Transcript group3x

Art 101: Critical Thinking Project #3
Roy Pearman
Bridget Kohlhaas
Stephanie Himmler
Josh Lloyd
Robin Martin
Carolyn Jones
1. “Dying Warrior”
………………………. By: Roy Pearman
2. “Stag Hunt”
….…………………………... By: Robin Martin
3. “Assurnasirpal II Killing Lions”
...……… By: Joshua Lloyd
4. “Judgment of Hunefer before Osiris”… By: Stephanie Himmler
5. “Crucifixion with Angels and Mourning
Figures, Lindau Gospels” …………….. By: Bridget Kohlhaas
6. “Death of Sarpedon” ……………………. By: Carolyn Jones
By: Roy Pearman

Title: Dying Warrior
-from the east pediment of
the Temple of Aphaia

Date:
Artist:
Period:
Located:

Found:



500-490 BCE.
Unknown
The Archaic period
Staatliche Antikensammlungen
und Glyptothek, Munich
Textbook, page 121
Known today as the “Dying
Warrior”, this sculpture was
one of many sculptures found
in the east pediment of the
Temple of Aphaea, which is
located on the island Aegina.
The temple’s building process
began in 510 BCE and was
finally completed in 480 BCE. Previously, smaller
temples had occupied the build site, but due to
disasters and change, the earlier temples were
ruined and their rumble was used as the
foundation for the final structure.
The temple was dedicated to the forestry
and hunting goddess Aphaea, who was
supposedly seen on the shores of Aegina before
disappearing into the landscape. This sighting
conveyed that Aegina was under the protection
of Aphaea. Her glorification was important to
the island, because Aphaea protected shipping,
which was seemingly beneficial to Aegina’s
major maritime culture.
The temple’s
two pediments—
east and west—
were originally
finished in 500
BCE; however, for
some unknown
reason, and there
are many theories
as to why, the east pediment was re-sculpted in 490 BCE. The east pediment’s new scene and
the original west pediment is the art collection that we have and study today. They depict the
first and second campaigns, started by Herakles, on Troy, and in both, the goddess Athena is
centered, surrounded by ten battling warriors—five on each side.
From the remaining sculptures of
the east pediment, “Dying Warrior” is
the most complete piece. Found
stretched out on the ground in the left
corner, the wounded warrior is
attempting to pull an arrow from his
torso while beginning a rise to his feet.
From the right side of the pediment,
the Greek archer, Herakles—son of
Zeus and the river nymph Aphaea—
released this fatal arrow from his bow,
injuring the warrior, who is king
Laomedon, Troy’s second king.
“Dying Warrior” and the remaining pieces of the east pediment are
displayed in its original triangular form at Glyptothek, a museum in
Munich, and have been there ever since the excavation in 1800’s.
As a commemorating set of art work, the
east pediment depicts Herakles’ war against
Troy and king Laomedon. The outcome of
the war favored Herakles, Telamon, and their
Greek army as they killed the king and all
his sons but one. Telamon, who was
recruited by Herakles, is the son of Aeacus,
the king of Aegina. Therefore, the people of
Aegina glorified this victory by decorating
their guardian-goddess’s temple with the
story. When approaching the temple, the
highly-elevated battle scene reminds
visitors, friends and foes alike, of Aegina’s
might supported by various heroes and
Athena. “Dying Warrior” offers a visual
account of king Laomedon’s death, which
was caused by Herakles with the help of
Telamon. It was important to the Greek
culture to document significant events and
myths realistically as a reminder of the
simultaneous existence of love, war, honor,
disgrace, pain, and pleasure in life.
With only a decade
