A K S H AY P S A R AT H

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INTERIOR
DESIGN
AND
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ARTIFACTS
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ART OF EUROPE 2

PRE
HISTORIC
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ARTIFACTS .
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The art of Europe, or Western art, encompasses the history of visual art in Europe. European
prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and
was characteristic of the period between the Paleolithic and the Iron Age. Written histories of
European art often begin with the art of the Ancient Middle East and the Ancient Aegean
civilizations, dating from the 3rd millennium BC. Parallel with these significant cultures, art of
one form or another existed all over Europe, wherever there were people, leaving signs such as
carvings, decorated artifacts and huge standing stones. However a consistent pattern of artistic
development within Europe becomes clear only with the art of Ancient Greece, adopted and
transformed by Rome and carried; with the Roman Empire, across much of Europe, North Africa
and the Middle East.

The influence of the art of the Classical period waxed and waned throughout the next two
thousand years, seeming to slip into a distant memory in parts of the Medieval period, to re-
emerge in the Renaissance, suffer a period of what some early art historians viewed as
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"decay" during the Baroque period, to reappear in a refined form in Neo-Classicism and to be
reborn in Post-Modernism.
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ART OF EUROPE
Before the 1800s, the Christian church was a major influence upon European art,
the commissions of the Church, architectural, painterly and sculptural, providing the
major source of work for artists. The history of the Church was very much reflected
in the history of art, during this period. In the same period of time there was
renewed interest in heroes and heroines, tales of mythological gods and
goddesses, great wars, and bizarre creatures which were not connected to religion.
Most art of the last 200 years has been produced without reference to religion and
often with no particular ideology at all, but art has often been influenced by political
issues, whether reflecting the concerns of patrons or the artist.

European art is arranged into a number of stylistic periods, which, historically,

overlap each other as different styles flourished in different areas. Broadly the
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periods are, Classical, Byzantine, Medieval, Gothic, Renaissance, Baroque, Rococo,

Neoclassical, Modern, Postmodern and New European Painting.
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ART OF EUROPE
European prehistoric art is an important part of the European cultural heritage.[7] Prehistoric
art history is usually divided into four main periods: Stone Age, Neolithic, Bronze Age, and Iron
Age. Most of the remaining artifacts of this period are small sculptures and cave paintings.

Venus of Willendorf; c. 26,000 BC (the Gravettian period); limestone with ocre coloring;
Naturhistorisches Museum (Vienna, Austria)
Much surviving prehistoric art is small portable sculptures, with a small group of female
Venus figurines such as the Venus of Willendorf (24,000–22,000 BC) found across central
Europe;[ the 30 cm tall Löwenmensch figurine of about 30,000 BCE has hardly any pieces that
can be related to it. The Swimming Reindeer of about 11,000 BCE is one of the finest of a
number of Magdalenian carvings in bone or antler of animals in the art of the Upper
Paleolithic, though they are outnumbered by engraved pieces, which are sometimes classified
as sculpture. With the beginning of the Mesolithic in Europe figurative sculpture greatly
reduced,and remained a less common element in art than relief decoration of practical
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objects until the Roman period, despite some works such as the Gundestrup cauldron from
the European Iron Age and the Bronze Age Trundholm sun chariot.
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ART OF EUROPE
The Rock art of the Iberian Mediterranean Basin represents a very different style, with the
human figure the main focus, often seen in large groups, with battles, dancing and hunting all
represented, as well as other activities and details such as clothing. The figures are generally
rather sketchily depicted in thin paint, with the relationships between the groups of humans
and animals more carefully depicted than individual figures. Other less numerous groups of
rock art, many engraved rather than painted, show similar characteristics. The Iberian
examples are believed to date from a long period perhaps covering the Upper Paleolithic,
Mesolithic and early Neolithic.

