Quiz 3

Question 1

Answer 1

Aphrodite of Knidos

Praxiteles

Late Classical Greek

350 BC

One of the few representations of a female nude in Greek art. She bares the neutral expression of high classical greek art (viewer impression). The covering of her pubis represents the gender inequalities in Greek culture (female obedience).

Question 2

Answer 2

Maussolleion

Halikarnassos

Late Classical Greek

360-350 BC

Question 3

Answer 3

So-Called Mausolus

Mausolleion at Halikarnassos

Late Classical Greek

360-350 BC

Portrait displays great specificity compared to the generic portraits of old men on the Parthenon frieze. It is possible that this specificity came from Greek artists working for non-Greek patrons (freedom from taboo and restrictions).

Question 4

Answer 4

Tomb of Persephone: Rape of Persephone

Vergina

Late Classical Greek

350 BC

Macedonian’s buried their people in great mounds with stuff. The tomb displays the abduction and rape or Persephone possibly equating the person to Persephone (rebirth). Compared to the black figure vases, painters are interested in volume and shading (what you see).

Question 5

Answer 5

Alexander Mosaic

Pompeii

Hellenistic

310-100 BC

Capture of the psychologcal intensity of the confrontation between the two kings. Darius has lost control (his charioteer drives him to safety). The barbarians are feminized, Alexander the Great is in control.

Question 6

Answer 6

Great Altar of Zeus

Pergamon

Hellenistic

166-156 BC

Features the gigantomachy frieze (battle between gods and giants). Movement and great detail in hair, feathers and scales. The expressions of the giants are like those of early classical (severe).

Question 7

Answer 7

Aphrodite of Melos

Melos

Hellenistic

150 BC

Features the deliverate avoidance of expression and emotion of the high classical style, but also features the eroticism of the Hellenistic period (slipping garment). Mix and matching of styles.

Question 8

Answer 8

Fibula

Regolini-Galassi Tomb, Cervetiri

Etruscan

650-640 BC

Orientalizing jewelry features lions of Near Eastern motifs. The italic clasp would have been used to fasten a woman’s gown at the shoulder.

Question 9

Answer 9

Temple of Minerva

Veii

Etruscan

600 BC

Etruscan temples closly resembled Greek temples, but had no pediment and was frontal facing with columns. They also featured roof statues and decorations.

Question 10

Answer 10

Apollo of Veii

Temple of Minerva, Veii

Etruscan

510-500 BC

The statue was made of taracotta and had supporting elements between the legs. The fabric and smile is similar to the archaic style.

Question 11

Answer 11

Tomb of Hunting and Fishing

Tarquinia

Etruscan

530-520 BC

The main wall painting represents nature and has a great emphasis on landscape. Compare to the Egyptian wall paintings and the Theran spring fresco.

Question 12

Answer 12

Banqueting Couple

Tomb of Hunting and Fishing, Tarquinia

Etruscan

530-520 BC

The upper wall painting depicts a party. Cultural similarities and differences between the Etruscans and the Greeks. Women have a public role.

Question 13

Answer 13

Tomb of the Leopards

Tarquinia

Etruscan

480-470 BC

Features banqueting couples (white & tan skin) celebrating the joys of life instead of somber contemplation of death. The figures are similar to that of Greek vases before the Archaic period.

Question 14

Answer 14

Tomb of the Augurs

Tarquinia

Etruscan

530 BC

Question 15

Answer 15

Phersu and Gladiatorial Combat

Tomb of the Augurs, Tarquinia

Etruscan

530 BC

Depicts the bloody, violent customs of funerary cames (possible influence for gladiator battles). Figures resemble Greek vases during the early archaic period with stiffness.

Question 16

Answer 16

Tomb of the Reliefs

Cervetiri

Etruscan

300 BC

Accomodated several generations of a family. The tomb is like the home with domestic context. The three headed dog, Cerberus is a reference to the passage from this life to the next.

Question 17

Answer 17

Sarcophogas with Reclining Couple

Cervetiri

Etruscan

520 BC

Life-size taracotta sarcophogas of a couple. The image of a wife and husband sharing the same couch is uniquely Etruscan. Artist focused on upper half of the bodies and facial expression (archaic).

Question 18

Answer 18

Capitoline She-Wolf

Rome

Etruscan

500-480 BC

Lean, hungry, savage wolf with a lion like mane. Captures phsycic intensity. The mother of Rome who nutured Romulus and Reemus. Not a Roman sculpture.

Question 19

Answer 19

Statue of Aulus Metellus

Roman Republican

100 BC

Not the nude, youthful, idealized body of Greek sculpture. He is engaged in oratory, addressing the public. Mature with wrinkles, but still young.

Question 20

Answer 20

Veristic Head of a Roman Partician

Otricoli

Roman Republican

75-50 BC

Artist focused on the effects of age and service and deliberatly exagerated the old age qualities. Realistic and defining qualities. These portraits were used in a variety of contexts (public, private).

