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Art history flashcards midterm 1

Conner Ardito

Created on October 5, 2025

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Megaloceros Gallery cave paintings

  • Chauvet Cave, France, 30,000 BCE
  • The chauvet cave is full of art of animals and humans, keeping them in perspective
  • Animals and scenes were used as figurative art in order to depict what is happening
  • Different parts of the cave were used to shape the paintings to add perspective
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Woman of Willendorf

  • Austria, 24,000–22,000 BCE. Oolitic limestone, height 4⅜ in. (11.1 cm). Naturhistorisches Museum, Vienna (not local limestone)
  • Shows the ideal body of a women at the time, seemingly full of food and child birthing
  • Could fit in your hand, was likely used as some kind of charm
  • Face is textured, could symbolize that the face is not important
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Stonehenge

  • Salisbury Plain, southern England, 2900–1500 BCE
  • Made in different phases: Phase 1; 3000 BCE, circular ditch. Phase 2; 2500 horseshoe and bluestone ring. Phase 3; 2000 outer circle of sarsen stones
  • Material came from very far, transported on wood
  • Likely used as a callender
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Plan of stonehenge

  • Salisbury Plain, southern England, 2900–1500 BCE
  • Mortise and tenon joints were carved into the stones to securely fit the lintels onto the uprights.
  • Stones were partially lifted and then pulled upright from a pit using ropes attached to counterweights or other heavy stones.
  • Scaffolding: Wooden scaffolding was likely used to elevte the lintel stones.
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Temple of Anu (White Temple) at Uruk

  • Warka, Iraq), c. 3300 BCE. Reconstruction proposal, 2012. Whitewashed temple, with niches, approximate area 57½ × 73 ft. (17.53 × 22.25 m).
  • Anu was the king of gods and the god of sky, this was used for worship
  • Ziggurat–a stepped pyramid or tower-like structure in a Mesopotamian temple complex
  • Writing and symbolism all over
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Uruk Vase

  • carved with low relief representations in registers, c. 3200 BCE. Alabaster, height 41⅜ in. (105.1 cm). Iraq Museum, Baghdad.
  • One of the earliest examples of a pictorial narrative (storytelling in pictures, sequence of events)
  • Found in a storeroom of the Temple Precinct of Inanna in Uruk. Inanna: Goddess of love, fertility, and war
  • Iconography (the visual images or symbols used by artists within their work to convey specific meaning) of Inanna: reed (grain?) posts
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Votive figures from the Temple of Abu

  • Eshnunna (Tell Asmar, Iraq), 2750–2600 BCE. Gypsum, limestone, and alabaster with eyes inlaid with shell, black limestone, and lapis lazuli, largest figure height 29⅞ in. (75.9 cm). The Oriental Institute Museum, University of Chicago.
  • Simplified body forms (e.g. conical body shapes, cylindrical legs, horizontally (or vertically) patterned beard)
  • Likely used for display and worship
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Royal Standard of Ur

  • From Tomb 779, Royal Tombs of Ur (Tell el-Muqayyar, Iraq), Early Dynastic IIIA period, 2550–2400 BCE. Wood inlaid with shell, lapis lazuli, red limestone, and bitumen, 7⅞ in. × 18½ in. (20 × 47 cm). British Museum, London.
  • Materials: lapis lazuli (Afghanistan), red limestone (india), shell (Persian Gulf) obtained from long distance trade
  • Shows social hierarcy with size, and also the peace and war of the society
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Stele of Naram-Sin

  • found in Susa, Iran, Akkadian period, 2254–2218 BCE. Limestone, height 6 ft. 6¾ in. (2 m). Musée du Louvre, Paris.
  • Representation of a powerful king, Naram-sin (r. 2254-2218 BCE), “King of the Four Corners of the Universe”
  • Victory over the Lullubi mountain people
  • Naramsin wearing double-horned crown signifies his divine status (a living god-king)
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Narmer Palette (both sides).

  • Excavated at the sacred enclosure of Horus, Hierakonpolis, Egypt, end of Dynasty 0, c. 3000 BCE. Graywacke, length 25¼ in. (64.1 cm). Egyptian Museum, Cairo.
  • Horus (falcon) signifies kingship, protection, and the sky.
  • Hathor (human face with horns): protector of a king
  • Papyrus representing the Lower Egypt
  • Narmer wearing the white crown of Upper Egypt
  • Narmer was the king who unified the Upper and Lower Egypt for the first time.
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The Great Pyramid of Khufu

