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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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.
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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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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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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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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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CLASSIC
GREEK
AND
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HELLENISTIC
.
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ANCIENT GREEK ART

Ancient Greece had great painters, great sculptors, and great architects. The Parthenon is
an example of their architecture that has lasted to modern days. Greek marble sculpture is
often described as the highest form of Classical art. Painting on the pottery of Ancient
Greece and ceramics gives a particularly informative glimpse into the way society in Ancient
Greece functioned. Black-figure vase painting and Red-figure vase painting gives many
surviving examples of what Greek painting was. Some famous Greek painters on wooden
panels who are mentioned in texts are Apelles, Zeuxis and Parrhasius, however no
examples of Ancient Greek panel painting survive, only written descriptions by their
contemporaries or by later Romans. Zeuxis lived in 5–6 BC and was said to be the first to
use sfumato. According to Pliny the Elder, the realism of his paintings was such that birds
tried to eat the painted grapes. Apelles is described as the greatest painter of Antiquity for
perfect technique in drawing, brilliant color and modeling.
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Euphiletos Painter
The Euphiletos Painter Panathenaic prize amphora
DATED :530 BC
MATERIAL :painted terracotta;
Height : 62.2 cm;
Metropolitan Museum of Art (New York City)

The amphora was made by the Euphiletos Painter in 530 BC near the end of the Archaic Period of Greece. It
was discovered in Attica. Made out of terracotta, the amphora has a height of 24.5 inches (62.2 cm). On
one side of the vase there is a depiction of a foot race, or stadion, and on the other side of the vase is a
depiction of Athena Promachos.[1] Many Panathenaic amphorae featured Athena in this pose and the event
for which the vase was a prize for on the other side. Athena, brandishing a spear in one hand and a shield in
the other, stands in between two pillars that have roosters sitting atop them. Alongside the left pillar is an
inscription in Greek. This Attic amphora is painted in the black figure style, typical of all Panathenaic
amphorae.[2] Stemming from Proto-Corinthian roots, black-figure style includes incised details with
silhouetted figures on a glossy vase. The silhouetted figures are the men in the stadion who are nude,
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bearded, and muscular. Running nude was part of the stadion, known as the gymnikos agon or nude
struggle.[3] Their musculature is highlighted through the use of incision creating white lines against the
black figures. Each of the seven men have their right leg extended forward in a long stride. The vase itself is
mostly black with the silhouetted figures placed within the reddish brown spaces. Surrounding the rim of
the vase's neck is a painted black chain, which, above and below it, has a repeating design. Its black handles
stem from the neck of the vase to the top of the body.
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THE ARTEMISION BRONZE

The Artemision Bronze;
DATED :460-450 BC;
MATERIAL :bronze;
Height : 2.1 m;
National Archaeological Museum (Athens)
The Artemision Bronze (often called the God from the Sea) is an ancient Greek sculpture
that was recovered from the sea off Cape Artemision, in northern Euboea. It represents
either Zeus or Poseidon, is slightly over lifesize at 209 cm, and would have held either a
thunderbolt, if Zeus, or a trident if Poseidon. However, the iconography of Ancient Greek
pottery portrays Poseidon wielding the trident, when in combat, in more of a stabbing
motion (similar to a fencing stance or an 'advance-lunge'); Zeus is depicted fighting with
his arm raised, holding the lightning bolt overhead, in the same position as the
Artemision Bronze (see 'Poseidon and the Giant Polybotes' an Attic Red Figure Stamnos
attributed to the Trolios Painter, as well as 'Zeus hurling his lightning at Typhon' ca. 550
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BC which is a black-figured Chalcidian hydria). The empty eye-sockets were originally

inset, probably with bone, as well as the eyebrows (with silver), the lips, and the nipples
(with copper). The sculptor is unknown. The Poseidon/Zeus is a highlight of the
collections in the National Archaeological Museum of Athens.
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Mirror
Mirror with a support in the form of a draped woman
DATED :mid-5th century BC;
MATERIAL :bronze;
Height : 40.41 cm;
Metropolitan Museum of Art

