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Began 40,000 BCE, peak 30,000-12,000 BCE(most famous cave paintings and carvings in Europe, France and Spain. Decline 10,000 BCE as the ice age ended. A naturalistic art in animals , abstract and or geometric symbols made in caves. Animals (mammoths, deer, horses), human figures were rare but were made as stick figures. People of this era were hunter -gatherers. Artist are unknown but are identified by cultures or regions.
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This small female figurine emphasizes fertility and femininity, with exaggerated breast, belly and hips. Made out of limestone, painted with red ochre.
“Venus” (or Woman) of Willendorf, c. 24,000–22,000 B.C.E., limestone, 11.1 cm high (Naturhistorisches Museum, Vienna.
Dr. Bryan Zygmont. “Venus of Willendorf.” Smarthistory.org, 21 Nov. 2015. -
France, c. 15,000 BCE. Lascaux Cave. The Hall of Bulls is a large chamber decorated with vivid images of bulls, horses and stags painted with natural pigments. The Animals are shown in motion some overlapping giving a sense of movement. -
Began 10,000 BCE after the las Ice Age with the development of agriculture. Peake 8,000- 3000 BCE depending on the region. Decline around 3000 BCE as Bronze Age cultures emerged with metal tools, writing and more complex societies. Shifted from naturalistic animal imagines to abstract patterns and human centered themes. Daily life, farming, community, architecture and monuments. Pottery with paint, weaving and textiles.
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These are real human skulls that were plastered and painted to resemble living faces, often buried beneath homes and are among the earliest examples of human portraiture they are believed to represent ancestor worship or remembrance of the dead.
“The Jericho Skull – Smarthistory.” Smarthistory.org, -
The Ain Ghazal statues are some of the earliest large scale human representations. The figures are made of lime plaster, layered over a framework of reeds and other plant material. They range from 1 meter tall for the largest statues to smaller busts, with large, wide-open eyes outlined in bitumen.
Bauer, Pat. “Ain Ghazal | Description, Culture, Significance, Facts.” -
Art in this period included both abstract designs, often on pottery, and representational imagery.Predynastic motifs like nature, animals, human figures, and the interplay of order and chaos became foundational elements in later Pharaonic art. The peak of Predynastic Egyptian art occurred during the Naqada II (Gerzean) period (c. 3500–3200 BCE).This era featured sophisticated pottery and the earliest known wall paintings, which incorporated detailed imagery.
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encompasses the civilizations of Mesopotamia, Anatolia, and the Levant, focusing on religious and political themes with characteristic features like monumental architecture (ziggurats), hierarchical scale, and detailed relief carvings on various materials including stone, metal, and clay. “Rethinking Approaches to the Art of the Ancient near East until C. 600 B.C.E. – Smarthistory.” Smarthistory.org.
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Began: c. 4000 BCE (urbanization / Uruk period begins).Peak: c. 3500-2300 BCE (Early Dynastic city-states; flourishing monumental temple art).Decline: c. 2300 BCE (consolidation under
Akkadian rule). Key Features: Ziggurats, votive statues, cylinder seals, narrative registers. Representative Works: Standard of Ur (c 2600-2400 BCE), Votive Statuettes of Tell Asmar (c. 2900-2600 BCE). Context: City-states, temple worship, first writing systems. -
The finely carved handle shows scenes of warfare and hunting, including a central figure possibly a ruler or hero mastering wild animals a symbol of divine strength and leadership. The mixture of Egyptian and Mesopotamian motifs reflects early culture exchange and the idea that leaders were chose by the gods to bring order over chaos. Ivory handle with flint blade . located Louvre Museum, Paris. -
Decorated with animals such as lions, gazelles and mythical creatures, this pallet shows symbolic and decorative carving that may have represented control over chaos. the symmetrical design and detailed animal forms also reveal the emergence of Egyptian artistic conventions and early ceremonial use of the pallet.Predynastic Period. ca. 3300-3100 BC. Made of siltstone, 42.5 x 22 cm. Ashmolean Museum. Oxford. AN1896-1908 E.3924 -
The Warka Vase is one of the earliest known examples of narrative relief sculptures.It depict a ritual procession offering gifts to the goddess Inanna,the patron deity of Uruk.The vase is divided into registers showing different levels of society from plants and animals at the bottom to priest ands the goddess at the top.Warka (Uruk) Vase, Uruk, Late Uruk period, c.3500–3000 B.C.E.,105 cmhigh(National Museum of Iraq, Baghdad).Dr. Senta German. “Warka Vase – Smarthistory.” Smarthistory.org, 2017. -
c.2686-2181BCE(Dynasties3-6)Peak pyramid-building and canonical Old Kingdom architecture.ThirdFourth Dynasties(Djoser
Khufu Khafre).Decline into the First Intermediate Period 2181 BCE.Monumental stone step and true pyramids;complex funerary precincts.
