Roman and Christian art.

The equestrian statue of Marcus Aurelius is a bronze portrait from 176 CE. This sculpture, like most others from the imperial era, was an object of propaganda. Marcus Aurelius was a triumphant commander in the Roman military, as well as one of the most important Stoic philosophers. During the middle ages, this statue was saved from being melted down when it was mistaken as being a statue of Constantine, the first Christian emperor. Marcus Aurelius is depicted with thick, curly hair and a very full beard reminiscent of the philosopher portraits of Greek art and in the Imperial tradition of appearing rugged and unconcerned with vanity. In addition, Aurelius does not carry weapons and has no armor. Leaders were often shown as effortless conquerors that were victorious based simply on divine will. He is also reaching out to the audience in a sort of rhetorical address, another common element of Roman art. The sculptor skillfully balanced Aurelius and his horse so as to keep the viewer’s attention on the legendary leader.



The Catacomb of SS Peter and Marcellinus dates back to the late third to early fourth century. Several relics of SS. Peter and Marcellinus were found inside this Roman catacomb. The men buried in this catacomb were third-century Christians who were martyred for their faith. A Good Shepherd is shown at the center of the medallion, a round compartment in the ceiling. It is posed similar to sculptures from the classical period. The Good Shepherd represents a promise made by Jesus in the book of John. Surrounding the Good Shepherd are semicircular compartments depicting the story of Jonah from the Hebrew Bible. The left compartment shows Jonah being thrown from the ship, the right compartment illustrates Jonah being spit up by the monster, and the center compartment portrays Jonah in paradise. This story has been reinterpreted as a parable of Christ’s death and resurrection, one of the distinguishing factors of the Christian faith. Between each semicircular wall section, or lunette, stand several orant figures, or people with arms stretched out in worship and prayer. These figures are presumed to be images of other Christians buried in the catacomb.

When Christianity began to overtake Rome, art was quickly and directly affected in every aspect. Sculptures transformed from illustrations of history and leadership to depictions of stories from the Christian Bible. Elaborate, beautifully adorned exteriors of classical Roman buildings were exchanged for more grandeur on the interior that was intended to encourage worship of the Trinity, or Jesus, God, and the Holy Spirit. The catacomb of SS Peter and Mercellinus, for example, contains many illustrations of Bible stories and allusions to Christ. These images promoted the worship of God and aimed to draw attention away from man and his accomplishments. Roman art, on the other hand, was heavily based around leaders, achievements, and history. For instance, the equestrian statue of Marcus Aurelius shows the military commander and Stoic philosopher as a rugged conqueror. The statue demands respect and attention not only for its artistic merit, but also for the great legacy it represents.
On the other hand, both classical Roman and emerging Christian art are heavily rooted in the traditions of Greek art. For example, Marcus Aurelius is shown with one arm reaching out in a rhetorical address resembling the traditional philosopher pose of Greek portraits. Similarly, the Good Shepherd in the catacomb of SS Peter and Marcellinus is posed much like sculptures in traditional Greek art as well. In addition, both cultures expected viewers to be able to identify those depicted in each sculpture and image. This is why Roman art so often included distinguished leaders and historical elements. Likewise, the Trinity and other important stories from the Bible consumed Christian art.

The Parthenon.

The curvature on the exterior of the Parthenon is an architectural element whose purpose has been much debated. The three main theories, as documented by Pollitt, are the compensation theory, the exaggeration theory, and the tension theory. The first suggests that the variations are “‘betterments’ to counteract optical illusion” that would “make the appearance of the temple fit their [the Athenians] mental conception of it”. That is to say, it would compensate for what the eye sees and the mind’s distortion of it. An example of this compensation can be found in the corner columns, which, according to Vitruvius, should be thicker “ ‘because they are completely set off against the open air and [without compensatory thickening] appear more slender than they are’”. (Pollitt 75). The second theory, contrary to the first, proposes that the curvature “was intended to amplify normal optical distortion so that the temple appeared to be more immense that it actually was”. And still the third conjectures that the deviations serve “the purpose of creating a tension in the mind of the viewer between what he expects to see and what he actually does see…a fascination which makes the structure seem vibrant, alive, and continually interesting”. (Pollitt 76).