  • Giza, Egypt. Schematic drawing of the pyramid and its subsidiary tombs. Old Kingdom, Fourth Dynasty, 2589–2566 BCE.
  • Burial complexes of three Fourth Dynasty rulers—Khufu, Khafre, and Menkaure
  • Complexes include valley temples, mortuary temples, smaller pyramids and mastabas, and causeways
  • Khufu’s pyramid was originally covered with limestone quarried and transported by human labor from 15 miles away
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Khafre as the enthroned king

  • Old Kingdom, Fourth Dynasty, 2558–2532 BCE. Anorthosite gneiss, height 5 ft. 6⅛ in. (1.68 m). Egyptian Museum, Cairo.
  • a ceremonial pleated kilt and the linen head cover and false beard reserved for royalty
  • Stiff posture with images of papyrus and lotus on the side
  • Elevated to represent status
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Colossal Hatshepsut statue

  • from upper court of mortuary temple, Deir-el-Bahri, 18th Dyn (c. 1473-1458 BCE), Granite, H. 261.5 cm (102 15/16 in.); W. 80 cm (31 1/2 in.); D. 137 cm (53 15/16 in.), The MET
  • Hatshepsut used a dual strategy: she minimized femininity in official kingly images but allowed subtle signs of female identity in some contexts.
  • This shows negotiation between tradition (male pharaoh) and innovation (female ruler).
  • kneeling instead of sitting, used for offerings in temple
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Priest-king bust

  • found at Mohenjo Daro (Sindh province, Pakistan), Indus period, c. 2600– 1900 bce. Steatite, height 7 in. (17.8 cm). National Museum of Pakistan, Karachi
  • Trefoil garment, Headdress and armband, minimal Facial expression, Stylized beard, hair, and ears, Inlaid shell and pigments
  • Material: steatite
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Female figurine

  • found at Mohenjo Daro (Sindh province, Pakistan), Indus period, c. 2600–1900 bce. Bronze, height 4 in. (10.2 cm). National Museum, New Delhi.
  • Skinny woman figure, with braclets on both arms alongside a necklace and notable hair
  • In a provacative position, likely meaning something related to how women were seen in this culutre.
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Mohenjo Daro

  • (Sindh province, Pakistan), Indus period, c. 2600-1900 BCE
  • Grid system (north-south axis)
  • Mud-brick foundation
  • mud /baked clay (terracotta)
  • Two stories
  • Public sewage system (separate toilets, the Great Bath)
  • Centralized authority
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Plan of Lady Hao (Fu Hao)’s tomb

  • c. 1200 BCE, Shang Dynasty
  • Yin (today’s Anyang, Henan)
  • Dated to 1200 BCE
  • Lady Hao was a consort of King Wu Ding (c. 1250-1192 BCE)
  • Excavation of Yin, 1928-1937
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Fang ding with taotie design

  • from the tomb of Fu Hao, Anyang, Henan, China, Shang Dynasty, c. 1200 BCE or slightly earlier. Bronze, height 16 ⅝ in. (42.2cm). Institute of Archaeology, Beijing
  • 450 bronze vessels; jade and ivory objects => Lady Hao’s social status
  • Taotie as a protective motif or a symbol of royal authority
  • Used in ancestor worship and divination rituals
  • The material of bronze
  • Copper (80%), tin and lead (15%), and other impurities
  • Piece-mold casting process
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Standing Figure

  • from Pit 2, Sanxingdui, c. 1300-c.1100 BCE. Bronze, height 8ft. 7in (2.62m), Sanxingdui Museum, Guanghan, Sichuan province, China.
  • Life sized statue, likely used for offering or worship
  • Made in a similar way to the Fang Ding, Piece Mold Casting (most likely)
  • Could have simillar offering use to the collosal Hatshepsut statue
  • Motif: Tao-tie (“monster mask”)
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The Xing Hou Gui (vessel

  • dedicated to the Duke of Zhou, early to middle Western Zhou Dynasty, c. 1050-771 BCE. Bronze, 7 ½ x 15 ¾ in. (19 x 40 x 40cm). British Museum, London
  • Bronzes in the Zhou : Inscriptions on vessels; Pictorial motif vs. the written record
  • May Di, the High Ancestor, not end the mandate for the existence of the Zhou. We honor our deceased ancestors… Using a record of the king decree we made this vessel for the Duke of Zhou
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Tomb complex of the First Emperor of Qin

  • (plan drawing), c. 210 BCE
  • Ying Zheng (259-210 BCE) united China for the first time. ),Unification campaigns, 230-221 BCE, A new title: shihuangdi (“original sovereign emperor”), Centralized government instead of feudalism, Capital: Chang’an (today’s Xi’an)
  • Begun in 237 and left unfinished in 210, under the supervision of Li Si, First discovered in 1974 (pit no. 1); tomb proper remains unopened., Continuities and innovations, Use of mingqi
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Archer from infantry pit

