A History of Western Art
Appropriate for one-semester art history surveys or historically-focused art appreciation classes, A History of Western Art, Fifth Edition, combines sound scholarship, lavish visuals, and a lively narrative to provide students with an accessible and engaging introduction to art history. Focusing on the Western canon, the text presents a compelling chronological narrative from prehistory to the present. A non-Western supplement, World Views: Topics in Non-Western Art, addresses specific areas of non-Western art and augments the Western chronology by illustrating moments of thematic relationships and cross-cultural contact.
106 architecture The Late Classical Style 108 The Greek Theater 108 architecture Greek Theater 108 Sculpture 109 style The “Hermes of Praxiteles” 110 Hellenistic Period 112 Sculpture 112 myth The Trojan Horse 115 8 The Art of the Etruscans 117 Map: Etruscan and Roman Italy 117 Architecture 118 Pottery and Sculpture 118 Women in Etruscan Art 120 Funerary Art 121 Cinerary Containers 121 Sarcophagi 122 Tomb Paintings 122 9 Ancient Rome 125 Map: The.
Naples, Italy. Also known as the “Alexander Mosaic,” this work is made of tesserae, little colored tiles arranged by color to create a picture. They are arranged in gradual curves called opus vermiculatum (“wormwork”), because they seem to replicate the slow motion of a crawling worm. Note also the illusionistic pattern of the frame. Monumental mosaics such as this one were found on the floors of houses belonging to wealthy Romans. The best-preserved examples of large-scale Greek pictorial style.
Transformation of columns into human form, several features are necessarily adapted. For example, the vertical drapery folds covering the support leg resemble the flutes of columns. In the capital over the caryatid’s head, the volute is omitted, but the echinos has been retained in the headdress, which creates a transition from the head to the abacus. At the same time, the headdress is an abstract geometric form, related to organic human form only by its proximity to the head. Whereas the Doric.
Venus, with the gods (see Box, p. 86). The Roman interest in preserving family lineage also extended to names. The typical Roman family was grouped into a clan, called a gens, by which individuals traced their descent. Portraits, whether sculptures or paintings, thus had a twofold function: they both preserved the person’s image and contributed to the history of the family. Similarly, Roman reliefs usually depicted historical events, commemorating the actions of a particular individual. Most.
And certain symbolic meanings. Red porphyry (the origin of the word purple) was the marble of choice for emperors and monumental cult statues. White was used for skin color and nudes. But in some imperial portraits, the skin is black, as it is in statues of Nubians. Figure 9.29 shows a third-century-a.d. bust of the emperor Caracalla wearing red porphyry; his head and 9.29 Caracalla, 3rd century a.d. Marble, 2 ft. 4½ in. (72 cm) high. Sala degli Imperatori, Museo Capitolino, Rome, Italy.