The west pediment, which would have faced the entrance to the Acropolis, shows the contest for Athens, the battle between Athena and Poseidon for deity-ship of the city and rule over the Athenians. Poseidon offers the power of the sea while Athena, who ultimately wins the battle, offers the olive tree. This sculptural narrative provides a good example of the Greeks’ affinity for expressing their history through the idiom of myth. Athena’s offering symbolizes the importance of the olive tree to Greek culture (for agriculture, export, and affluence) and the accreditation of this wealth to the goddess.



There are 92 metope reliefs featured in the exterior frieze of the Parthenon (Stokstad 133). Each metope depicts a legendary battle between two opposing forces that is symbolic, as is the Parthenon in its entirety, of the Greeks’ defeat of Persia and, in such, the triumph of reason over barbarism. In the metopes on the south side of the Parthenon, the Persians are represented as centaurs, half men and half brutes, while the Greeks are symbolized in the form of mythical Greek Lapiths. This sculptural interaction is another example of the Greeks’ tendency of historical expression through myth. It also thoroughly illustrates both their humanizing and generalizing impulses (as well as their demonization of enemies) that are direct correlations of Periclean Athens’ social consciousness.



The statue of Athena located in the interior cella of the Parthenon is not the same warrior Athena that is depicted on the east pediment, but the Athena Parthenos, Virgin and patron goddess of Athens. The figure, designed by Pheidias in ivory and gold, is outfitted in armor and holds both a shield (bearing an Amazonomachy on its exterior and Gigantomachy on its interior) and a Victory (Stokstad 130). These symbols, along with the reliefs on her sandals representing a Centauromachy make “the goddess who was the embodiment of Athenian intellectual and cultural attainments” a symbol “of the triumph and order and civilization over chaos and barbarism on all levels” (Pollitt 98). She is a cult image, framed by Doric columns and colossal in size to emphasize her importance as the presiding deity of Athens and benefactor of its cultural and civil wealth and prosperity.

Pottery.

Greek vases have become an important piece of material culture, offering countless keys to information about the past. Vases were generally sculpted using a wheel, and the separate pieces were pieced together once dry using wet clay. The handles were always placed last. After the time consuming firing process, the pottery was painted in several different fashions, sometimes depicting the vase's purpose, others showing mythological stories or historical references. Some vases were used for drawing or drinking water, while others were used to hold oil, among many other uses.

Black figure vase painting was the first style to bring many artists to fame. Figures appear almost as silhouettes typically on a red background. This style is also often indicated by scoring, however many pieces do without. Red figure vase painting developed around 530 BC, replacing black figure pottery within the a few decades. Unlike black figure vase painting, red figure pottery features red figures on a black background. This technique allowed painters to use more detail in their work. However, the black background also made it difficult to use some older techniques, bringing more difficulty into the style and transforming the process to create the works of art that have taught so much about Greek culture to subsequent generations.

Egypt Newspaper.

The Parthenon

I really enjoyed talking and reading a bit about the parthenon in class this week. I went to Greece with my family when I was much younger and vaguely remember visiting the acropolis, so getting a more in depth look at what the structures meant and how they were constructed has been really interesting. The mixture of Doric and Ionian forms in the columns is a really creative means of combining the cultures of the two societies. I also found the different theories explaining why certain parts of the parthenon are exaggerated, for example the curves along the sides and the wide corner columns. These variances in design definitely make the parthenon a more exciting work to view and ponder. One of the most memorable things about seeing the Parthenon first hand was simply taking in the vastness and beauty of the structure. I look forward to visiting Nashville's replica of the Parthenon next week and gaining further insight into this incredible piece of architecture.

Downtown Presbyterian Church.