Prehistoric Celtic art comes from much of Iron Age Europe and survives mainly in the form of
high-status metalwork skillfully decorated with complex, elegant and mostly abstract designs,
often using curving and spiral forms. There are human heads and some fully represented
animals, but full-length human figures at any size are so rare that their absence may represent
a religious taboo. As the Romans conquered Celtic territories, it almost entirely vanishes, but
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the style continued in limited use in the British Isles, and with the coming of Christianity
revived there in the Insular style of the Early Middle Ages.
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Lascaux
Lascaux (French: Grotte de Lascaux, "Lascaux Cave";
English: /læsˈkoʊ/, French: [lasko] is the setting of a
complex of caves near the village of Montignac, in the
department of Dordogne in southwestern France. Over 600
parietal wall paintings cover the interior walls and ceilings
of the cave. The paintings represent primarily large
animals, typical local and contemporary fauna that
correspond with the fossil record of the Upper Paleolithic
time. The drawings are the combined effort of many
generations, and with continued debate, the age of the
paintings is estimated at around 17,000 years (early
Magdalenian). Lascaux was inducted into the UNESCO
World Heritage Sites list in 1979, as an element of the
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Prehistoric Sites and Decorated Caves of the Vézère

Valley.
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Bison Licking Insect Bite

Bison Licking Insect Bite is a prehistoric carving from the

Upper Paleolithic, found at Abri de la Madeleine near
Tursac in Dordogne, France, the type-site of the
Magdalenian culture, which produced many fine small
carvings in antler or bone.

Created sometime between 20,000 and 12,000 BP (15,000 BP

according to the museum), it was formerly in the Musee des
Antiquites Nationales, St. Germain-en-Laye, but has been transferred
to the expanded National Museum of Prehistory in Les Eyzies-de-
Tayac-Sireuil that opened in 2004, not far from its findspot. It is a
carved and engraved fragment of a spear-thrower made of reindeer
antler. It depicts the figure of a bison, of the now extinct species
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steppe wisent (Bison priscus) with its head turned around and
showing its tongue extended. It is thought the spear-thrower was
broken into roughly its present shape before the carving was made
from the fragment, hence the need to show the turned-back head of
the animal in order to fit the existing structure.
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The Thinker
Hamangia culture from Romania; c. 5000 BC;
terracotta
height: 11.5 cm (4​1⁄2 in.);
National Museum of Romanian History (Bucharest)
The Hamangia culture attracted and attracts the attention of many
art historians because of its exceptional clay figures.
Pottery
Painted vessels with complex geometrical patterns based on spiral-
motifs are typical. The shapes include: bowls and cylindric glasses The Hamangia culture is a Late Neolithic
archaeological culture of Dobruja
(most with of them with arched walls). They are decorated with (Romania and Bulgaria) between the
dots, staight parallel lines and zig-zags, which make Hamangia Danube and the Black Sea and Muntenia in
the south. It is named after the site of Baia-
pottery very original. Hamangia, discovered in 1952 along
Golovița Lake.
Figurines
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Pottery figurines are normally extremely stylized and show standing

naked faceless women with emphasized breasts and buttocks. Two
figurines known as "The Thinker" and "The Sitting woman" are
considered masterpieces of Neolithic art.
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FEMALE FIGURE
Female figure;
by Vinča culture from Serbia; 4500-3500 BC;
fired clay with paint;
overall: 16.1 cm;
Cleveland Museum of Art (Ohio, US)

The Vinča culture, [ʋîːntʃa] also known as Turdaș culture or

Turdaș–Vinča culture, was a Neolithic archaeological culture
in southeastern Europe, in present-day Serbia, and smaller
parts of Bulgaria, Macedonia and Romania (particularly
Transylvania), dated to the period 5700–4500 BC or 5300–
4700/4500 BC.[1][2][3] Named for its type site, Vinča-Belo
Brdo, a large tell settlement discovered by Serbian
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archaeologist Miloje Vasić in 1908, it represents the material

remains of a prehistoric society mainly distinguished by its
settlement pattern and ritual behaviour.
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ART OF EUROPE 11

