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
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 analyzes the various aspects of lighting, form, movement, texture, and volumetric in this formal analysis of the "Apostle" and "Madonna and Child". The paper discusses how by understanding the means in which limestone makes such detail possible in sculpture, the highly detailed relief of the chisel work reflects a divinity of lighting and movement for these religious icons. The paper looks at how the textural application of these sculptures identifies them as decorative embellishments for greater architectural form.

Tags:medieval, sculpture, mary

Abstract
This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.

From the Paper
"As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."

Tags:materials, proportions, gothis, marble

Abstract
The paper closely examines the "Column Figure of a Nimbed King" and describes how this statue represents an Old Testament king. The paper shows how the column figure is reflective of the emerging Gothic style and of the philosophical attitudes of that period of time.

From the Paper
"Art represents the era in which it was produced and often speaks to later time periods as well, and how we view the art of the past shows some of what we think about ourselves and about the meaning we attribute to both past and present. When we view a work like Column Figure of a Nimbed King, a sculpture from around the period 1150-1170, we measure the people of that time on the basis of what this one sculptor has produced, considering how the work reflects attitudes and aesthetics from the time as well as how it speaks to us and says something to us about our ancestors."

Tags:Saint-Denis, architecture, decorations

Abstract
This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch's "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.

From the Paper
"In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court's authority. There was a reciprocal relationship between the art and the audience. "

Tags:photographs, buildings, paintings, sculptures, other, items, greatly, enhances, story

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
The Parthenon (447-32 BCE) was a crowning glory of Athenian civilization of the classical era and, what is more important, it was intended as such at the time. Thus, nearly 2,500 years later, it is possible to view the building as incorporating all of what the Athenians saw as beautiful, sacred and of civic importance in architecture. The paper shows that as its overwhelming position and the nature of its sculptural decoration make clear, it was the focal point of the religious-civic identity of the Athenian polis. The paper describes how the Parthenon housed the great statue of Athena Parthenos, was the main building in the complex of temples dedicated to the gods on the sacred rock of the Acropolis, depicted some version of the most important Athenian religious ceremony (the Panathenaic procession and festival) and loomed over the city as a reminder and a promise of Athenian greatness.

From the Paper
"But there was also a contradiction in being expected to achieve the perfection of the Doric order on a much larger scale, for which adjustments had to be made to the greater number of columns. As Boardman points out, however, the wider facades lent the building a "reassuring breadth which is enhanced by the way its proportions then seem to match those" of the Acropolis on which it stands (112). But this breadth might have been oppressive in its effects if the architects had not devised a means of avoiding too great a visual equivalence between the rock and the temple. Their solution was a very subtle curvature of the stylobate, and the rest of the floor, which is also reflected in the entablature. This also affects the columns which "lean slightly in while the upperworks [that they support] lean slightly out" (Boardman 112). This gives the entire facade a "pyramiding movement" to which all the external lines contribute; ever so subtly, therefore, the columns' inward inclination lends itself to a slight triangular effect that is enhanced by the surmounting pyramid of the pediment (Martin 292)."

Tags:Piraeus, Phidias, Iktinos, Kallikrates

Abstract
This paper discusses how during the Romanesque period of the eleventh and twelfth centuries, the tympanum became the most popular site for sculpture. It looks at how nearly all of Romanesque sculpture is intimately tied into architectural structures because images in the round were shunned by the church, perhaps as being too representational and bordering on idolatry. The paper also examines how the most popular theme for tympanum sculptures during this era was The Last Judgement as well as other scenes from the "New Testament" book of "Revelations".

From the Paper
"One of the earliest and most famous depictions of the Last Judgement in Romanesque art is found in Moissac at the Church of St. Pierre . Here, Christ is surrounded by the four symbols of the Evangelists (Matthew, Mark, Luke, and John as an Angel, a Lion, an Ox, and an Eagle), two angels with scrolls, as well as twenty-four elders (who appear during the apocalypse representing the 12 tribes of Israel and the 12 Apostles and are often shown with harps or other instruments). The theme of the twenty-four elders comes from Revelations 4:4 which states "And round about the throne were four and twenty seats: and upon the seats I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold. " The theme of the four Evangelists comes from Revelations 4:6&7 which state "And before the throne there was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. "

Tags:church, idolatry, last, judgement

Abstract
This paper discusses Maya sculptures and other artwork from the period AD 300-800. It discusses the stylistic elements of Maya art that are found in different cities throughout Guatemala. The paper then looks at the many similarities and differences apparent in the architecture and the sculptures of Maya art. The paper concludes that by seeing the Maya cities in person is truly the only way to appreciate the beauty and minute intricacies of Maya sculptures, architecture and paintings.

From the Paper
"Peter D. Harrison's book The Lords of Tikal and Carolyn E. Tate's Yaxchilan both provide marked differences between the architecture and sculptures of Tikal and Yaxchilan. In Tate's book, she provides many visual structures I was able to see and enjoy, whereas, Harrison provided more information on the artwork. Because of these differences, I found Harrison's book on Tikal much more useful and the information more organized for use in my research for this paper, than Tate's book on Yaxchilan. I believe that by seeing the Maya cities in person is truly the only way to appreciate the beauty and minute intricacies of Maya sculptures, architecture, and paintings."

Tags:motif, design, style