Stonehenge
c.2500-1600 BCE
Artist: Unknown
Materials: Sarsen (form of sandstone), Bluestones (volcanic rock)
Location. Wiltshire, UK
Content: Stonehenge is as its name suggest a henge made out of stone. It is made of rings of monoliths with lintels that
make the monoliths look like doorways. These monoliths are in a horseshoe shape with another ring made out of
trilithons. The stones way between 45-50 tons, and the diameter of the outer circle is almost 100 feet.
Context: Stonehenge is an astronomical observatory that marked the solar calendar. The King Arthur legend says that
Merlin, the magician, created Stonehenge. Historians today are surprised by the remarkable astronomical accuracy of
Stonehenge as well as the great size of the monument. Stonehenge is to me an incredible feat. Coming from the modern
century with all or cranes and elaborate equipment used for building, I am amazed by the ability of those “prehistoric”
people to make such a massive structure. I am also amazed at the precision and accuracy of this monument as an
observatory.
Standard of Ur
2600-2400 BCE
Artist: Unknown
Materials: Wooden box inlaid with lapis lazuli, red limestone, and shells
Location: Tomb 779, Royal Cemetery at Ur, (modern day Tell Muqayyar, Iraq)
Content: There are two panels, one on both of the long sides of the box; each panel is broken up into three registers surrounded by
borders. On one panel, called the war panel, the king is depicted in battle. In the bottom register are four carriages drawn by four
asses, which are drawn in mostly profile. The asses appear to be going faster as they move closer towards the right. In the register
above, foot soldiers march along, killing enemy soldiers and collecting their clothes as an act of complete subjection. In the register
on top, the king, in the center is presented with all the captured soldiers as his army stands behind him on the left. On the peace
panel, the king on the top register enjoys a feast with dignitaries while a musician entertains them. Below this register, a procession
of people, possibly attendants, bring bulls, rams, and birds, perhaps to the feast above. On the bottom register, men with goods on
their backs march from left to right. Historians have suggested that these men carry the spoils of war on their backs. Hence, the feast
on the top register could be a victory feast, thus making both panels tell one connected narrative.
Context:The Standard of Ur was a statement about the king’s omnipotence, sovereignty, and victory, in effect, a forerunner to the
theory of the divinity of kings. On the war side, the audience sees the king’s omnipotence in war; on the peace side, the audience sees
the king reigning and ruling. On both sides, the audience is reminded that the king is sovereign. Therefore, The Standard of Ur could
have been the immortalizing of one specific event or a general statement about the king’s prowess. I found the Standard of Ur
interesting as an example of what the ancient Sumerians wanted in a king. Due to the frequency of wars and the multitude of little
nation-civilizations, it makes sense that a strength in war was an important ability for a king.
Sumerian Votive Figures
2700 BCE
Artist: Unknown
Materials: Gypsum with black limestone and shells
Location: Temple at Eshnunna (Tell Asmar, Iraq)
Content: There are two figures. One is a man and the other is a woman with just the feet of a child remaining next to
her. Both the man and the woman were robes, the women also has a cloak over one shoulder. The man sports a
Sumerian style beard and haircut. The figures are very simple with very little detail. Their most striking features are
their disproportionately large eyes.
Context: These figures were most likely placed in temples by worshippers and served as their perpetual intercessors.
Their hands are clasped in a gesture of perhaps prayer or supplication. These pieces are a testament to the Sumerians
devotion to their religion. In the uncertainties and few securities of the ancient life, the Sumerians felt a need to be ever
near to their gods.
Last Judgement of Hu-Nefer
ca. 1290-1280 BCE
Artist: Unknown
Materials: Painting on Papyrus Scroll
Location: Thebes, Egypt
Content: This papyrus painting shows the journey taken by Hu-Nefer, and all Egyptian dead. The narrative reads from
left to right. On the far left, Anubis, the jackal-headed god of the underworld, leads Hu-Nefer by the hand to the scales
where his heart is weighed. If his heart is found wanting, the Ammit the monster will devour his heart. Everything is
recorded by Thoth,the ibis headed god. In the final scene, Horus, the falcon-headed god and son of Osiris presents HuNefer to Osiris, who will make him immortal. Behind Osiris is his wife/sister Isis and his other sister Nephthys.
Context:This scroll is obviously a religious scroll. As such, for the Egyptian it was a statement about their beliefs. For the
modern day audience, it is a key into the Egyptian thought and culture that can be used in understanding Egyptian art.
When I look at this piece, a couple thoughts come to mind. First, as a modern viewer, I am repelled by the animal
headed gods. I think the Egyptians’ unusual gods and dark, mysticism, surrounding death would make me afraid to die
in Egyptian culture. Second, while at first, I thought it was unusual to be buried with these kind of scrolls, it is really
similar to Christians having verses written on their tombstones. I believe it provided some kind of comfort for the
family members left behind to know or at least to imagine a positive outcome for Hu-Nefer’s last judgement.
Great Pyramids
ca 2550-2490 BCE
Artist: Khufu, Khafre, Menkaure
Materials: Cut Limestone
Location: Gizeh, Egypt
Content: The Great Pyramids at Gizeh were constructed at different times by different pharaohs, however, they all three
have the same structure. These pyramids were built on the same principle of the stepped pyramid. The original
limestones would have reflected the sun, making the pyramids appear to be glistening. On the grounds of the Great
Pyramids also stands the Sphinx, which was carved out of stone.