separating the composition
of the two pediments, the
differences between them is very valuable in
demonstrating the drastic style change from
the Archaic period to the early Classical
period. Because “Dying Warrior” is the most
complete sculpture from the east pediment,
he is commonly compared to his counterpart
from the west pediment to visually display
the new developments.
The artist, who
created “Dying
Warrior”, as well as
the entire east
pediment, is
unknown. Though, it
is believed that
Onatas of Aegina
may have created it.
The sculpture is
made of marble, an
elegant medium of
sculpting at the time.
When the Temple of
Aphaea was in use,
the sculpture would
have been painted
and decorated with
the attire and bronze
armor of a warrior
for a more realistic
exhibit.
The rest of the pediment’s sculptures display a battle scene in
action, as if the fight would break from the periodic pause of a Kodak
photo and continue on; however, the “Dying Warrior” lies off on the
side, frozen in his last breath. If he was to unfreeze from his solid
position and return to life, he would not move in battle as the others,
but rather, sink to the ground in minimal movement. “Dying Warrior”
and this potential contrast seem to convey the delicateness and
mortality of human life, applied even to the kings.
The style displayed in “Dying Warrior” is most apparent when comparing it
to its counterpart of the opposite pediment. Shown in the warrior sculpture
from the west pediment, the Archaic period was classified by the frontal-posed
form, the basic silhouette form, and the use of the “Archaic smile”. Displaying
these attributes, the counterpart warrior seems to be posing for a photo shoot
rather than dying from a wound. The east pediment’s dying warrior displays a
much more realistic portrayal of life, which is associated with the naturalism of
the classical period, rather than the more abstract style of previous periods.
The east’s “Dying Warrior” is not facing nor even looking outward to the observer, like the
warrior is in the west pediment. The style changed because artists wanted a more realistic
character, one that doesn’t follow norms, but instead, conveys a real life-form that provokes
sympathetic emotions and thoughts. The “Dying Warrior” is twisted on the ground and
positioned not for visual clarity, like his counterpart, but visual realism. In his endeavor, the
dying warrior has his grounded body weight distributed to his left hip and shield, and his
effort and vulnerability are displayed very well through the subtle, detailed modeling.
His arms and legs also
explain a change in the art
style. His right arm covers
his torso as he pulls on the
arrow, and his legs are
stretched out and relaxed
because his attention is
drawn to his wounded
upper body. This differs
from the west pediment,
where the warrior’s arms
and legs are arranged in
semi-awkward positions to
define each body part as
separate, like in a
silhouette.
The west warrior also displays a closedlip smile , the “Archaic Smile”, even
though he is wounded and dying.
The east warrior
sculpture lacks this
Archaic smile, and in
exchange, his facial
expression is aimed
downward and that of
painful
concentration.
I chose “Dying Warrior” for this project, because when flipping through
the book for the first time, it was the first artwork that caught my complete
attention with its realistic depiction of an attempt to conquer despair.
By: Robin Martin
 Title: Stag
Hunt
 Date: 300 B.C.E.
 Artist: Gnosis
 Period: The late classical period
 Located: in a palace at Pella (Macedonia),
present-day Greece
 Found: Textbook, page 156