Canonical,highly formalized figural art:rigid frontal poses for rulers,strict proportions,hierarchical scale.High technical skill in stone carving (granite, diorite,limestone)Reliefs and tomb painting(daily life,offerings,hunting,agriculture) -
The standard of Ur is a rectangular box like object with two main panels the " war side" and the " peace side" the war side shows the chariots and soldiers in the battle, while the peace side depicts a victory banquet with musicians and offerings.
The Standard of Ur, 2600–2400 B.C.E., shell, limestone, lapis lazuli, and bitumen, 21.59 x 49.53 x 12 cm, The Trustees of the British Museum, London.
German, Senta. “Standard of Ur – Smarthistory.” Smarthistory.org, 26 July 2023. -
Built for Pharaoh Khufu, the Great Pyramid is the largest of the Giza pyramids and one of the Seven Wonders of the ancient world. It served as a royal tomb designed to ensure the kings eternal life with the gods. Its perfect geometric from symbolized order and stability, reflecting the pharaohs role in maintaining ma 'at. The scale demonstrates the pharaohs divine power and authority.
Limestone and granite. Located: Giza Plateau. -
This idealized statue shows Pharaoh Khafre seated on a throne, perfectly proportion and youthful, symbolizing eternal kindship. Behind his head, the falcon god Horus spreads his wings protectively directly linking the pharaoh to divine guardianship. The hard enduring stone reinforces the idea that Khafre's rule is everlasting and god given, not human or temporary.
Located Giza, Valley Temple of Khafre (now in the Egyptian Museum, Cairo). -
Began:c.2334 BCE(Sargon of Akkad - traditional founding).Peak: c.2300-2150 BCE(imperial consolidation under Sargon, Naram-Sin).Decline: c. 2150 BCE (collapse / Gutian incursions; later political fragmentation). Monumental stone sculpture and bronze casting (hollow-cast bronze portraiture), naturalistic yet idealized royal portraiture, victory stelae with hierarchical composition, increased use of narrative heroic imagery. Stylized beards and braided hair in royal portraiture.
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sculpture depicting King Naram-Sin's victory over the Lullubi mountain people in the Zagros Mountains, showing Naram-Sin leading his army up a mountain, towering over his defeated enemies who are shown falling. Carved from pink limestone.
Victory Stele of Naram-Sin, 2254-2218 B.C.E., pink limestone, Akkadian (Musée du Louvre, Paris).
Harris, Dr. Beth, and Dr. Steven Zucker. “Victory Stele of Naram-Sin – Smarthistory". -
The Head of an Akkadian Ruler is a life sized, hollow-cast bronze sculpture. A powerful, somber face with locks of hair and a wrinkled brow, though its exact subject whether the first Akkadian emperor, Sargon of Akkad remains debated.
Head of an Akkadian ruler, 2250–2200 B.C.E., bronze.
“Akkad, an Introduction – Smarthistory.” Smarthistory.org. -
Began: c. 2112 BCE (Ur-Nammu establishes Ur
Peak: c. 2100-2000 BCE (administrative consolidation, monumental building).
Decline: c. 2004 BCE (collapse under Amorite pressures).
Key features / techniques Monumental ziggurat construction (massive mudbrick cores with faced brick), detailed votive and dedicatory inscriptions, renewed emphasis on Sumerian language cultic forms. Stylistically conservative but highly refined architecture and temple arts. -
This massive stepped temple platform was built to honor the moon god Nanna (Sin). The structures terraced form elevated the shrine closer to the heavens. Mud brick with baked brick facing.
Ziggurat of Ur c. 2100 B.C.E., mud brick and baked brick, Tell el-Mukayyar, Iraq.
Dr. Senta German. “Ziggurat of Ur.” Smarthistory.org, 8 Aug. 2015. -
It is significant as an early example of a law code and for its detailed relief carvings showing the king in ritualistic interactions with gods and overseeing the building of the ziggurat of Ur. Commemorating King Ur-Nammu of the Third Dynasty of Ur.