The site of the Downtown Presbyterian Church is perfect. Located in the midst of a busy downtown area, the building blends in very well with its surroundings despite how differently it is used compared to most other buildings in the area. This contrast really adds to the experience of the church and I cannot think of a better place for it. There is a great deal of open space within the church that seems to dwarf human importance upon entering the main room. However, the size and openness of the room is also very peaceful. In the balcony, space has a different effect. From above the rest of the church, it is easier to appreciate the vast space surrounding me and to take everything in. Much of this peaceful atmosphere can certainly be attributed to light. The church has many stained glass windows on either side that not only dims the bright rays from the sun, but also brings more color to the room and adds a different perspective to the artwork at the front of the sanctuary. The sanctuary is ornately decorated, giving it a very different feel from what we are used to today. It was surprising to find such unique decoration, as it was not what I expected. The bright colors of the artwork is surprising, but makes the work very true to its time period. It gives a lighter, more informal feel to the church that, while it probably was not the intention of the Egyptian architects, made me much more comfortable in the sanctuary. The materials also have an enormous effect on the feel of the space. The wooden chairs in the balcony and pews on the floor add a sense of comfort, while the stained glass windows seem to slow time and put away the rush of the day. The regularity of the pews give the room a steady rhythm, making the room appear more formal, but without causing it to become boring. Arguably the most distinctive feature in the room is the organ. It is the center of the front wall and it demands attention, especially in the way light reflects from its pipes. Altogether, it was a really cool visit and I am glad we had the opportunity to spend some time exploring and observing the church.

Treasures from the Royal Tombs of Ur.

This article revolves around an art exhibition called “Treasures from the Royal Tombs of Ur” that traveled around the country several years ago, showing off incredible Mesopotamian artworks. I stumbled upon it while doing a little bit of research regarding the Great Lyre from the Kings Grave, which was featured in the art show. The article was very interesting because it exposed me to several other pieces of Mesopotamian art, such as the Silver Head of a Lion. This is an important work because the lion is a huge piece of Sumerian mythology. The show explores the many great accomplishments of the near east, including cuneiform and many other works of art. Hopefully someday I will have the opportunity to view these art works and learn about them more directly.

Stele of Hammurabi.

The Stele of Hammurabi is a work that lays out not only the punishments for wrongdoings, but also the rights and duties of Babylonian citizens during Hammurabi’s time. The stele, which is now on display in the Louvre is just over seven feet tall and is in the shape of an index finger. At the top of the Stele, Shamash, the god of justice sits as a symbol of power. Hammurabi is praying beside Shamash as he passes the laws on. This scene tells a great deal about the respect held for the gods and those they put into power. Other symbols of power, such as a measuring rod, are present to further illustrate Shamash’s importance and authority over Hammurabi and his constituents.

Beneath the scene of Hammurabi and Shamash, the code of Hammurabi is inscribed in Akkadian cuneiform. It begins with a promise from Hammurabi to bring a uniform justice to his people, then moves to punishments, which vary with wealth, class, and gender. This artifact amazes me not only because of the intricacy of the top of the stele, but also due to the great deal of cuneiform inscription and all that it has taught later civilizations. I cannot wrap my head around the process of creating a written language, let alone using it to write out an entire set of laws. This artifact has been instrumental in learning about the Babylonian culture, and I am very intrigued by its intricacy and meaning.

Collage.

Lately it seems like I am constantly busy and without a moment to rest, so when considering how to go about creating a collage like this, my first thought was to try to keep the chaos to a minimum. Unfortunately, just as in my day-to-day life, I was faced with a steady flow of disarray. On the bright side, this collage represents me very well. Music, art, all around pandemonium – it is all there. Each item on the collage directly relates to me in one way or another. Be it a life changing experience or an influential person, something about it strikes a chord in me. For example, Young Life and Missouri Scholars Academy have been instrumental in making me who I am today. Although this type of art has never been my forte, I enjoyed giving this challenge a shot.

