Abstract
Ancient Greek art, architecture, and sculpture have fascinated spectators ever since their discovery. However, while the uninformed viewer might perceive of ancient Greek art, architecture, and sculpture as forming a single period in art history, marked by different styles, art historians have divided it into distinct periods. The paper looks at each of these periods: the Geometric, the Orientalizing, the Archaic, and the Classical, which are explained in terms of how differing philosophical beliefs, historical event,s and cultural developments impacted art, creating different and distinct styles. In specific reference to sculptures, the paper shows that the different styles characterizing each period express different artistic aims as regards to representation of the human body.

From the Paper
"In direct contrast to this archaic statue is a classical one on the east pediment of the same temple. It is calculated that only about a decade separates these two works but, artistically speaking, ages separate them in terms of development of style and form. In this statue, also of a dying warrior, the figure "reacts to his wound as would a flesh-and-blood human. He knows that death is inevitable, but he still struggles to rise once again. And he does not look out at the spectator. He is concerned with his pain, not with us" (Tansey and Kleiner 139). This is definitely a much more realistic picture of a man who is dying from a painful wound."

Tags:kouroi, naturalism, realism, Kritios, Boy

Abstract
Works of art of the Egyptians and Greeks in the Hellenic era. Shared characteristics of the two ancient societies. Describes Egyptian statue of "Ranofer," a limestone sculpture of a standing male. Compares it to the Greek "Kouros," a life-sized marble figure of a male youth. Human orientation of Greek art.

From the Paper
"Comparison of Two Sculptures

The ancient Egyptians and the Greeks of the Hellenic era shared several important characteristics. Among them were a complex system of gods, each requiring his or her own ritual worship, and a love of the monumental in terms of architecture and selected art forms. As Laurie S. Adams (p. 73) has commented, both groups followed certain canons and conventions in sculpture, leading to creations that were life-sized or larger, monumental and powerful, and firmly rooted within the guiding sociocultural ethos in which they were produced. This report will compare two works of art. The first is an Egyptian statute of Ranofer, a limestone sculpture of a standing male produced in about 2750-2625, B.C. (Gardner, p. 54). The second sculpture to be discussed is known as Kouros, a life-sized figure of a male ..."

Abstract
This paper examines the legends and historical revolution, and characteristics of the Sphinx, ancient Egypt's protector from outsiders. The author discusses how the creature defined Egyptian civilization, how it would terrorize outsiders with her famous riddle, and how she was revered by Egypt as a sacred figure.

From the Paper
"When we think of Egyptian art we immediately think of the monumental pyramids and inscrutable sphinxes, Shaw-Eagle 1999. Ancient Egypt has fascinated outsiders ever since Herodotus, the fifth- century-BC Greek historian, visited a civilization already thousands of years old. And the artistic splendors that captivated him -- the Great Pyramids, Sphinx and statues of the Old Kingdom , 2650 to 2150 BC -- still define Egyptian civilization in the Western mind. A monument for the Sphinx is found at Tanis in the form of the Large Sphinx. Made from pink granite it depicts the Pharaoh with a lion's body. Sphinx in Greek showed a sort of monster, and in Egypt they represented the protection for the passages in religious buildings."

Tags:giza, greek, egypt, ancient, oedipus, riddle, lion, pharaoh, tanis, old, kingdom

From the Paper
"Donatello's bronze David (c. 1430) and Michelangelo's marble David (1504) are, nominally, treatments of the same subject. Yet -- considering the fact that both drew on the same iconographic tradition, were made within seventy-five years of each other, were created in Florence and credited with political meanings, and were important landmarks in the influence of classical art on the Renaissance -- it would be difficult to imagine two sculptures that were more different. A comparison of these two works will demonstrate how the sculptors made iconographic choices suited to the functions of their statues and how each man took a different approach to the integration of the antique into his style."

Abstract
This paper examines how a society's ideals are reflected in its sculpture, through the example of comparing Egyptian, Greek and Roman Sculpture. The author describes the characteristics of these societies as seen through their art and that their sculptures are a reflection on the perspective on the same world.

From the Paper
"Different cultures see the world in different ways. Religion, society, and even politics, shape our views, and give form to our human environment. Architecture, music, literature, dress all are visible manifestations of a people's values. This is no less true in the realm of sculpture. A religious people will create works of art that express its most deeply held spiritual beliefs; a cerebral people, sculptures that capture humankind's highest ideals, while the politically minded turn out statues and busts that represent their world's movers and shakers. Styles can range from the formal and the symbolic, to the ideal and the real. Each serves its cultural purpose. As all peoples have done, the Egyptians, the Greeks, and the Romans produced sculptures that testify to the beliefs of their respective societies."