The ancient Greeks used mirrors that were held in the hand
or stood independently. This free-standing example of a
well established type consists of a base, a supporting
figure, and the mirror disk embellished with additional
figures around its periphery. The woman, who is probably
mortal, wears a woolen garment, a peplos. Above her fly
two personifications of love, erotes; originally hounds and
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hares would have coursed around the disk and a sphinx or

siren would have perched on top. The variety of
component parts are integrated into a whole that is both
balanced and dynamic.
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CALYX-KRATER
Calyx-krater;
DATED :400-375 BC;
MATERIAL :ceramic;
Height : 27.9 cm,
diameter: 28.6 cm;
Thebes (Greece); Louvre
Warfare depicted in Greek art was often not representative of actual ancient warfare, but rather depictions of epic
and mythological scenes.This depiction style became common in the 6th century, possibly reflecting the political
and social turmoil Greece was beginning to experience, and the desire to triumph over barbarians.In the 5th
century, with the adoption of the novel red-figure vase painting technique, amazonomachies changed slightly,
beginning to shift from depicting just the defeated to illustrating a real threat.
This calyx-krater was made in the Classical Period of ancient Greece ca. 460-450 BCE.It is a red figure vase made
of terracotta and attributed to the painter of the Berlin Hydria.The vase is from the region of Attika and is 21.9375
in (55.8) cm high and 22.9375 in (58.3) cm in diameter.The figures and poses seen are representative of the time
in which it was made, evoking a sense of pathos and showing motion. The complexity and overlapping of items
and figures evokes a dramatic representation of battle.
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From left to right there is a Greek soldier holding a raised spear and poised to strike. The next figure is a falling
Amazon who is half hidden behind her shield. In the center there is a mounted Amazon sitting calmly on her
horse. Beside her is a crouched Amazon who appears to be striking something behind the horse. To the right of
that Amazon is another Greek soldier leaning away with an ax raised above his head. On the far right is an
Amazon with an ax raised above her head apparently preparing to strike a Greek soldier around the side of the
vase
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THE GRAVE RELIEF OF THRASEAS AND

EUANDRIA
DATE :375-350 BC
MATERIALS :Pentelic marble
Height : 160 cm Width : 91 cm
Pergamon Museum (Berlin)
The Attic Grave relief of Thraseas and Euandria[1] from the middle of the fourth century BC is kept in the
Pergamonmuseum and belongs to the Antikensammlung Berlin.
The relief was found in Athens in the Agia Triada (i.e. in the neighbourhood of the ancient Kerameikos). It
belonged to the Sabouroff collection and was acquired from this for the Antikensammlung Berlin in 1884. The
stele is 160 cm high and 91 cm wide and was carved from Pentelic marble around 350-340 BC. On the
architrave the main depicted individuals are identified by an inscription as Thraseas from the deme of
Perithoidai and Euandria.
Grave monuments of this kind were regularly set up along streets of graves at the edges of Greek cities. The
figures appear blocky. At the time of its creation, the relief was deeper and the figural depictions distinct from
the background. The grave relief is an early example of this new type of depiction. The figures retain a strong,
plastic liveliness.
In the foreground, the couple sit in front of the relief. On the left stands the bearded Thraseas, wearing a cloak.
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On the right sits Euandria, wearing a cloak and a chiton on a cushioned stool. She wears sandals on her feet
which rest on a footstool. The two hold hands and look into each other's eyes as a symbol of their former
connection and of their parting by death. A servant woman with the short hair typical of slaves is depicted with
her head in her hands as a strong symbol of the household's grief. This gesture with the cheek cupped in her
hand is one of deep grief, also seen in other artworks. The young slave adds further depth to the relief, since
she is found in the background, otherwise worked in less detail. At the edge of the relief, a flat naiskos with
antae, architrave and gable frames the scene. Three acroteria which once stood on top are now lost.
ART OF EUROPE ASADI 26