The image of the Stag Hunt is one of many framed
artworks on the mosaic floor from a palace at Pella.
It greatly presents that of Pausian design. This piece
of art is conspicuously signed by an artist named
Gnosis who signed the top, “Gnosis made it.” This is
the first recorded mosaicist known to sign his art.
This picture is even more impressive because of the
order in which it was made. Instead of being made
with consistently cut marble, it was prudently
created with a specific assortment of natural
pebbles. The frame consists of leaves, twisting
vines, flowers, and rippling and rolling stems.

The hunters, dog, and stag all represent linear
patterns. All of the figures are precisely drawn and
shaped in both shade and light. For example, the
vivid dog that is drawn to create the illusion that he
is turning at an angle. There also appears to be a
range of colors as in comparison to earlier works. A
mosaic is said to be a picture made with small
colored pieces. They can be created from tesserae,
which are small pieces of colored marble or stone.
The Romans would use this for important rooms
because it provided a waterproof surface.

Because of their everlasting strength, many mosaics
and similar paintings are the best evidence for
fourth-century BCE art. During this period in time,
it was also common to capture the appearance of the
real world in which they lived. Highlights, shading,
playing with light on three-dimensional surfaces,
and modeling all helped the artist create a
wonderful illusion and an impressive piece of
artwork. The artists in the fourth-century BCE were
very interested in creating believable works while
representing the real world. Roman patrons
appreciated Greek mosaics and other paintings.
One famous known Roman observer, Pliny the Elder,
stated that Greek painters were extremely skilled in
seizing the manifestation of the actual, physical, and
factual world. The fact
that the men in the image
are nude along with the
idea of the struggling stag
clearly shows Gnosis’s
attempt to capture
realistic art and how
things occurred in
everyday life. To the right
is a closer view of the
amazing detail that goes
into a mosaic.
By Joshua Lloyd
 Title: Assurnasirpal
 Date: 850
II Killing Lions
BCE
 Artists: Unknown
 Period: Late Mesopotamian
 Located: The British Museum, London
 Found: Textbook, page 40
 The
title is obviously called Assurnasirpal II
Killing Lions, which the person killing the lions
is Assurnasirpal II. Assurnasirpal II is
apparently the king for this particular culture.
According to Stokstad, “This was probably a
ceremonial hunt...” (page 40). The king in this
scene is protected by his men, which may have
been soldiers, with swords and shields as they
went out to kill lions for whatever reason being
for the ceremonial hunt.
 It
is obvious from the scene the Assurnasirpal
is well respected in his society as he is
partaking in a ceremonial hunt, but also that he
has soldier or men marching behind him
protecting him. The lion to the left, behind the
king is presented as being ferocious and in
short, a beast with great power as the lion
already has, which appears to be, four arrows
already shot at him that are still sticking out of
him.
 Stokstad
bluntly states the importance of
the scene, “The immediacy of this image
marks a shift in Mesopotamian art away
from a sense of timelessness and toward
visual narrative” (page 40).
By: Stephanie Himmler
 Title: Judgment
of Hunefer before Osiris
• Comes from a papyrus copy of The Book of
the Dead
 Date: 1285 BCE.
 Artists: Unknown
 Period: New Kingdom
 Located: The British Museum, London
 Found: Textbook, page 79
 After
Osiris’s murder by his brother, he was
brought back to life but not as a human. His
return was as a deified figure, as the god of the
underworld. Egyptians valued the afterlife and
lived every day preparing for their final
breaths so they could rest in peace and live on
after they have passed. This picture depicts the
cycle one went through after death. They had
to go through a series of stages before they
could be presented in front of Osiris himself
and be offered a blessing of immortality.


The first portion of the illustration is the judgment area.
Once cleared of judgment Hunefer is guided by Anubis
into the Hall of Maat to weigh his heart against a feather.
Maat is the concept of truth and order.
The weighing of the heart against the feather
symbolizes that, “heavy hearts carry a burden of evil or
guilt and did not merit immortality, whereas those of
pure heart and honorable deeds gained the gift of
eternal life.” Once the heart is proven to be pure then
Hunefer is presented before Osiris and is granted
eternal life.
 This
story is significant because most if not all
Egyptians lived their lives preparing for their
death and the afterlife that brought them. The
creation of mummies and lavish tombs within
pyramids showed their devotion for the life
after death. This became a popular tradition
within Egyptian culture and every status
preformed the tasks to preserve oneself after
death. Wealth only played a factor in how that
was done, but the concept was still portrayed.
 This
piece is styled as a step by step guide for
the afterlife. It serves as instructional but is
beautiful in any aspect. It shows the depiction
of the New Kingdom and their dreams of
afterlife and eternal prosperity. This
illustration incorporates hieroglyphics, deities,
and animalistic characteristics within humans.
They all represent something in particular
bringing more meaning to the piece leaving
more room for interpretation.
By: Bridget Kohlhaas
 Title: Crucifixion
with angels and mourning
figures, Lindau Gospels.
 Date: c. 870-880
 Artist: Unknown
 Period: Medieval Period
 Located: Pierpont Morgan Library, New
York
 Found: Textbook, page 458
 This
book cover was made between 870-880 at
one of the monastic workshops of
Charlemagne’s grandson, Charles the Bald. It
is not known what book this cover was
originally made for, but sometime before the
sixteenth century it became the cover for the
Lindau Gospels. These gospels were prepared
in the late ninth century at the Monastery of
Saint Gall, in a work shop called a scriptorium
(room in the monastery set aside for the
production of books).
It contained four title and four in script
pages in gold on vellum stained purple,
twelve canon tables (table of contents) on
purple backgrounds, lettered in gold and
silver, and two carpet pages (pages of
geometrical ornamentation placed at the
beginning of each of the gospels).
 During
this period in history it would be safe
to say that most individuals could not read.
Works of art such as this book cover served as
a metaphor for the story contained within. The
Landau Gospel appealed to the grand masses,
even those who were illiterate could recognize
the significance of what was within the book,
based on the art work used to create the cover.
 Books
such as the Landau Gospel were
significant for missionary work of the church
during the middle ages. These gospels were
carried during church processions, and
placed on the alters of the churches they
belonged to. It was believed that these books
protected the parishioners from their enemies,
predators, diseases and all kinds of
misfortunes.

