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Artist (Unknown) (ca. 2254-2218 B.C.E.). Pink Limestone, 79 in x 41 in. Akkadian Musée de Louvre, Paris, France

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This stele is one of the oldest stele columns made for Naram-Sin, and ancestor to one of the great Akkadian king’s, Sargon. The stele commemorates the victory of the mountainous Lullibi people. This was a unique way to display the composition with the focal point at the top and the details going downwards. Naram-sin is portrayed ethereally at the top almost twice the size of all other human figures. His horn-like hat signifies that he is god-like in some way. On the left are his fellow soldiers looking up to him and on the right side are plenty of wounded dying souls representing the Lullibi people. There is a unity shown by his own soldiers and chaos inflicted on the right.

What was the artist’s purpose in creating this stele?

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Artist (unknown) (ca. 2600-2500 B.C.E.). Limestone, 71 in x 51 in. Musée de Louvre, Paris, France

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This limestone column is a victory stele of King Eannatum of Lagash. The origin of the stele is from modern Tello of Iraq. The stele shows the victory of King Eannatum and the greatness of his people. There are multiple panels present but I will focus on the 1st, “historical” panel of Sumerian soldiers in a war phalanx design defeating the Umma soldiers. They are trampling the bodies of their enemies following the end of the battle. King Eannatum leaves them. One of the major symbols is the vultures carrying defeated Umma soldiers in their beaks. The other panels on the historical also display images of soldiers and a priest ritual. Additionally, on the opposite side of the stele, are images of divinity or mythological nature from the Sumerian time period.

Why did the artist include flying vultures in this stele?

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Artist (unknown) (ca. 721-705 B.C.E.). Gypseous Alabaster, 4.2 m x 4.4 m. Musée de Louvre, Paris, France

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This large sculpture depicts a human-headed, winged bull known as a lamassu or shedu. The origin of the lamassu is from King Sargon II’s reign during the neo-Assyrian period. The sculpture is very detailed with many features. The lamassu has a large god-like crown adorned with flowers as well as a massive braided beard. The face is broad with thick eyebrows and a strong nose. He has pointed ears with golden hoops with long rows of locks coming behind the ear. The whole body has fur that Is partially curled and braided. An interesting feature is the large cloven feet seen as both standing from the front and walking from the side.

How would you feel standing in front of this lamassu?

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Artist (unknown) (ca. 510 B.C.E.). Clay and Slip, Dimensions (unknown). Toledo Museum of Art, Ohio, United States

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This attic black figure painted amphora depicts one of the trials of Hercules.  It shows Hercules set out on one of his adventures for a whole year. The story goes that the deer needed to rest on a mountain called Artemisias and then crossed a stream when Hercules shot her. He then catches the deer and drags her back to Mycenae. The deer was special since it had golden horns and hooves of bronze.

In what way do the Greek Gods influence this painting?

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Artist (unknown) (1310-20 C.E.). Paint and Plaster (fresco), Dimensions (unknown). Church of the Holy Savior of Chora Museum, Istanbul

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This image depicts a crucial religious scene of the resurrection of Adam and Eve. They are both grasping to Jesus’ hands arising from their respective tombs. Jesus Christ is front and center with bright clothing and looking angelic. Their position indicates they are almost begging to be helped by Jesus. Christ is trampling over Satan and the locks and keys of hell. The figures are floating in some spiritual space with no shadows. Most of the figures are adorned with drapery clothing of various colors. Many of the other figures are just watching Jesus’ holy actions.

Where is your eye drawn to?

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Artist (unknown) (ca. 490-480 B.C.E.). Limestone, 28.8 m x 13.7 m (temple size). Glyptothek Museum, Munich, Germany

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East & West Pediments from the Temple of Aphaia

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East & West Pediments from the Temple of Aphaia

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These pediments from the temple of Aphaia demonstrate different artistic styles in themselves through the period since they were made at separate times. The pediments are designed in similar ways in between a narrowing triangular pattern containing action sequences from the Trojan and a powerfully standing Athena. A prominent figure in both sides is a wounded soldier. The west pediment displays him with one leg over the other and his shoulder in an awkward position holding the spear from his chest. This soldier has an archaic smile has less naturalism and feelings. The soldier on the east side made 10 years later has a more classical style with realistic body features clutching the the floor and his shield struggling to stay up.

Why are the different structures of the wounded men from the East and West side relevant?

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Artist (unknown) (ca. 540 C.E.). Clay and Slip, 104 in x 144 in. San Vitale, Ravenna

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This mosaic depicts Empress Theodora as the central figure adorned with a gold drape around her brown clothing and a jeweled crown on her head. She is surrounded by six priest like figures, one being more prominent holding the cross. To the left are four soldiers with a shield and spears who are decorated in many colors. The figures have an ethereal nature and are potentially floating in a heavenly or spiritual realm. Both royalty and the church are shown as the central power forces in this mosaic.

How does the formation of figures make you feel?

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Artist (unknown) (ca. 300 C.E.). Paint and Bricks, Dimensions (unknown). Dura-Europos Synagogue, Syria

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This painting is found in the Synagogue at Dura-Europos, which was one of the earliest elaborately painted Jewish place of worship. In times prior, there had been rules against depicting certain scenes from religious text. This piece depicts Moses and another man at the forefront in bright white clothes with dark skin. They are leading a large group of soldiers who have shields and spears, They are very unified with their feet and heads all parallel. Throughout the painting are mainly white, black, and dark red colors.

How impactful would scenes from religious texts be to the viewers at the time?

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Salvador Dalí (1951). Oil on Canvas, 80.7 in x 45.7 in. Kelvingrove Art Gallery and Museum of Glasgow

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This is one of Salvador Dalí’s most notable paintings and depicts a form of Jesus Christ on the cross. It definitely defies the traditional format that usually reflects the biblical story since there or no nails or blood. Dalí was influenced to make it this way by a dream of these specific features. Also included are a dark blue sea and glowing blue sky in a far depth below the crucifixion. There is a boat with passengers in the sea as well and clouds above the sky. Towards the top of the painting is darkness and only lies a muscular Christ looking downwards. There must be a light source coming from above since there is an obvious shadow of his arm on the cross.

How does this depiction of Christ differ from the norm?

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Michelangelo (1536-1541). Paint and Lime Plaster (fresco), 13.7 m x 12 m. Sistine Chapel, Vatican City

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This fresco is one of the most famous religious painting and it covers the whole alter wall of the Sistine Chapel. It depicts the second coming of Jesus Christ as well as the final judgement of Gods on humanity. There are figures of the dead rising from the left and falling down to hell from the right. Most of the figures were originally shown as nude, but draperies of various colors were added later on. The background is primarily blue since the setting is in the sky with clouds. The colors of orange, green, an yellow are also present in the nature below as well as the clothing of the people.

How does looking at this make you feel about religion?