Question 21

Answer 21

Portrait of Roman General

Tivoli

Roman Republican

75-50 BC

Veristic head on an idealistic body. Mix and match of Roman Republic with Classical Greek style.

Question 22

Answer 22

Portrait of the Roman General Pompey

Rome

Roman Republican

50 BC

This portrait is identifiable. Pompey was deliberatly quoting Alexander the Great with the locks of flowing hair.

Question 23

Answer 23

Temple of Portunus

Rome

Roman Republican

75 BC

Ionic Greek style but Etruscan structure (single front, columned porch).

Question 24

Answer 24

Sanctuary of Fortuna Primagenia
Palestrina
Roman Republican
200 BC

Roman concrete covered with a nicer material. Concrete allowed architecture to move past post and lental structure (vaulted chambers and terraces).

Question 25

Answer 25

Sanctuary of Fortuna Primagenia Palestrina Roman Republican 200 BC Roman concrete covered with a nicer material. Concrete allowed architecture to move past post and lental structure (vaulted chambers and terraces).

Question 26

Answer 26

Plan and Section of a normative Pompeiian house Pompeii Roman Identify: Atrium (waiting area), Tablinum (guest recieving area), Peristyle (garden), Triclinia (dining rooms) Who goes where?

Question 27

Answer 27

House of the Silver Wedding: Atrium Pompeii Roman 79 BC The guest waiting area of the house which had a roof partially open to the sky to let in light and collect rain water. Guests could see into the back of the house where all the luxury is displayed.

Question 28

Answer 28

House of the Vettii: Garden Peristyle Pompeii Roman 79 BC The garden often featured fountains and statues of famous poets and other figures. The peristyle provides a second source of light as well as a place for summertime meals.

Question 29

Answer 29

Samnite House First Style Painting Herculaneum Roman 200 BC Sqaures and rectangles of stucco painted to immitate different types of marble. Make your home appear rich and cultured with marble from all over the world.

Question 30

Answer 30

Villa of Publius Fannius Synistor Second Style Painting Boscoreale Roman 50-40 BC Walls are painted with a cityscape. Artist gives the illusion of space and depth with color and linear perspective.

Question 31

Answer 31

Villa of the Mysteries Second Style Painting Pompeii Roman 60-50 BC Illusion of three-dimensional world on the wall. Initiation rites of the Dionysiac mysteries. The collumns are behind the figures putting them in your space.

Question 32

Answer 32

Villa of Livia Second Style Painting Primaporta Roman 30-20 BC Depiction of nature and landscape, somewhat like the spring fresco. Illustion of three-dimensional world with atmospheric perspective.

Question 33

Answer 33

Villa of Agrippa Postumus Third Style Painting Boscotrecase Roman 10 BC Delicate fantisies on monochromatic backgrounds. Landscape that distances you rather than drawing you in. Reinforcing the presence of walls.

Question 34

Answer 34

Golden House of Nero Fourth Style Painting Rome Roman 64-68 BC Kinship with Third Style (emphasis of wall) and monochromatic backgrounds. But featurse irrational fantasies in framed paintings.

Question 35

Answer 35

House of the Vetti: Ixion Room Late Fourth Style Pompeii Roman 62-79 BC Synopsis of all four styles in a crowded and confused competition. Featuring framed scenes of the first and third style and the illusion of the second style.

Question 36

Answer 36

Statue of Augustus Primaporta Roman 20 BC Shown as successful, youthful and beardless. Addresses the crowd much like the statue of Aulus (Roman magistrate). His armor depicts the retrival of the eagles (restoration). Augustus had physical defomaties that weren't addressed in sculpture. His bare feet are a symbol of divinity (baby = venus).

Question 37

Answer 37

Forum of Augustus Rome Roman 2 BC Returning Rome to its origins and moral values (does something different) Greek practices and references, corinthian order, pediment and caryatids.

Question 38

Answer 38

Temple of Mars Ultor Forum of Augustus Rome Roman 2 BC Returning Rome to its origins and moral values (does something different) Greek practices and references, corinthian order, pediment and caryatids.

Question 39

Answer 39

Togate Statue of Augustus as Pontifex Maximus Rome Roman 20 BC Old fashioned toga symbolized virtue and preisthood. The drapery is depicted in high classical style. With the guise of a priest he avoids divinity issues.

Question 40

Answer 40

Portrait of Livia (Wife of Augustus) Arsinoe, Egypt Roman Early 1st Century AD Not a Roman veristic portrait, but draws from high classical greek style. Idealized and lack of age and expression.

Question 41

Answer 41

Ara Pacis Augustae (Altar of Augustan Peace) Rome Roman 13-9 BC Shows historical events and real people (members of imperical family) (women and children!) Ercourages the traditional Roman elite and children. Celebrates Augustus's acheivment of peace.

Question 42

Answer 42

Horologium of Augustus Rome Roman Giant sundial built during the reign of Augustus shorty after Julian Ceasar's calendar reform. Integrated with the Altar of Peace.