• Decisions: I began with a broad take on the subject matter outlined in the assignment’s directions, then dug deeper into what they mean in my life to choose which items to include. Everything in my collage holds some personal meaning and applies directly to a part of my life.
• Color: My collage contains a lot of reds and yellows, representing my desire to live life to the full. Blues and greens are included to show my love of the outdoors, and darker colors represent struggle, both in my life and the world today, as well as transition.
• Light: Many of the light sources in my collage show hope or excitement. Darker components, on the other hand, do not necessarily represent despair. They often show transition and growth.
• Texture: I created texture and pattern in the collage by constructing several components, each revolving around a different larger image. This helps distinguish one element from another without being distracting.
• Volume: There are light and dark sections throughout the collage that balance out the collage to give it weight.
• Line: The collage revolves around its center. Many of the lines are horizontal, however the crutches, guitars, and other more angled components give the collage more line variety and guide the viewer to specific elements.
• Space: President Obama appears to be in front of the person in the chair. In addition, the cymbal at the bottom of the collage appears to be popping out of the American flag.
• Scale: The images of Jesus, Berklee, and the Young Life logo are larger than most others in the collage as they are some of the biggest things in my life as of late. Some elements are emphasized as sections rather than individual images in order to show their importance, such as music and my friends.
• Symbolism: The flashing lights and crutches symbolize not only my bouts with injuries, but also how broken our world is and the difficulties we all face. The image of a sunset over a lake symbolizes me waving goodbye to my hometown for good – my parents just moved across the country, so it will be a long time before I see Missouri lakes again. The little girl floating while brushing her teeth represents my “Peter Pan complex” and the way I want to stay young forever. The image of the man whose mouth is made of what appear to be magazine pages symbolizes the way so many Americans chase mindless gossip and ignore everything outside tabloids and movie screens.

Subject Matter

• Me: An image of Jesus is in the center of the collage because God is the center of my life. Everything else branches out from that. I am very involved in Young Life, which flows out to the right of the collage. Young Life also attaches to my family and friends because the people I have met through the organization are not only some of my best friends, but also my second family. Music is another huge part of my life, shown to the left. I included the Treetop Clothing, Reverend guitars, Curt Mangan strings, and GHS strings logos because I am endorsed by each of those companies. I included photos from shows and from my time with my band as well. Above music are images regarding Missouri Scholars Academy. MSA was one of the biggest events in my life and I would not be half the person I am today without that experience.
• Friends and family: Unfortunately, I do not have many photos of my family. However, the few I have do a great job of showing how hilarious my family is. Well, half of it anyway. There is guitar beside my dad because he gave me one just like it when I graduated from high school. More importantly, my dad is wearing a Green Bay Packers sweatshirt. That speaks for itself. My friends are shown all over the collage – friends from home, school, MSA, music, and Young Life.
• My town, community, school: I primarily included images showing my hometown of Joplin, Missouri. These are in the bottom right hand corner. In my community, most people are big Mizzou fans and hate KU, hence the Missouri basketball photo and photo making fun of Kansas basketball’s loss in the NCAA tournament. I also included images of running, Frisbee, and ping pong here because they are regular staples in my home life. In the upper left hand corner are images representing my school. There is a leaf over Belmont’s image because this fall is my final semester at Belmont. This coming spring, I am transferring to Berklee College of Music, located in Boston, MA, as shown by the flowering trees near the harbor and the Red Sox logo. I also included a guitar and images of myself at shows because I am going to Berklee to study guitar and work toward my goals in music.
• My country: There is an American flag, an image of Barack Obama, and the cover of Stephen Colbert’s book I am America (And so Can You) at the bottom of the collage. I included Colbert’s book because I think it is a brilliant satire of American culture.
• The world today: As a college student, I am very much in a bubble as far as the rest of the world is concerned. The image of flashing lights and the crutches beside it represent the craziness in today’s world. I may be ill informed in the midst of classes and the like, but it is easy to see how big a mess our world is. I think the lights look almost like a tornado, showing the wave of struggle we all face, be it economic or otherwise. The crutches represent us all trying to get/stay on our feet.
• Art: Art has always played a large role in my life. I included the sketch of the man shouting because I love what it stands for, and I have a great deal of respect for the young man who drew it. His art has been on display at a few shows I have played, and it has been interesting to see his work. I also included a Salvador Dali painting because he is one of my favorite painters and never ceases to intrigue me. The image of the dinosaur is included because it is a very creative advertisement for my friend’s clothing company, Juice!Threads. The photograph of Edward Norton standing in front of the words “I like myself” blows my mind. One of the biggest problems we have today is our inability to appreciate ourselves for who we are. The image of the man with magazine pages for a mouth represents the frivolity and shallow mindedness of people today. The image of the little girl floating represents my “Peter Pan complex.”
• History: My grandfather was a Pearl Harbor survivor. If not for that day, my life would be completely different. Obama is also included, as well as Missouri Scholars Academy. MSA is on a smaller scale than the rest, but its effects are enormous throughout the country whether we realize it or not.