Stela of Ur-Nammu, King of Ur, circa 2120 B.C. The King worshipping the gods of Ur before the building of the tower
“Museum Bulletin | the Third Dynasty of Ur. The Stela of Ur – Nammu.” -
c.2055(principal period:Dynasties11-13; the12th Dynasty is often seen as the peak).Declinec.1650 BCE.A revival and reworking of older conventions with more psychological realism in royal portraiture.Balance between monumentality and more intimate,detailed sculpture and private devotional objects.Increased production of rock-cut tombs,stelae,inscribed reliefs,and finer wood stone statuary. Literate culture and literary works flourish (official inscriptions, personal funerary texts)
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Carved in to limestone cliffs. These beautifully painted tombs of provincial governors featured detailed wall paintings showing daily life hunting, wrestling, farming and trading. The art reflects a greater focus on individuals outside the royal family and belief that everyone could hope for eternal life, not just pharaoh. The murals also display skillful use of color perspective and movement showing artistic advancement and deepening of spiritual beliefs. -
Babylon becomes important from c.1894 BCE(First Babylonian Dynasty/Hammurabi).Peak(Neo-Babylonian):c.626-539 BCE
(Nebuchadnezzarprominent 604-562 BCE).Decline:539 BCE (conquest by Cyrus the Great;later Hellenistic period).Key features/techniques Glazed brick and polychrome reliefs(especially Neo-Babylonian),monumental gate architecture,extensive use of animal processional motifs(lions, bulls,dragons),narrative stelae and royal inscriptions. Decorative use of vivid glazes(lapis-blue imitation). -
strikingly realistic,showing him with heavy eyelids,lined cheeks and stern expressionThis shift in style reflect a new idea of kindship grounded in wisdom,strength and humanity.His powerful yet weary look conveys the burden of leadership and divine responsibility. Even with his realistic features,his pose and scale still communicate divine authority and eternal strength.incised granite (granodiorite), found at the Temple of Mentuhotep,South Sourt, Deir el-Bahari,122cm high -
A high relief plaque made with fired clay(terracotta) showing a winged goddess possibly Ishtar, Lilith or Ereshkingal standing on lions and flanked by owls. She wears a honored headdress and holds rods and rings of power.
The "Queen of the Night" Relief, 1800-1750 B.C.E., Old Babylonian, baked straw-tempered clay, 49 x 37 x 4.8 cm, Southern Iraq
“The ‘Queen of the Night’ Relief (Article).” Khan Academy. -
Hammurabi's Stele is an approximately 7-foot-tall basalt carving. The stele portrays Hammurabi receiving laws from Shamash, the sun god of justice, and contains the longest surviving text from the Old Babylonian period, providing insight into Mesopotamian society, law, and the concept of a king's divinely ordained authority.
Law Code Stele of King Hammurabi, basalt, Babylonian, 1792–1750 B.C.E.(Musée du Louvre, Paris). -
New Kingdom Egyptian art is known for its monumental scale, wealth, and artistic refinement, reflecting Egypt's golden age of prosperity. Key features include colossal temples like, elaborate tomb paintings in the Valley of the Kings, and highly detailed artifacts.
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A grand temple built into cliffs honoring Queen Hatshepsut, one of the Egypt's few female pharaohs. The terraces and statues show her divine birth and connection to the god Amun-Ra reinforcing her right to rule. -
A beautifully crafted funerary mask symbolizing eternal life and divine protection. It originally rested directly on the shoulders of the mummy inside the innermost gold coffin.constructed of two sheets of gold. idealized features and royal symbols link the young king with the gods of the afterlife. Death Mask from innermost coffin, Tutankhamun’s tomb, New Kingdom, 18th Dynasty, c. 1323 B.C.E., gold with inlay of enamel and semiprecious stones (Egyptian Museum, Cairo) -
Beganc.912-612 BCE (Neo-Assyrian Empire traditionally 911-612 BCE).Peak:c.745-627 BCE (power under Tiglath-Pileser Ill, Sargon I|,Sennacherib, Ashurbanipal).Decline:collapse c. 612 BCE(coalition sacked
Nineveh empire falls)Large-scale alabaster(gypsum)palace reliets with lowrelief narrative panels depicting royal hunts, sieges, and tribute scenes monumental guardian figures at gateways; highly detailed figural carving, emphasis on power,control,and imperial ideology. -
The Assyrian "winged genie" is a protective supernatural being, known as an apkallu or lamassu, depicted as a bearded, winged male figure made of alabaster that symbolized divine power and provided protection against evil. These figures were carved on palace walls and served as guardians, often associated with royal authority and acts of fertilizing sacred trees.