Tags:egyot, greece, rome, italy, culture, cultures, society, religion, human, environemnt, architecture, music, literature, dress, religious, people, spiritual

Abstract
The paper shows how beginning around the early 15th century, the Italian Renaissance (1420-1600) was a culmination of Italy's "rebirth" within their culture which included artistic focus and style. The writer of the paper examines two of the most influential sculptors of their Renaissance times - Donatello, and Michelangelo. He shows how both sculptors were commissioned to create their interpretation of the Biblical David. While the two share some similarities, both pieces are strikingly different from the medium in which they were sculpted to the artist's use of realism. The paper discusses the Renaissance period as a background to these works of art.

From the Paper
"Michelangelo's David also follows the Renaissance style of increased realism, humanism and return to Greco-Roman traditions. His sculpture came during the time period labeled "High Renaissance," which was the later period of the Renaissance. Michelangelo was given a thirteen and a half foot block of marble to sculpt David out of, which interestingly had been hacked on by another artist already! In essence, the block was used a remnant of sorts. (Bloem) From this enormous block of marble came one of the most famous and breathtaking sculptures of all time. David, unlike Donatello's interpretation, is seen before the fight with Goliath. His body is poised, ready for the fight. The anatomical detail is superb on this sculpture. As the Renaissance went from the Early period to the High period, the artists paid even more attention to detail in anatomy, which is reflected by Michelangelo's David."

Tags:Pioch, Hedonism, Italy, Domenicao, Ghirlandaio, Lorenzo, Ghiberti, Filippo, Brunelleschi, Greco-Roman, Goliath

Abstract
This paper examines the Christian art of the first five centuries C.E., which is potentially a source of a great deal of data and information about Christianity during the period in question. The author explains that the origins and development of early Christian art are indebted to a number of factors. These factors are comprised of certain styles associated with certain regions and practices, converts to Christianity adopting pagan practices, and to more than purely aesthetic functions such as pedagogical uses. The paper concludes that early Christian art did not spring into existence without roots. Rather it can be seen as an undisrupted continuous seam going back to ancient religions and practices.

From the Paper
"Textual evidence seems to suggest that certain theologians did indeed go against the production of cultic art objects for the practice of idolatry while perhaps understanding the difference between that and the functional uses of art whether it was decorative, symbolic or didactic. Christians probably understood that smaller objects did not have much significance. So when larger objects did come on to the scene it was not of a great shock since they were not seen as objects of worship and "therefore presented no danger of idolatry." Some scholars believe that many of the Christian converts that came from a polytheistic background abandoned their old practices since they would recognize it was incompatible with their new faith."

Tags:antiquity, theologian, affiliation, landscape, Alexandria, nimbus, Rabbinic, catacomb, motif

Abstract
This paper presents a detailed discussion about the four representations of the Pieta. The writer of this paper uses words to describe the artistic differences in the representations. The writer works to not only uncover the obvious structural differences but to ascertain what the differences in their meanings may be as well.

From the Paper
"Michelangelo has always been viewed as one of the most talented artists in history. His works have sustained the test of time and today are still accepted as some of the most telling and touching pieces of art that patrons have available to them. One of his most famous works is the Pieta. The Pieta has four renowned versions of its portrayal and each one has similarities as well as differences to the other three. As the different styles and pieces are examined it is easy to see why Michelangelo has held his place as one of the most tortured yet talented artists of all time."

Tags:art, italy, michelangelo

From the Paper
"Greek and Roman art and architecture were both innovative and distinguished by features which can be compared and contrasted. In both cultures the major trends in art and architecture were set in their respective archaic periods. However, the comparison and contrasting of both are best restrained to the more mature periods of each society.
Classical Greek art begins around the Fifth Century B.C. During this time the Greeks had consolidated their military victories by ousting the Persian invaders, reduced civil unrest by removing the old kingships and replacing them with oligarchies and democracies, and limited the mercantilism of the Greek poli or city.states (Greer 66-69). In terms of art and architecture, however, it should be remembered that Greek art was largely commissioned by the demos of relatively small cities (...)"

Abstract
This paper traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.

From the Paper
"Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."

Tags:ashurnasirpal, shapur, standard, ur