Graffiti.

In this article, Sumathi Reddy discusses graffiti and those who wish not only to decriminalize the craft, but also to advance it as an art form. Reddy does not take a firm stance, citing those on either side of the issue. However, her tone suggests a level of support for the graffiti artists. Personally, I believe an agreement needs to be reached between the law and the artists. Vandalism is a serious issue, but art is extremely important to our society. There certainly must be a happy medium. This relates to the themes we have covered in class in that we as humans have an innate sense for the aesthetic and a true draw to art whether we realize it or not. Graffiti artists create in order to express themselves and what they believe, similarly to the other artists we have talked about. Graffiti can be just as great a cultural learning tool as all other material culture around us. It conveys issues, styles, and ideas just as all other artwork can. Unfortunately, the difference in “canvas” makes it more difficult to be appreciated by those who do not directly connect to such work at first glance, shedding further light on the cultural learning that can take place with the help of urban artwork.

Frederic Church's "The Parthenon"

Frederic Church’s depiction of the Parthenon, painted in 1871, reveals a great deal about the culture in which the painting was created. The skillful, traditional work and close attention to detail show a strong academic period in painting and demonstrate Church’s training. Further research explains that Church played a key role in the second generation of the Hudson River School. This work makes it clear that Church had not only respect for ancient Greece, but also a great connection to the society and the influence it has had on all those who followed.

The painting shows the Parthenon after it was damaged in an explosion. However, the rubble surrounding the Parthenon is in the shadows, demonstrating respect despite the misfortune of the past. In addition, the focus of the painting lies directly on the Parthenon, and the painting creates the feeling that the viewer is looking up at it from afar. There is a small person in the foreground of the photo. She is barely visible in the shadow of the massive Parthenon, showing the way humans are so often dwarfed by history. This painting is a celebration of humans’ innate aesthetic sense and ability to use our surroundings to create things and complete tasks.

Salvador Dali's "The Burning Giraffe"

I have always been a big fan of Salvador Dali's work. He is definitely on the strange side, but I love his fearless approach to art. The Burning Giraffe has been a favorite of mine since a series of conversations revolving around Dali with a teacher of mine in high school. We came to the conclusion that the blue haze throughout the painting makes it feel almost like a dream sequence showing the many weaknesses in society. For example, the crutches holding each of the figures up illustrate the instability of society. The figure in the foreground also seems to have lost it's face, has opened many empty drawers from its chest and leg, and appears to be reaching out to something, showing a loss of and yearning for identity. The burning giraffe in the background of the painting, which Dali considered to be a premonition of war, can be seen in a few of Dali's other paintings. Humans shown as drawers or crutches are also common threads in much of his work. I really enjoy the way each piece of the painting is emphasized in its own way without removing attention from the rest of the work. The painting is dark in color and rough in texture, evoking emotions of sadness and frustration. Despite the slight bend in its waist, the figure in the foreground creates a vertical axis that balances the painting well and allows each element to be emphasized. Although it is a bit on the depressing side, I really enjoy The Burning Giraffe and wish Dali were still alive so I could pick his brain about it.