  • (no.1), Tomb complex of the First Emperor of Qin, c. 210 BCE, Qin Dynasty, earthenware.
  • Mingqi: replicas, surrogates or substitutes that were made in some inexpensive medium and placed inside tombs
  • Pit 1: soldiers and chariots; Pit 2 : calvary and archery unit (soldiers with horses); Pit 3: command headquarter; Pit 4: incomplete
  • There to defend first emperor in death
  • Ying Zheng (259-210 BCE) united China for the first time. )Y
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Marble statue of a kouros (youth

  • ca. 590–580 BCE, Greek, Attica, marble, 76 5/8 × 20 5/16 × 24 7/8 in. (194.6 × 51.6 × 63.2 cm), the MET
  • Rigid posture with little sense of movement, Representation of an idealized body, The beauty of youth, His body is depicted in a less naturalistic and more stylized way. (e.g. simplified anatomy )
  • Polychromy”: the practice of decorating sculptures, architecture, or other artistic works with multiple colors.
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Peplos Kore Akropolis

  • Athens, c. 530 BCE. Marble with traces of original paint, height 47 in. (120 cm). Akropolis Museum, Athens.
  • Votive offerings buried on the Akropolis, Archaic style, Goddess Artemis with a bow and arrow? Polychromy
  • Peplos: a name of a garment, but later analysis shows it actually wore many garments
  • Idealized images of youth, beauty, and piety
  • Might be cult statues attached to temples, funerary sculptures, or votive offerings
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Polykleitos of Argos, Spear Bearer

  • Roman marble copy of a Greek bronze of c. 450–440 BCE, height 6 ft. 7⅝ in. (2.02 m). Museo Archaeologico Nazionale, Naples, Italy.
  • Main idea: A proportional system of mathematical ratios designed to represent the human body in perfect harmony and balance.
  • Contrapposto stance; naturalistic yet idealized anatomy; calm, balanced expression.
  • Embodiment of Classical ideals of harmony, proportion, and the ideal male citizen; turning point from Archaic rigidity to Classical naturalism.
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Parthenon (Temple of Athena Parthenos),

  • Iktinos and Kallikrates Akropolis, Athens, 447–432 BCE.
  • Acropolis (high city)
  • Devoted to the goddess Athena
  • The oath was broken by Pericles.
  • No true vertical or horizontal lines in entire building. Entasis of columns-swelling. Columns lean inward slightly. Stylobate curves up in center
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Decorative Program of the Parthenon

  • Akropolis, Athens, 447–432 BCE.
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Battle of Lapiths and Centaurs

  • South Metope, Parthenon, Akropolis, Athens, 447–432 BCE.
  • Metopes: Battle of Greek and Amazons, Battle of Lapiths and Centaurs, Sack of Troy, Battle of Gods and Giants
  • Scene of mythical war that was part of greek mythology
  • likely used to document their believed history in the temple
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Three Goddesses

  • Hestia, Dione, and Aphrodite(?), East Pediment, Parthenon, Akropolis, Athens, 447–432 BCE.
  • Composition made in response to the challenging architectural space
  • Classical Greek sculpture and its stylistic characteristics
  • Idealized proportion, naturalistic anatomy, a sense of movement, and flowy draperies revealing their bodies
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Olympians and Peplos scene from Parthenon

  • Temple of Athena Parthenos, East frieze, , Akropolis, Athens, 447–432 BCE.
  • Processional use of architecture
  • Located 40 ft above the ground and originally brightly painted
  • Higher parts are sculpted in higher relief to accommodate viewers located below (not constant depth)
  • frieze: a broad horizontal band of sculpted or painted decoration, especially on a wall near the ceiling.
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Aphrodite of Knidos

  • Roman copy after a marble statue by Praxiteles, from present-day Turkey, c. 350 BCE. Marble, height 6 ft. 9 in. (2.06 m). Musei Vaticani, Rome.
  • Innovative nude depiction of Aphrodite
  • Aphrodite is preparing to bathe, a human activity => Humanized deity
  • It blends sacred and sensual => goddess as divine and human
  • Naturalistic contrapposto stance—right hip pushes out, creating an S-shape
  • Hellenism: the spread and influence of Greek culture
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The Dying Gaul

  • Roman copy of bronze original by Epigonos from Pergamon (Turkey), c. 220 BCE, Capitoline Museums, Rome
  • Rather than glorifying the victorious king, the sculpture captures tragic moment of the enemy.
  • Foreign warrior
  • “Great Altar of Pergamon”(now lost)
  • Art of empathy: Eliciting emotions
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