VOLUTE KRATER
DATED :320-310 BC;
MATERIALS :ceramic;
Height : 1.1 m;
Walters Art Museum (Baltimore, US)

Krater, also spelled crater, ancient Greek vessel used for diluting wine with
water. It usually stood on a tripod in the dining room, where wine was mixed.
Kraters were made of metal or pottery and were often painted or elaborately
ornamented. In Homer’s Iliad the prize offered by Achilles for the footrace at
Patroclus’s funeral games was a silver krater of Sidonian workmanship. The
Greek historian Herodotus describes many enormous and costly kraters
dedicated at temples or used in religious ceremonies to hold libations.

Kraters are large, with a broad body and base and usually a wide mouth. They may have
horizontal handles placed near the base, or vertical handles rising from the shoulder. Among
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the many variations are the bell krater, confined to red-figure pottery, shaped like an inverted
bell, with loop handles and a disk foot; the volute krater, with an egg-shaped body and
handles that rise from the shoulder and curl in a volute (scroll-shaped form) well above the
rim; the calyx krater, the shape of which spreads out like the cup or calyx of a flower; and the
column krater, with columnar handles rising from the shoulder to a flat, projecting lip rim.
ART OF EUROPE ASADI 27

Statuette of a draped woman; Venus de Milo

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DATED : 2nd century BC; DATED :130–100 BC;

MATERIAL :terracotta MATERIAL :marble;
Height : 29.2 cm; Height : 203 cm (80 in);
Metropolitan Museum of Art Louvre
ART OF EUROPE ASADI 28

Laocoön and His Sons

DATED :early first century BC;
MATERIAL : marble;
Height : 2.4 m;
Vatican Museums (Vatican City)

For whatever knowledge of the human frame there may be in the Laocoön, there is
certainly none of the habits of serpents. The fixing of the snake's head in the side of
the principal figure is as false to nature, as it is poor in composition of line. A large
serpent never wants to bite, it wants to hold, it seizes therefore always where it can
hold best, by the extremities, or throat, it seizes once and forever, and that before it
coils, following up the seizure with the twist of its body round the victim, as invisibly
swift as the twist of a whip lash round any hard object it may strike, and then it holds
fast, never moving the jaws or the body, if its prey has any power of struggling left, it
throws round another coil, without quitting the hold with the jaws; if Laocoön had had
to do with real serpents, instead of pieces of tape with heads to them, he would have
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been held still, and not allowed to throw his arms or legs about.
— John Ruskin, Modern Painters
ART OF EUROPE ASADI 29

Illustrations of examples of ancient

Mosaic which represents the Epiphany of
Greek ornaments and patterns,
Dionysus;
drawn in 1874
2nd century AD;
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from the Villa of Dionysus (Dion, Greece);

Archeological Museum of Dion
ART OF EUROPE ASADI 30

Roman
Roman art was influenced by Greece and can in part be taken as a descendant of ancient
Greek painting and sculpture, but was also strongly influenced by the more local Etruscan
art of Italy. Roman sculpture, is primarily portraiture derived from the upper classes of
society as well as depictions of the gods. However, Roman painting does have important
unique characteristics. Among surviving Roman paintings are wall paintings, many from
villas in Campania, in Southern Italy, especially at Pompeii and Herculaneum. Such painting
can be grouped into four main "styles" or periods and may contain the first examples of
trompe-l'oeil, pseudo-perspective, and pure landscape.
Almost all of the surviving painted portraits from the Ancient world are a large number of
coffin-portraits of bust form found in the Late Antique cemetery of Al-Fayum. They give an
idea of the quality that the finest ancient work must have had. A very small number of
miniatures from Late Antique illustrated books also survive, and a rather larger number of
copies of them from the Early Medieval period. Early Christian art grew out of Roman
popular, and later Imperial, art and adapted its iconography from these sources.
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ART OF EUROPE ASADI 31

BRONZE STATUETTE OF A PHILOSOPHER ON A LAMP

STAND
Title :Bronze statuette of a philosopher on a lamp stand
Period :Early Imperial, Augustan
Date :late 1st century B.C.
Culture :Roman
Medium :Bronze
Dimensions:Overall : 10 3/4 in., 2.9kg (27.3cm, 6.4lb.)
Classification :Bronzes

Adaptation of a Greek statue of the 3rd century B.C.