Context: The Great pyramids were expressions of Heliopolis, the cultic worship of the sun god Re, whose emblem was a
pyramid. These pyramids face the east and were made to resemble the sun’s rays. They were also the burial grounds of
the pharaohs, as such they also reflected the pharaoh’s power by their sheer size. For me, these pyramids have always
been quintessentially Egyptian; they are the first things that come to mind when I think of Egypt.
Akhenaton and Family
ca. 1353-1335 BCE
Artist: Unknown
Materials: Sunken relief on Limestone
Location: Tell el-Amarna, Egypt
Content: This limestone stele is of the pharaoh Akhenaton and his family. On the right side, Akhenaton, sitting in a
chair lifts up his daughter to kiss her. Across from him, his wife also sitting, holds a daughter on her lap and another
one on her shoulder. In between them at the top of the register is the sun, representing Aton, the sun god. The relief
contains many curvy lines, in contrast to most Egyptian art.
Context: This stele is striking because of its divergence from traditional Egyptian art. It is unconventional in the way it
portrays the pharaoh as well as the amount of emotion portrayed in this photo. While pharaohs were usually portrayed
with idealistic, flawless bodies, Akhenaton is shown with skinny arms and a pudgy belly. While the usual portraits of the
royal families showed near emotionless people, here, Akhenaton and his wife are shown affectionately spending time
with their daughters. These drastic changes are typical of the Amarna style, ushered in with Akhenaton's religious
revolution. This Amarna style emphasized more realistic portrayals of the subjects and a divergence from the strict,
formal style of previous Egyptian art. Personally, I like the Amarna style better. I am prefer the realism and the soft
curves. Traditional Egyptian art has a way of coming off as cold, mysterious, and impenetrable. However, the Amarna
style is more personable and relatable; they subjects appear as real people with real emotions.
Seated Boxer
ca. 100-50 BCE
Artist: Hellenistic sculptor
Materials: Bronze
Location: Rome, Italy
Content: The seated boxer is a 4’ 2 ½ “ hollow, bronze sculpture of a Greek boxer. The boxer is shown sitting down,
looking up; he appears to be defeated. He is nude with leather thongs wrapped around his hands. The artist took careful
care to render his fresh cuts and bruises as well as the blood dripping from his various gashes. He has, then, just finished
a fight. He does not portray the usual Grecian beauty: his nose is broken, his ears are swollen, and he is not young.
Context: The Hellenistic Period was the last period in Grecian history before the Romans conquered Greece. The art
from this period shifted from the Grecian ideal of beauty to a more realistic, and oftentimes less beautiful representation
of their subjects. For this boxer, he represents the true life of a boxer; he is cut and bleeding; he is defeated. The
principle emotion that is aroused when I look at this sculpture is pity. The representation of this boxer shows boxing as a
cruel, grotesque sport. And while I am slightly repelled by the rawness of the sculpture, that same rawness gives it a kind
of beauty. The pain and defeat that the boxer feels, these are emotions that we have all felt at one time or another; he is
not beautiful, but he is real.
Head of a Roman Patrician
75-50 BCE
Artist: Unknown
Materials: Marble
Location: Rome, Italy
Content: The head of a Roman patrician is a marble sculpture of a Roman patrician or a senator. Made during the
Republican era of Rome, it reflected those values. This bust is a veristic sculpture. Veristic has to do with the word with
veritas or truth, thus a veristic sculpture is a true sculpture or true to life. One can see the realism in the furrowed
forehead and the abundance of wrinkles.
Context: In context these kinds of busts were a reflection of the Roman Republic’s values. The Roman standard of
greatness was largely based on how patriotic one was and how great of a citizen one was. As Rome was governed by a
Senate, which was primarily composed of older men, age and wisdom were considered the characteristics of greatness.
Hence in the bust of the Roman patrician, age which most of the time was synonymous with wisdom is emphasized.
Portraits are my very favorite subjects, and realism is my favorite style, therefore, my biases lead me to believe that this
is an exceptional work of art. If the patrician had definite eyes, he would seem lifelike. Also, as the American culture
tends to embrace the Grecian ideal of beauty, I find the Roman approach very fascinating. It is in essence the question
of brawn or brain.
Pantheon
118-125 CE
Artist: Commissioned by Emperor Hadrian
Materials: Concrete with stone facing
Location: Rome, Italy
Content: The pantheon is a domed temple commissioned by Emperor Hadrian. It is remarkable in its use of concrete
and geometry. The Romans used concrete in new ways in the construction of their monuments; it is the concrete that
allows for the support and form of the dome. The pantheon has no windows; light gets in through the oculus, a circle
opening at the top of the dome that geometrically is the center of the dome. More geometry is seen in the many square
and circle patterns on the floor and walls in multi-colored marbles.
Context: The pantheon was a kind of temple that housed statues of the gods and the emperors, who were also
considered gods by the Romans. It is said that Hadrian used to meet with dignitaries there, so the pantheon also served
a practical purpose. To the Roman audience, the pantheon was both a religious statement and a political statement: it
was beautiful and its materials came from all over the Roman empire, signifying Rome’s strength. When I look at the
Pantheon, I see the incredible lasting power of the Roman empire. The pantheon architecture is copied all over the
word; each construction is a tacit nod to the power of the Roman empire.