The cross and the crucifixion were common themes
for book covers during the medieval period. The
scene of the crucifixion on the front cover is made
of gold with figures in repousse’ (low relief
produced by pounding out the back of the panel to
produce a raised front) and is surrounded by a
heavily jeweled frame. The jewels were raised on
miniature arcades. By raising the jewels from the
gold ground, the artist allowed reflected light to
enter the gem stones from beneath, this imparted a
lustrous glow. These gems are meant to recall the
jeweled walls of the heavenly Jerusalem. Angels
hover above the figure of Jesus and the figures
hiding their faces represent the sun and moon.


Those mourning the death of Jesus, Mary, John, Mary
Magdalene, and Mary Cleophas seem to float
around the jewels below the arms of the cross.
These figures represent the expressive style of the
Utrecht Psalter (illustrations is a ninth century
illuminated Psalter which is a key masterpiece of
Carolingian art; it is probably the most valuable
manuscript in the Netherlands).
The figure of Jesus has been modeled in a rounded
naturalistic style similar to that of a classical
sculpture. Jesus stands upright with eyes wide open
and arms out stretched announcing his triumph
over death and welcoming believers into the faith.
By: Carolyn Jones
 Title: Death
of Sarpedon
 Date: 515 B.C.E.
 Artists: Euphronios (painter) and
Euxitheos (potter)
 Period: The Archaic Period
 Located: The Metropolitan Museum of
Art, New York
 Found: Textbook, page 127
 This
is a calyx krater (this is because of the
upturned handles that curve like a flower
calyx. The scene painted onto the krater is of
Sarpedon when he was struck down in battle.
 He
is being carried away by two gods, one is
Hypnos the god of sleep, and Thanatos, the
god of death. Together they begin to carry the
body of Sarpedon off the battle field while
being watched over by the god Hermes.
 This
vase has not been restored or recreated.


This vase is created by two different artists. One shaped the
pottery, and one was the painter Euphronios.
This is part of a scene of the Iliad of Homer which states that
Sarpedon the son of Zeus died suddenly in battle, and Zeus
not being able to prevent this sends Hermes to watch over
the burial and uses the god of sleep and death to transport
him from the battle field.
 This
is significant to the ancient Greeks
because Sarpedon was a great Grecian
warrior that was killed in battle. On one
side the Trojan warrior is trying to mutilate
it, and the other is a Grecian trying to save
Sarpedon’s body for a proper burial. The
three gods lifting Sarpedon is also showing
the favor of this great warrior.
 Even
though the potter created a masterpiece
with the design of the krater, the painter
Euphronios used a technique called “redfigure”. He used a bag like an icing decorator
to draw hundreds which made it turn out
without a flaw to the human eye. This is
especially amazing because before the
pottery was fired it was impossible to see the
design of what was on the pottery.


Bentley, Jerry H., and Herbert F. Zeigler. Traditions & Encounters: A
Global Perspective on the Past. 4th ed. Vol. 1. Boston: McGraw Hill,
2008. Print. 2 vols.
Textbook:
• Stokstad, Marilyn. Art History. 3rd ed. Vol. 1. Upper Saddle River:
Pearson Prentice Hall, 2008. Print. Pages 40, 127, 155-157, 447448, 457-459.

Gnosis Custom Mosaics:
http://www.gnosistesserae.com/En/GnosisV2/AboutGnosis.
php?pg=AboutGnosis&lm=AboutGnosis-Gnosis

www.britannica.com

www.historyofscience.com/G2I/timeline/index.php?id=2217

http://en.wikipedia.org/wiki/Utrecht_Psalter




“Aegina Aphaia Temple”. greeka.com.
http://www.greeka.com/saronic/aegina/aegina-history/aeginaaphaia-temple.htm.
“Aegina E 11 (Sculpture)”. Perseus.com.
http://www.perseus.tufts.edu/hopper/artifact;jsessionid=1DADC7
4B90B5D0E071DC97B8E0699E3F?name=Aegina+E+11&object=Sc
ulpture.
Joe, Jimmy. Troy. “Heracles”. Timeless Myths. 1999.
http://www.timelessmyths.com/classical/heracles.html#Troy.
Stratton, Jerry. “The Temple of Aphaea at Aegina”. Negative Space.
Nov. 2008. http://www.greeka.com/saronic/aegina/aeginahistory/aegina-aphaia-temple.htm.