Surmounted by a portrait statuette of a philosopher. This statuette

is a reduced copy of a Hellenistic original of the III century B.C.
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ART OF EUROPE ASADI 32
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Augustus of Prima Porta

Restoration of a fresco from an Ancient villa bedroom;
DATED :circa 20 BC
DATED :50-40 BC;
MATERIAL :white marble
dimensions of the room :265.4 x 334 x 583.9 cm;
Height : 2.06 m
Metropolitan Museum of Art (New York City)
Vatican Museums (Vatican City)
ART OF EUROPE ASADI 33

Altar Title Marble calyx-krater with reliefs of maidens and dancing

circa 50 AD maenads
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MATERIAL :marble; Roman

Height : 99.5 cm, Calyx-krater;
Width : 61.5 cm, Stone Sculpture
Depth : 47 cm; Date 1 st century AD
Louvre Medium Marble, Pentelic
DimensionsH. 31 3/4 in. (80.7 cm)
ART OF EUROPE ASADI 34

Panoramic view of the Pantheon (Rome),

built between 113 and 125
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Head of a goddess wearing a diadem;

DATED :1st–2nd century;
MATERIAL :marble;
Height : 23 cm;
Metropolitan Museum of Art
ART OF EUROPE ASADI 35

Couch and footstool; Sarcophagus with Apollo, Minerva and the Muses;
1st–2nd century AD; circa 200 AD;
wood, bone and glass;
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from Via Appia;

couch: 105.4 × 76.2 × 214.6 cm; Antikensammlung Berlin (Berlin)
Metropolitan Museum of Art
 ASADI
ART OF EUROPE 36

MEDIEVAL
PERIOD
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.
ART OF EUROPE ASADI 37

Most surviving art from the Medieval period was religious in focus, often
funded by the Church, powerful ecclesiastical individuals such as
bishops, communal groups such as abbeys, or wealthy secular patrons.
Many had specific liturgical functions—processional crosses and
altarpieces, for example.

One of the central questions about Medieval art concerns its lack of
realism. A great deal of knowledge of perspective in art and
understanding of the human figure was lost with the fall of Rome. But
realism was not the primary concern of Medieval artists. They were
simply trying to send a religious message, a task which demands clear
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iconic images instead of precisely rendered ones.

Time Period: 6th century to 15th century

ART OF EUROPE ASADI 38

Early Medieval art

Migration period art is a general term for the art of the "barbarian" peoples who
moved into formerly Roman territories. Celtic art in the 7th and 8th centuries
saw a fusion with Germanic traditions through contact with the Anglo-Saxons
creating what is called the Hiberno-Saxon style or Insular art, which was to be
highly influential on the rest of the Middle Ages. Merovingian art describes the
art of the Franks before about 800, when Carolingian art combined insular
influences with a self-conscious classical revival, developing into Ottonian art.
Anglo-Saxon art is the art of England after the Insular period. Illuminated
manuscripts contain nearly all the surviving painting of the period, but
architecture, metalwork and small carved work in wood or ivory were also
important media.
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ART OF EUROPE ASADI 39

BUCKLE OF SUTTON HOO

Buckle of Sutton Hoo
DATED :580–620
MATERIAL :gold and niello
Length : 13.1 cm
British Museum (London)
On the right of the "body" lay a set of spears, tips uppermost,
including three barbed angons, with their heads thrust through a
handle of the bronze bowl.[67] Nearby was a wand with a small
mount depicting a wolf.[68] Closer to the body lay the sword with
a gold and garnet cloisonné pommel 85 centimetres (33 in) long,
its pattern welded blade still within its scabbard, with superlative
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scabbard-bosses of domed cellwork and pyramidal mounts.[69]