ANCIENT
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.
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MINOAN
The Minoan culture is regarded as the oldest civilization in Europe. The Minoan culture existed in Crete and consisted
of four periods: Prepalatial, Protopalatial, Neopalatial, and the Postpalatial period between 3650 BC and 1100 BC. Not
much of the art remained from the Prepalatial times, and most of artefacts still existing today are Cycladic statuettes
and pottery fragments. The most prosperous period of the Cretan civilization was Neopalatial period and most of the
artefacts are from this era. A large number of artefacts from the Protopalatial can be seen today in Cretan museums.
Pottery – most popular in the Protopalatial period (1900-1700 BC) – was characterized by thin walled vessels, subtle,
symmetrical shapes, elegant spouts, and decorations, and dynamic lines. Dark and light values were often contrasted
in Minoan pottery. The spontaneity and fluidity of the Protopalatial period later were transformed to a more stylized
form of art with dissociation of naturalism in the Neopalatial period.

The palaces served as organizational, commercial, artistic, worshipping, and agricultural centres in the Cretan
civilization. Cretan palaces were built without defensive walls and exhibited a central courtyard which was embraced
by a number of buildings. The central courtyard served as the main meeting place of the people. The palaces had
throne rooms, cult chambers, and theatres where people could gather at special events. Columns and staircases were
part of the artistic expression and it is believed that they served as metaphorical elements.
The Minoan palaces are richly painted with paintings. Minoan painting was unique in that it used wet fresco
techniques; it was characterized by small waists, fluidity, and vitality of the figures and was seasoned with elasticity,
spontaneity, vitality, and high-contrasting colours
.
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Not much of the sculpture survived from the Minoan civilization. The best known example of sculptures is the Snake
Goddess figurine. The sculpture depicts a goddess or a high priestess holding a snake in both hands, dressed in
traditional Minoan attire, cloth covering the whole body and leaving the breasts exposed. Exquisite metal work was
also a characteristic of the Minoan art. Minoan metal masters worked with imported gold and copper and mastered
techniques of wax casting, embossing, gilding, nielo, and granulation.
ART OF EUROPE ASADI 13

KAMARES WARE
Kamares ware beaked jug
1850-1675 BC
ceramic
height: 27 cm
from Phaistos (Crete, Greece)
Heraklion Archaeological Museum (Greece)
Kamares wares are a distinctive type of Minoan pottery produced in Crete during the Minoan period,
dating to MM IA (ca. 2100 BCE). By the LM IA period (ca. 1450), or the end of the First Palace Period,
these wares decline in distribution and "vitality".[1] They have traditionally been interpreted as a
prestige artifact, possibly used as an elite table-ware.
The designs of kamares ware are typically executed in white, red and blue on a black field. Typical
designs include abstract floral motifs.
Surviving examples include ridged cups, small, round spouted jars, and large storage jars (pithoi), on
which combinations of abstract curvilinear designs and stylized plant and marine motifs are painted
in white and tones of red, orange, and yellow on black grounds. At this time, this characteristic type of
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pottery was produced, with red, orange and white painted decoration on a dark background. The
Kamares style was often elaborate, with complex patterns on pottery of eggshell thinness. This small
drinking cup shows a simple version. Sets of cups and jugs have been found, and it has been
suggested that these may have been used in ritual, though Kamares pottery presumably also graced
the dining tables of the First Palaces.
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THE BEES PENDANT