A human-headed and winged Genie. Neo-Assyrian period, ca. eighth century BCE. National Museum of Iraq, Baghdad. -
A lamassu is an apotropaic or protective hybrid monster with the bearded head of a mature mane, crown of a god, and the winged body of either a bull or lion. They are massive, up to 20 feet tall and weigh as much as 30–50 tons. Remarkably, each is carved from a single slab of limestone, gypsum alabaster, or breccia. 721–705 B.C.E. (reign of Sargon II, Neo-Assyrian Period, Khorsabad, ancient Dur Sharrukin, Assyria, Iraq), gypseous alabaster -
Flourished in Italy before Roman dominance. Strongly influenced by Greek art but more lively and expressive. Funerary focused, tombs decorated with wall paintings and sculptures,Terracotta sculptures.Figures often shown in motion, smiling, and engaging in daily life. Themes,life after death, banquets, celebration, nature. Architecture: early temples influenced Roman forms.
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Art becomes more naturalistic compared to earlier geometric styles. statues rigid, frontal, with the "Archaic smile." Influenced by Egyptian stance one foot forward. Vase painting black-figure technique themes: mythology, athleticism, gods, funerary art.
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Represented idealized male youth influenced by Egyptian stance, symbolized the Greek interest in humanism and proportion before naturalism fully developed. Title: Marble statue of a kouros (youth)Period: Archaic Date: ca. 590–580 BCE Culture: Greek, Attic Medium: Marble, Naxian
Dimensions: 76 5/8 × 20 5/16 × 24 7/8 in. (194.6 × 51.6 × 63.2 cm) Repository: The metropolitan Museum of Art New York. -
The Cyrus Cylinder is an ancient clay inscription detailing Cyrus the Great's conquest of Babylon in 539 BCE and his policies of religious freedom and the return of deported peoples to their homes. Baked clay inscribed in cuneiform. Located found in Babylon modern Iraq (British Museum, London. -
The Peplos Kore represents an idealized young woman. Her face is smooth and symmetrical, embodying the Archaic ideal of female perfection. Her slight smile, known as the Archaic smile is meant to convey a sense of liveliness rather than signal a happy emotion. Peplos Kore, c. 530 B.C.E., marble, 1.2 m high (Acropolis Museum, Athens) -
The tomb is shaped like a cross with relief showing Darius standing on a platform supported by figures representing subject nations with the god Ahura Mazda above him. Rock cut tomb carved into a cliff face.
Located Naqsh-e Rustam, near Persepolis, Iran. -
Depicts a loving couple shows Etruscan focus on domestic life, equality and afterlife celebration. Sarcophagus of the Spouses, c. 520 B.C.E., Etruscan, painted terracotta, 140 x 202 cm, found in the Banditaccia necropolis, Cerveteri (Museo Nazionale Etrusco di Villa Giulia, Rome -
Strong emphasis on verism super realistic detail. Art used to express ancestry, virtue and political authority. Borrowing from Greek art but with more pragmatic, civic purpose. Wrinkles, age imperfections.Marble portraits.
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Like most Archaic kouroi, the Kritios Boy is idealized and lacks easily identifiable individualistic characteristics, making it difficult to tell who exactly he represents. But it marks the transition to naturalism with contrapposto stance. Kritios Boy, c. 480–470 B.C.E., marble, 4 feet high (Acropolis Museum, Athens) -
Shift toward realism and naturalism after Persian Wars. Poses become more relaxed contrapposto lifelike human forms.Simpler drapery, calm facial expressions no Archaic smile. Start of red figure vase painting replacing blacknfigure. Focus on balance, harmony, and restrained emotion.