Attached to this and lying toward the body was the sword
harness and belt, fitted with a suite of gold mounts and strap-
distributors of extremely intricate garnet cellwork ornament
ART OF EUROPE ASADI 40

THE HELMET OF SUTTON HOO

The helmet of Sutton Hoo;
DATED :early 7th century AD;
MATERIAL :coppery alloy, iron, gold and garnet;
Height :31.8 cm
British Museum
The Sutton Hoo helmet is a decorated and ornate Anglo-Saxon helmet found during a
1939 excavation of the Sutton Hoo ship-burial. It was buried around 625 and is widely
believed to have belonged to King Rædwald of East Anglia; its elaborate decoration may
have given it a secondary function akin to a crown. The helmet was both a functional
piece of armour that would have offered considerable protection if ever used in warfare,
and a decorative, prestigious piece of extravagant metalwork. It is described as "the most
iconic object" from "one of the most spectacular archaeological discoveries ever made,"
and perhaps the most important known Anglo-Saxon artefact.
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ART OF EUROPE ASADI 41

SHOULDER CLASP FROM SUTTON HOO

Shoulder-clasps from Sutton Hoo;
DATED :early 7th century;
MATERIAL :gold, glass & garnet;
Length : 12.7 cm;
British Museum
Each shoulder-clasp consists of two matching curved halves, hinged
upon a long removable chained pin. The surfaces display panels of
interlocking stepped garnets and chequer millefiori insets, surrounded
by interlaced ornament of Germanic Style II ribbon animals. The half-
round clasp ends contain garnet-work of interlocking wild boars with
filigree surrounds. On the underside of the mounts are lugs for
attachment to a stiff leather cuirass. The function of the clasps is to
hold together the two halves of such armour so that it can fit the torso
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closely in the Roman manner.The cuirass itself, possibly worn in the

grave, did not survive. No other Anglo-Saxon cuirass clasps are known.
ART OF EUROPE ASADI 42

BYZANTINE
Byzantine art overlaps with or merges with what we call Early Christian art until
the iconoclasm period of 730-843 when the vast majority of artwork with
figures was destroyed; so little remains that today any discovery sheds new
understanding. After 843 until 1453 there is a clear Byzantine art tradition. It is
often the finest art of the Middle Ages in terms of quality of material and
workmanship, with production centered on Constantinople. Byzantine art's
crowning achievement were the monumental frescos and mosaics inside
domed churches, most of which have not survived due to natural disasters and
the appropriation of churches to mosques.
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ART OF EUROPE ASADI 43

Slab with a relief representing Apse of the Santa Maria Maggiore

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the Nativity of Jesus; church in Rome, decorated in the

4th-early 5th century; 5th century with this glamorous
marble; mosaic
Byzantine and Christian
Museum (Athens)
ART OF EUROPE ASADI 44

Romanesque
Romanesque art refers to the period from about 1000 to the rise of Gothic art in the 12th
century. This was a period of increasing prosperity, and the first to see a coherent style
used across Europe, from Scandinavia to Switzerland. Romanesque art is vigorous and
direct, was originally brightly coloured, and is often very sophisticated. Stained glass and
enamel on metalwork became important media, and larger sculptures in the round
developed, although high relief was the principal technique. Its architecture is dominated
by thick walls, and round-headed windows and arches, with much carved decoration.
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ART OF EUROPE ASADI 45

Maria Laach Abbey (near

Maria Laach Abbey (near Andernach,
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Andernach, Germany),
Germany), one of the most iconic
one of the most iconic
Romanesque churches
Romanesque churches
ART OF EUROPE ASADI 46
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ART OF EUROPE ASADI 47
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A LT E Z Z A
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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.
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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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