Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

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Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro

Transcript of Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Page 1: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Egyptian Art Humanities

Ariel Ekblaw, Renate Roehl, Cassie Ferraro

Page 2: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

The Palette of Narmer

Page 3: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

The Palette of Narmer

• example of narrative art• depicts a war scene• large size of ruler shows his

importance

• connection to truth: unrealistic heights are an artist’s perception of importance

Page 4: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Temple of Imhotep

Page 5: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Temple of Imhotep

• designed by the high preist Imhotep for King Djoser

• made from a series of mastabas stacked on top of each other

• connection to truth: the Sumerians believed the higher their temples were, the closer they were to the sun god, the god they worshipped

Page 6: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Assyrian Archers Pursuing Enemies

Page 7: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Assyrian Archers pursing Enemies

• example of narrative art• depicts Assyrians driving away their

enemies • not shown to proper scale

• connection to truth: the Assyrians wanted to show the warriors escaping to the castle which is depicted as the largest image in the stele

Page 8: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

The Seated Scribe

Page 9: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

The Seated Scribe

• shows movement towards naturalism• natural depiction indicates the scribe

is of a lower class• about one foot and a half in height

• connction to truth: people of the lower class are depicted as they truly are, but the upper class is portrated idealistically, artist’s perception

Page 10: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Sumerian Funerary Figurines

Page 11: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Sumerian Funerary Figurines

• Small hands, large eyes• Funerary figurines, laid in temple• One foot in height

• connection to truth: eyes opened widely suggest that these people have just seen their god and are in awe, their religion is their truth

Page 12: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Hatshepsut

Page 13: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Hatshepsut

• The woman Pharoah• Typically depicted as a man• Key player in progression of art –

commissioned many artists to build, paint, etc.

• Connection to truth: even today, some researchers cannot determine whether Hatshepsut was a man or a woman due to her many depictions

Page 14: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Akheneton

Page 15: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Akheneton

• Started the amarna art movement• Created his own cult to the sun god that

he worshipped• Moved the center of egypt to a different

place during the amarma movement

• Connection to truth: his religion died out soon after he did. Was it really truth if it died out?

Page 16: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Akheneton and his family

Page 17: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Akheneton and his family

• Married to nefertiti• Had three daughters• Sun god re depicted as the sun

• Connection to truth: For akheneton, his family was the ultimate gift

Page 18: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Senmut with Princess Nefrua

Page 19: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Senmut with princess mefrua

• Senmut was princess nefrua’s tutor• Daughter of hatshepsut• Depicted in stone to be immortal• Home for the ka

• Connection to truth: egyptians believed that rigidity was a symbol of immortality

Page 20: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Temple Aegina

Page 21: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Temple of Aegina

• Features a freize showing warriors in battle

• Symmertic

• Connection to truth: Greeks believed in perfect balance and symmetry, so the temple was designed as such

Page 22: Egyptian Art Humanities Ariel Ekblaw, Renate Roehl, Cassie Ferraro.

Warrior from East Pediment

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Warrior from east pediment

• Shows off archaic smile• Warrior stabbed and dying• Old version, replaced by next slide

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Reconstructed Warrior from East Pediment

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Reconstruced dying warrior

• Absence of archaic smile• Movement towards classical period• Depicted naturally• Concentrated on his suffering

• Connection to truth: classical period is more towards naturalism rather than idealistic depictions

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La Fin!