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Cave of Altamira and Paleolithic Cave Art of Northern Spain

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Vibrant colors are used on the body. The shape of the animal is naturalistic, and has shading and contrast for detail.

Due to the minimal amount of background we have on prehistoric images, my assumption is that this painting was to log the type of animals they hunted.

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Female Head, from Warka, Iraq, c. 3,500-3,000 BC

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The sculpture is more naturalistic. There is a lot of contour on the face to create depth. The expression is neutral.

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The poses are frigid and more abstract. There is emphasis on the hand actions, and the head positions help draw the eye to focal point. Very decorated.

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Lion Hunt, Relief from Nineveh, c. 640 BC

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Naturalistic animal. There is great attention to detail with contouring and line.

In Assyria, lion hunting was a royal sport.

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The people and animals are all abstract. The lines separate pieces of the story, also known as columns. There are many triangles and circles used in this piece. The hierarchy of scale emphasizes who is most important.

This palette was for royal makeup! How fun.

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Block Statue of Senmut with Princess Nefrua, c. 1,470-1,460 BC

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The face of the sculpture looks peaceful and natural. There are many lines and inscriptions below.

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Harbor/Flotilla fresco, Frescoes from Akrotiri, Thera (Santorini), c. 1700-1500 BC

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A mix of vibrant warm and cool colors are used together. There are many abstract squares and circles used.

Minoans used frescos to decorate. They displayed images of rituals, festivals, sports, and regular activties.

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Funeral Mask (“Mask of Agamemnon”), from Grave Circle A, Mycenae, c. 1550-1500 BC

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Gold material, with great attention to detail on the face. The face is not natural, and very narrow. The ears stick out but help create symmetry.

Placed on buriels.

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There are contrasting black and white colors. The statue looks realistic. The braids fall down, as well as the movement of the cloth.

This is obviously archaic because of the hairstyle; chunky braids. The archaic smile is also depicted; a small slight smile. The eyes are almond shaped.

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The statue has great natural detail. The center crunches, and the limbs elongate.

This depicted the Olympic sport Discus.

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Athena Group, from the east side of the Great Frieze, Great Altar of Zeus, Pergamon, c. 175-150 BC

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The human bodies are exaggerated and elongated. There is detail in their muscles, hair, and cloth. Their wings all point outwards.

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Apollo, from the Portonaccio Temple, Veii, c. 500 BC

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The face is less realistic. There are many circular shapes, which make the sculpture less sharp and detailed.

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Patrician carrying two portrait heads, 1st century AD

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The two heads being held are looking to the left, while the man is looking to the right. They look natural and contemplative. The cloak drags down the body.

Bodies are sculpted more realistic than idealistic. Buttresses are made to celebrate ancestors.

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Augustus from Primaporta, c. AD 20 (original c. 15 BC)

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The main statue is a massive man, with heavy and powerful armor. The smaller person helps the statue appear massive. Visual pace is created with the smaller persons attention being drawn up the clothes, to the face, and the face to the finger pointing up. Use of Controposto.

This is a political piece. Augustus made this to assert his power.

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His eyebrows point inwards, to convey concern. The lines impressed create emotion and age.

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This piece is covered in cool colors, with a contrasted bright circle behind the head. The gaze of the man is looking off, and the background waves create movement.

Frescos maintain color well and are often used as interior decorations.

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A work in progress: Middle Byzantine mosaics in Hagia Sophia

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There are contrasting warm and cool tones. The bodies appear abstract. The circles help emphasize the faces.

Art becomes more religious at this time. The "two" fingers held up represent Christs identity as a deity and human.

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Purse Cover, Sutton Hoo Ship Burial, 625-33

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This piece displays symmetry and balance of colors and shapes. The colors are very royal; gold, red, white.

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Depicting Judaism in a medieval Christian ivory

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The abstract bodies are rounded and soft. The faces have little expression and all subjects are close in proximity to each other.

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Wiligelmus, Façade Sculpture, Cathedral, Modena, Italy, c. 1110

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There is repetition above with the pillars that help the eye move through each statue. Each statue varies in position to build unity and variety.

Often archangels are depicted, as well as Matthew, Mark, Luke, and John.

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Abbey Church of St. Denis, near Paris, 1140-44Suger, On the Abbey Church of St. Denis (Excerpt readings)

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Unity is found in the repetition of the windows. Variety can be found throughout the colors and different intricate stories played in the stained glass.

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Cathedral, Chartres, France, rebuilt c. 1145-1220

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Symmetry is used in this piece. There are a lot of vibrant and saturated colors. They help the piece be lively.

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Abraham and the Three Angels, from the Psalter of St. Louis, 1253-1270

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The vibrant green center is contrasted by warmer, darker colors. The piece is bordered. The bodies are not naturalistic.

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Death of the Virgin, tympanum, Strausbourg Cathedral, France, c. 1230

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There is great detail on the faces and cloth. The lines help create movement. The piece is bordered by an ellipses.

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Posthumous Portrait of Dante Alighieri, by Sandro Botticelli, 1495

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The subject has a side profile, with a natural blank expression. He is wearing bright vibrant red.