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The tombs are intended to contain not only the remains of the deceased but also various grave goods or offerings deposited along with the deceased. The Tomb of the Triclinium is composed of a single chamber with wall decorations painted in fresco. Tomb of the Triclinium, c. 470 B.C.E., Etruscan chamber tomb, Tarquinia, Italy -
Zeus is the militant protector ready for action and would have originally been holding a thunderbolt (or trident, in the case of Poseidon). This statue was most likely created as a votive for a temple dedicated to Zeus. bronze, 2.09 m high, Early Classical (Severe Style), recovered from a shipwreck off Cape Artemision, Greece in 1928 (National Archaeological Museum, Athens). -
Embodies Polykleitos canon of ideal proportions and symmetry reflects Greek philosophical pursuit of harmony and mathematical order. Polykleitos, Doryphoros (Spear-Bearer) or Canon, Roman marble copy of a Greek bronze, c. 450–440 BCE (Museo Archaeologico Nazionale, Naples -
Considered the height of Greek art,Golden Age of Athens under Pericles. Perfected idealized proportions and harmony.
Calm, balanced compositions. Gods and athletes depicted with ideal beauty and serenity. -
Built under Pericles symbol of Athenian democracy and devotion to Athena perfect proportion and civic pride. Iktinos and Kallikrates, Parthenon, Acropolis, Athens, 447–432 B.C.E. Pentelic marbel, 228x101 ft. -
Shift from perfection to individualism and emotion. Figures become more natural, sensuous, and expressive. Proportions more elongated and relaxed. Themes include personal beauty, grace, and everyday life.
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A figure of a young man scraping himself with a strigil, a curved metal instrument used to remove the excess oil that wrestlers and other athletes used to cover themselves in after their training.
The bronze original of this sculpture was by Lysippos and, according to Pliny, it was one of his most famous works. Lysippos, Apoxyomenos (Scraper), Roman copy after a bronze statue from c. 330 B.C.E., 6′ 9″ high (Vatican Museums) -
Begins after Alexander the Great's death.Art becomes dramatic, emotional, and dynamic. Realism replaces idealism,depictions of age, movement, pain, and passion.children, women, foreigners, the poor. Sculptures show intense emotion and theatricality, Rich detail, deep carving, complex poses, and swirling drapery.
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Venus de Milo, ancient statue commonly thought to represent Aphrodite, the ancient Greek goddess of sexual love and beauty, and identified with Venus by the Romans.. It was carved from marble by Alexandros, a sculptor of Antioch on the Maeander River about 150 bce. Venus de Milo, marble statue thought to be of Aphrodite, from Melos, c. 150 bce; in the Louvre, Paris. -
The composition depicts the tortuous death of Laocoön and his two sons by snakes. All three are nude with clearly defined, exaggerated musculature. Bands of clenched muscles are visible under the skin of Laocoön’s torso as he reaches up to fight off the snakes. Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoön and his Sons, early first century C.E., marble, 7’10 1/2″ high (Vatican Museums). -
This small temple is a rare surviving example from the Roman Republic. It is both innovative and traditional. Combines Etruscan plan with Greek columns shows Rome adapting Mediterranean architectural traditions.
Temple of Portunus (formerly known as Fortuna Virilis), travertine, tufa, and stucco, c. 120-80 B.C.E., Rome. -
Comes from Otricoli (ancient Ocriculum) and dates to the middle of the first century B.C.E. The name of the individual depicted is now unknown, but the portrait is a powerful representation of a male aristocrat with a hooked nose and strong cheekbones.Shows verism, emphasizing wrinkles and age as symbols of wisdom, experience and republican virtue.
Head of a Roman Patrician from Otricoli, c. 75–50 BCE, marble (Palazzo Torlonia, Rome. -
Shift from verism to idealized, youth images. Art used for propaganda to legitimize emperors. Mix of idealism and realism. Calm controlled and classical beauty inspired by Greece. Imperial power, deities linked with emperors. Mastery of concrete and engineering. Marble sculptures idealized emperors.
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Celebrates peace brought by Agustus reliefs show processions, mythological scenes and imperial family.
Ara Pacis Augustae (Altar of Augustan Peace), 9 B.C.E. (Ara Pacis Museum, Rome, Italy) -
Augustus of Primaporta of 20 B.C.E. (the sculpture gets its name from the town in Italy where it was found in 1863). At first glance this statue might appear to simply resemble a portrait of Augustus as an orator and general, but this sculpture also communicates a good deal about the emperor’s power and ideology. Uses Classical Greek style as propaganda for imperial power. Augustus of Primaporta, 1st century C.E., marble, 2.03 meters high (Vatican Museums) -
The "Good Shepherd" fresco is a 3rd-century Christian artwork in the Catacomb of Priscilla in Rome, found on the ceiling of a burial chamber called the Cubiculum of the Veil. It shows Christ as the shepherd, carrying a sheep on his shoulders and surrounded by other sheep and pastoral elements, but with artistic influences from classical Greek and Roman art, such as the god Hermes Criophorus. -
Focus on spiritual symbolism over naturalism. Use of Roman forms (basilicas, frescoes)adapted for worship. Art meant to teach new followers biblical stories. Simplified figures, frontal poses. Emphasis on symbolic meaning. Uses of halos,gestures narrative sciences. Old and New Testament stories. Salvation, resurrection, Christ as good shepherd.