The Bees Pendant,
an iconic Minoan jewel;
1700-1600 BC; gold;
width: 4.6 cm;
from Chrysolakkos (gold pit) complex at Malia;
Archaeological Museum of Heraklion[17]
Malia has got an important history that dates back to the Neolithic Age and its peak was during the Minoan Era. One of the
most important monuments of Minoan civilization is the palace of Malia in the Municipality of Chersonissos. 500 meters
northeast of the palace, at a location named Chrysolakkos necropolis the great protopalatial cemetery was excavated. It is a
burial site enclosed in a rectangular building with walls made of grey limestone. It is a funerary complex with rectangular
small spaces that served as graves. The excavations brought to light golden tributes to dead people and a concave altar
intended for funeral worship.
In one of these spaces, it was found the famous gold jewelry with bees, the Minoan Malia Bees. This Minoan jewel dates
back to 1800-1700 BC and is hosted at the Archaeological Museum of Heraklion. It is a masterpiece of Minoan art having
the shape of two bees that pour a drop of honey in the honeycomb. All the elements of the jewelry are arranged circularly
and the bees are facing each other joining at the same time their legs above the drop. The depiction of the bees is absolutely
perfect while the jewel as a whole seems to have a symbolism and a secret. If one reverses this bee pendant, he will see that
it depicts a bee that has a face and a characteristic hairstyle of that era.” It is a unique depiction of the bee as a goddess,
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which fertilizes the roses on the side” as archaeology professor, Nikos Stambolidis, explains.
During the Paleopalatial Period (2500 – 2000 BC), the cemetery zone was expanded towards the north side of the area near
the beach. The main ensemble that has been built is that of Chrysolakkos (place with gold) which owes its name to the gold
leaves and the precious objects discovered there by local villagers in the late 19th century while they were cultivating their
fields. This fact was the reason for the excavation of the whole area by gold miners. These random discoveries of gold and
jars prompted the archaeologist Joseph Hatzidakis in May 1915 to carry out the first excavations in the place of the palace.
The excavations continued in 1921 by the French Archaeological School where L. Renaudin began to unveil the necropolis of
Chrysolakkos and explore the seaside monuments.
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Bull-Leaping Fresco
Artist Unknown
Year 1450 BC
Type Fresco
Medium Stucco panel with scene in relief
Dimensions 78.2 cm × 104.5 cm (30.8 in
× 41.1 in)
Location Heraklion
Archaeological Museum, 
Heraklion, Crete
Owner
The Bull-Leaping Fresco, asHellenic
it has comeRepublic
to be called, is the most completely restored of several stucco panels originally sited on the upper-
story portion of the east wall of the palace at Knossos in Crete. Although they were frescos, they were painted on stucco relief scenes and
therefore are classified as plastic art. They were difficult to produce. The artist had to manage not only the altitude of the panel but also
the simultaneous molding and painting of fresh stucco. The panels, therefore, do not represent the formative stages of the technique. In
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Minoan chronology, their polychrome hues – white, pale red, dark red, blue, black – exclude them from the Early Minoan (EM) and early
Middle Minoan (MM) Periods. They are, in other words, instances of the "mature art" created no earlier than MM III. The flakes of the
destroyed panels fell to the ground from the upper story during the destruction of the palace, probably by earthquake, in Late Minoan (LM)
II. By that time the east stairwell, near which they fell, was disused, being partly ruinous.
The theme is a stock scene, one of a few depicting the handling of bulls. Arthur Evans, Keeper of the Ashmolean Museum, owner of the
palace and director of excavation, presents the topic in Chapter III of his monumental work on Knossos and Minoan Civilization, Palace of
Minos. There he calls the several frescos "The Taureador Frescos.“.
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SNAKE GODDESS
Snake goddess;
1460-1410 BC (from the Minoan Neo-
palatial Period)
faience;
height: 29.5 cm;
from the Temple Repository at Knossos;
Heraklion Archaeological Museum
"Snake goddess" is a type of figurine depicting a woman holding a snake in each hand, as
were found in Minoan archaeological sites in Crete. The first two of such figurines (both
incomplete) were found by the British archaeologist Arthur Evans and date to the neo-
palatial period of Minoan civilization, c. 1700–1450 BCE. It was Evans who called the
larger of his pair of figurines a "Snake Goddess", the smaller a "Snake Priestess"; since
then, it has been debated whether Evans was right, or whether both figurines depict
priestesses, or both depict the same deity or distinct deities.[1]
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The figurines were found only in house sanctuaries, where the figurine appears as "the
goddess of the household", and they are probably (according to Burkert) related to the
Paleolithic traditions regarding women and domesticity.[2] The figurines have also been
interpreted as showing a mistress of animals-type goddess and as a precursor to Athena
Parthenos, who is also associated with snakes.[1]
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VENUS OF WILLENDOR7F
Material Oolitic limestone
Created c. 28,000 BCE – 25,000
BCE
Discovered August 7, 1908, near 
Willendorf, by Josef
Szombathy
Present location Naturhistorisches
Museum, Vienna, 
Austria

