Andrew Helsten by Andrew H

Paleolithic

hel24009 — 2025-01-19 00:54:03 UTC

Fairly accurate proportions for a human figure. Static - no movement/pose

Sumerian

hel24009 — 2025-01-19 01:00:06 UTC

Group of praying statues. Most are wearing the clothes of a soldier/warrior. Proportions are squat and exaggerated leg length

Babylonian

hel24009 — 2025-01-19 01:02:11 UTC

Scale of hierarchy implies that Hammurabi is on the same level as the Gods (though still smaller)

Assyrian

hel24009 — 2025-01-19 01:07:23 UTC

Representative of the Kings godly authority. Symmetry used as a sacred doorway

Old Kingdom, Egyptian

hel24009 — 2025-01-19 01:09:42 UTC

Hierarchy of scale. The registers and direction the characters face imply a story.

New Kingdom, Egyptian

hel24009 — 2025-01-19 01:13:31 UTC

The circle and bird above the main figure on his chariot could imply the blessings/power of their sun god being given to him.

Minoan

hel24009 — 2025-01-19 01:15:13 UTC

Mixing of profile & frontal perspectives. (Heads profile, torsos frontal)

Mycenaean

hel24009 — 2025-01-19 01:19:35 UTC

Very balanced. The Lions ascending a central pillar are very accurate to natural proportions

Archaic, Greek

hel24009 — 2025-01-19 01:49:22 UTC

Decorative geometry on majority. Depicted is most likely a funeral (central & hierarchy)

Classical, Greek

hel24009 — 2025-01-19 01:52:08 UTC

Idealistic proportions - Asymmetry of pose & head direction

Hellenistic, Greek

hel24009 — 2025-01-19 01:57:46 UTC

Dynamic pose - energy, angles, flowing lines no longer just an upright figure.

Etruscan Art

hel24009 — 2025-01-19 02:00:25 UTC

Hierarchy of Scale - Representational animals & humans purely in profile.

Republican, Roman

hel24009 — 2025-01-19 02:03:39 UTC

Hierarchy of Scale. Dynamic poses. Naturalist but idealisitc.

Early Imperial, Roman

hel24009 — 2025-01-19 02:18:54 UTC

Contrapposto. Propagandistic - large figure (emperor) bringing a peaceful gesture.

Late Imperial, Roman

hel24009 — 2025-01-19 02:24:11 UTC

Figures are in 3/4 or frontal perspective. Circular Architecture to draw focus and emphasize importance.

Early Christian

hel24009 — 2025-01-19 02:28:42 UTC

Near full 3d carvings (very deep). Writing along the top and top central stone. A little short proportionally.

Byzantine

hel24009 — 2025-01-19 02:56:26 UTC

Iconography of the Halo- Divinity and Kingship & Color and positioning Hierarchy.

Migration (Anglo-Saxon)

hel24009 — 2025-01-19 02:59:41 UTC

Negative space to accentuate the intricacy of the work. Use - Clothing Accessory (Brooch)

Carolingian

hel24009 — 2025-01-19 03:04:17 UTC

Impressionist - Emotional. flattened perspective

Romanesque (Mature)

hel24009 — 2025-01-19 03:07:15 UTC

Hierarchy of Scale - Iconography. Emphasis on arcs and circles.

Early French Gothic

hel24009 — 2025-01-19 03:11:35 UTC

Inlaid doorways. Circular architecture to signify divinity.

High French Gothic

hel24009 — 2025-01-19 03:15:06 UTC

Repitition of pose. Realistic, proportional. Contrapasto

Late French Gothic

hel24009 — 2025-01-19 03:18:22 UTC

Representational. No horizon. Decorated background, and outside of painting

German Gothic

hel24009 — 2025-01-19 03:20:21 UTC

Central Hierarchy. Contained figures on the sides. Iconography of halos

Italian Gothic

hel24009 — 2025-01-19 03:23:39 UTC

Hierarchy of scale. Iconography. Contained figures in sides.

Paleolithic

hel24009 — 2025-04-09 23:31:30 UTC

Differentiation of color meaning specific animals. Scale seems appropriate and adds depth. Simplistic and only outlined (painted in for detail) but perfectly captures the shape language of the animals.

Sumerian

hel24009 — 2025-04-09 23:37:59 UTC

Gold leaf covers specific parts of the Goat's body as well as the entirety of the tree. The Goat represents the god Tammuz and the flowers represent Inanna. Balancing a bowl between the horns and leaves could hold an offering. Most likely about fertility of both plants and animals.

Babylonian

hel24009 — 2025-04-09 23:47:25 UTC

Holding two 'rod and ring' symbols, symbolic of divinity and justice. She is standing on the backs of the lions, and her wings are pointed downward, potentially illustrating that she is the Goddess of the underworld.

Assyrian

hel24009 — 2025-04-09 23:54:27 UTC

A very shallow relief work, this depicts the power and strength of the king and his army. Profile poses and overlapping to imply multiplicity of people/chariots/horses.

Old Kingdom, Egyptian

hel24009 — 2025-04-09 23:58:47 UTC

Large complexes are built to support the construction of increasingly larger funerary step pyramids. Showing their early advancement of construction technique, they implemented the use of arches and columns much earlier than most other societies.

hel24009 — 2025-04-10 00:02:39 UTC

Interestingly, this statue is of the female pharaoh Hatshepsut. Being that kingship was a male role, she wears the regalia of a male king, including the false beard. She is also depicted physically as male. Typical proportions for Egyptian sculpture, squared knees, and undefined ankles.

hel24009 — 2025-04-10 00:22:40 UTC

This fresco shows the integration and importance of the river harbor for this city. It shows the comings and goings of many ships and people. It skews the city on the left to be a frontal view, but behind it it shows the surrounding river and mountains in broken perspective.

hel24009 — 2025-04-10 00:42:41 UTC

This intimate and tender moment counters the Mycenean themes of domination in warfare. It is debated whether this depicts 3 Goddesses, or a familial situation. High detail on the dress of the women, and similar jewelry and robes are worn by the child. A rare piece in which the figures are not static but appear to lean on eachother.

