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The writings of Johann Joachim Winckelmann, especially his books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between ancient Greek, Etruscan, and Roman art, and define periods within Greek art, tracing a ...
The Greek word for the family or household, oikos, is also the name for the house. Houses followed several different types. It is probable that many of the earliest houses were simple structures of two rooms, with an open porch or pronaos, above which rose a low pitched gable or pediment. [8]
The frescoes in Akrotiri are especially important for the study of Minoan art because they are much better preserved than those that were already known from Knossos and other sites on Crete, which have nearly all survived only in small fragments, usually fallen to the ground.
The most impressive discovery is an expansive fresco that depicts the Greek legend Helen of Troy, painted on the high walls of a large banqueting hall that was thought to be owned by a high-status ...
Buried and unseen for nearly 2,000 years, a series of striking paintings showing Helen of Troy and other Greek heroes has been uncovered in the ruined Roman town of Pompeii.
The composition of the Delos mosaics and pavements include simple pebble constructions, chip-pavement made of white marble, ceramic fragments, and pieces of tesserae. [2] [6] [13] The latter falls into two categories: the simpler, tessellated opus tessellatum using large pieces of tesserae, on average eight by eight millimeters, [14] and the finer opus vermiculatum using pieces of tesserae ...
The fresco griffins from the "Throne Room" wear plumed crowns comparable to the "Priest-King", and if his crown in fact come from another figure, that would be a possibility. In the view of Nanno Marinatos , in Minoan art "the plumed crown" is only worn by deities, griffins and the queen, who is, by definition, also the chief priestess.
A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.