The Venus of Willendorf is an 11.1-centimetre-tall (4.4 in) Venus figurine

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estimated to have been made 30,000 BCE. It was found on August 7,

1908, by a workman named Johann Veran[3] or Josef Veram] during
excavations conducted by archaeologists Josef Szombathy, Hugo
Obermaier, and Josef Bayer at a paleolithic site near Willendorf, a village
in Lower Austria near the town of Krems.It is carved from an oolitic
limestone that is not local to the area, and tinted with red ochre. The
figurine is now in the Naturhistorisches Museum in Vienna, Austria
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MASTER OF ANIMAL
Description Production date :1850BC-1550BC (circa)
Gold pendant showing a nature Production place
god - the "Master of Animals"; he Made in : AIGINA ,Crete ,Europe
holds two geese, and stands , ,Greece
among lotus flowers. Behind the
god are stylised bull's horns. The Europe: Greece: Attica (Greece): Aegina
pendant is made of sheet gold,
the decoration worked in relief, Materials : gold
and the whole backed with a
plain sheet of gold. Dimensions :
Cultures/periods :Minoan Height: 6 centimetres
Weight: 138 grains
Width: 6.30 centimetres
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OUR
PARTNERS
The only person for whom the house was in any way special was
Arthur Dent, and that was only because it happened to be the one
he lived in. He had lived in it for about three years, ever since he
had moved out of London because it made him nervous and
irritable. He was about thirty as well, dark haired and never quite at
ease with himself.
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Discuss

The XE10's chief engineer was

Nobuaki Katayama, while the chief
test driver and test engineer was
Hiromu.

Stars are created within galaxies from a reserve of cold gas that forms into
giant molecular clouds. Some galaxies have been observed to form stars
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at an exceptional rate, known as a starburst.

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ART OF EUROPE
The oldest European cave art dates back 40,800, and can be found in the El Castillo Cave in Spain.[12] Other
cave painting sites include Lascaux, Cave of Altamira, Grotte de Cussac, Pech Merle, Cave of Niaux, Chauvet
Cave, Font-de-Gaume, Creswell Crags, Nottinghamshire, England, (Cave etchings and bas-reliefs discovered in
2003), Coliboaia cave from Romania (considered the oldest cave painting in central Europe)[13] and Magura,[1]
Belogradchik, Bulgaria.[14] Rock painting was also performed on cliff faces, but fewer of those have survived
because of erosion. One well-known example is the rock paintings of Astuvansalmi in the Saimaa area of
Finland. When Marcelino Sanz de Sautuola first encountered the Magdalenian paintings of the Altamira cave,
Cantabria, Spain in 1879, the academics of the time considered them hoaxes. Recent reappraisals and
numerous additional discoveries have since demonstrated their authenticity, while at the same time stimulating
interest in the artistry of Upper Palaeolithic peoples. Cave paintings, undertaken with only the most rudimentary
tools, can also furnish valuable insight into the culture and beliefs of that era.

The Rock art of the Iberian Mediterranean Basin represents a very different style, with the human figure the main
focus, often seen in large groups, with battles, dancing and hunting all represented, as well as other activities
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and details such as clothing. The figures are generally rather sketchily depicted in thin paint, with the
relationships between the groups of humans and animals more carefully depicted than individual figures. Other
less numerous groups of rock art, many engraved rather than painted, show similar characteristics. The Iberian
examples are believed to date from a long period perhaps covering the Upper Paleolithic, Mesolithic and early
Neolithic.
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End

Stars are created within galaxies from a reserve of cold gas that forms into
giant molecular clouds. Some galaxies have been observed to form stars
at an exceptional rate, known as a starburst.
CLICK TO CONTINUE
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SHOWCASE

SLIDE

Header & Cover

Stars are created within galaxies from a reserve of cold gas

that forms into giant molecular clouds.

Digits

The house stood on a slight rise just on the edge of the

village. It stood on its own and looked over a broad spread of
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West Country farmland.

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CHARTS AND GRAPHICS

70 90 30 50
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DISCUSS PRODUCTION RESEARCH MEETING

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