Archaic, Greek

hel24009 — 2025-04-10 01:07:13 UTC

The flat chests and small arms are contrasted by the thick legs and rounded hindquarters of both figures. The headwear points to this being a combat between figures. Was probably a votive figure.

Classical, Greek

hel24009 — 2025-04-10 01:11:06 UTC

Fully displaying the experimentation of dynamic posing and realistic modeling of the Classical Greek era. Depicting a mythical scene of centaurs and the God Apollo.

Hellenistic, Greek

hel24009 — 2025-04-10 01:16:23 UTC

Distinct horizon line and overlapping forms to create depth. Hierarchy of scale to signify the important characters of the battle. A few profile faces, but mostly appropriately 3/4 perspective.

hel24009 — 2025-04-10 01:20:00 UTC

The work on the face is reminiscent of the Oriental period of Greek sculpture, the proportions are well defined and muscle groups are defined, the drapery is not at the level of classical Greece and the hair is more reminiscent of Babylonian/Assyrian statues. The contrapposto pose however, was much more contemporary.

Republican, Roman

hel24009 — 2025-04-10 01:23:35 UTC

Mosaic work that was inspired by artwork of the contemporary Egyptians. This shows several buildings and life along the Nile in differing perspectives. Extreme amount of detail work within each section. the only profile work is for background characters and to imply depth. Slight use of atmospheric perspective.

Early Imperial, Roman

hel24009 — 2025-04-10 01:27:13 UTC

Interior wall decoration, gives the illusion of more space and looking outward to the scene. Foreground of architectural features and columns distinguishing different frames. Columns in the background go to a vanishing point.

Late Imperial, Rome

hel24009 — 2025-04-10 01:33:14 UTC

By this time in the Rome, they had not only mastered the construction of large works via use of the arch, but these had shifted from public works to vanity "triumphal" constructions as the state of the Empire lost the need for the support of the public from the days of the Republic.

Early Christian

hel24009 — 2025-04-10 01:36:39 UTC

Early Christian art becomes highly symbolic and becomes relational to numbers, specific features associated with specific individuals. The 4 figures between the circles represent the 4 Evangelists, being Matthew, Mark, Luke and John. The separation and telling of multiple stories on one façade becomes very popular.

Byzantine

hel24009 — 2025-04-10 01:42:01 UTC

Continuing the practice of separating reliefs in zones separated by depictions of architecture. Iconography of prayer pose, wielding Christ's power, simplification of depiction of cloth from origins as Roman empire.

Migration (Hiberno-Saxon)

hel24009 — 2025-04-10 02:41:14 UTC

Continuing from the early Christian artwork, they continue to frame and accentuate the borders and rely more on patterns and reduce their characters to more iconographic representations.

Carolingian

hel24009 — 2025-04-10 02:43:42 UTC

Emphasis on luxury and grandeur, made for nobles of the time. Frontal Christ on the cross. Accentuation of the borders and fringes.

Romanesque (Early)

hel24009 — 2025-04-10 02:46:23 UTC

Less depth than previous relief sculptures. No longer proportional. Heirarchy of scale. Use of registers for text. Use of arcs and circles to denote Christ.

Early French Gothic

hel24009 — 2025-04-10 02:47:05 UTC

The loss of concrete for the gothic era brought the reintroduction of aisles and needed a continued use of Greek Corinthian columns. However this did not prevent them from building tall using the strengths of arches and supporting curves. Prominent use of windows to bring in natural light. Pointed arches, and quadripartite vaulted ceilings denote its status as gothic.

High French Gothic

hel24009 — 2025-04-10 02:47:38 UTC

French Gothic Cathedrals have their basilica pushed toward one side, with the towers sitting on top of the parts aside the nave. The Notre Dame was quickly recognized as one of the top 3 most important buildings in Paris. Inlaid pointed archways toward the doors denote entering a holy place. Sculpture and relief sculpture are built to fill space.

Late French Gothic

hel24009 — 2025-04-10 02:48:05 UTC

Return to a classical approach to sculpture, proportion and gesture. Drapery to show form with lots of folds. Gold to denote purity and divinity. Stands upon a base depicting several bible stories within different cells with the distinct blue and gold of gothic artwork.

German Gothic

hel24009 — 2025-04-10 02:48:52 UTC

The quatrefoil in the center depicts a ruler, either God or Jesus looking upon the Crucifiction. The figures on the side are Mary and John. They are surrounded by an architectural frame and are in a raised akin to an altar's placement. There are also figures on the left and right side above jesus, in which it llooks like there are people with weapons.

Italian Gothic

hel24009 — 2025-04-10 02:50:17 UTC

Italy's gothic period maintained many classical elements, including a variable amount of depth in their reliefs. However they started depicting multiple stories in the same cell. The proportion is well done but unrelated from story to story. Pose of the largest figure is akin to Etruscan sarcophagus sculpture.

Aboriginal Australia

hel24009 — 2025-04-10 02:52:08 UTC

Similar to the early mid-east cultures, the first signs of art within the Aboriginal outback were paintings of animals, handprints, and abstracted human forms. This connection of art from tens of thousands of miles away is astounding.

Aboriginal Australia

hel24009 — 2025-04-10 02:54:49 UTC

Pictographs of what could be Gulingi - cloud and rain spirits. They are depicted somewhat humanlike. Exagerated eyes, and the inclusion of the shoulders is interesting.