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Shift from naturalism to abstraction and symbolism. More rigid, frontal, simplified figures. Emphasis on authority rather than idealized beauty. Larger eyes, stiff poses, blocky forms. Imperial legitimacy in crisis, military power, divine sanction for rule. Simplified stone carving large scale public monuments.
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Celebrates Constantines victory mixes older classical relifes with newer more abstract carvings.
Arch of Constantine, 312-315 C.E., and older spolia, marble and porphyry, Rome -
Enormous, idealized, abstract features express divine authority and the emperors shift towards Christian rule.
Colossus of Constantine, c. 312–15 C.E. (Palazzo dei Conservatori, Musei Capitolini, Rome) -
Highly spiritual, symbolic and otherworldly style. Rich use of gold backgrounds, mosaics and icons. Hieratic(formal) poses. Strong emphasis on heavenly light and divine presence. central plan churches with domes.
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Made for a member of the Roman elite, this early tomb features Old and New Testament scenes in a classical style. High relief biblical scenes combining Roman style with Christian symbols.
Sarcophagus of Junius Bassus, marble, 359 C.E., almost 8 x 6 x 5 feet (Museum of the Treasury of the Basilica of Saint Peter in the Vatican) -
Hagia Sophia, meaning "Holy Wisdom," is an architectural landmark in Istanbul, Turkey, originally built as a Christian cathedral in the 4th century, with the current structure completed in 537 AD under Emperor Justinian I. -
Began:c.550BCE (Cyrus Il"the Great"defeat.Media;Achaemenid foundation).Peak:c.522-330BCE (Darius I and Xerxes — extensive building and imperial administration).Decline:330 BCE(conquest by Alexander the Great)Imperial monumental architecture(Persepolis),finely carved reliefs of processions and delegations, stone columns with animal capitals,polychrome and inlaid decorative schemes,combined motifs drawn fromMedian,Elamite,Mesopotamian,Egyptian and Greek traditions(cosmopolitan imperial style).
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Thick stone walls rounded arches, barrel vaults.
Small windows dim interiors.
Sculpted portals expressive elongated figures. Stability after invasions. Rise of pilgrimages and monasticism. Revival of Roman architectural forms. -
The Bayeux Tapestry is a nearly 70-meter-long embroidered cloth from the 11th century that visually chronicles the Norman Conquest of England, culminating in the 1066 Battle of Hastings.
Bayeux tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum). -
The Virgin of Vladimir is a bilateral icon dating to the first half of the 12th century (ca. 1130). On one side, the icon shows an image of the Virgin Eleousa (or the Virgin of Tenderness) with the Christ Child. On the back, the icon features today an image of the Hetoimasia with the instruments of Christ’s Passion nearby as a symbolic representation of the Second Coming. c. 1130 CE. Tempera on wood. State Tretyakov Gallery, Moscow -
On the main portal of the Cathedral, the Last Judgment is on display in the tympanum, and its centre Christ is enthroned in a gloriole held by angels. Each of the sides is split into two registers with the architrave underneath. The upper one shows the enthroned Virgin Mary and two apostles as observers of the judgment. Dramatic depiction of judgment; elongated, expressive Romanesque style. 1130-45,Stone,Cathedral of Saint-Lazare, Autun. -
Pointed arches, rib vaults, flying buttresses. Large stained-glass windows, vertical emphasis. More naturalistic sculpture ,elaborate manuscripts. Growth of cities and universities. Cathedrals as civic and spiritual symbols. Supported by urban wealth and royalty.
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Chartres Cathedral's history includes periods of Romanesque and Gothic construction, with the current structure largely built between 1194 and 1221 after a fire destroyed the previous Romanesque building. It is famous for being a masterpiece of French Gothic architecture, known for its intact medieval stained glass windows and sculpted portals.
Chartres Cathedral,c.1145–1220 CE. Stone, stained glass, Chartres, France. -
Mix of Byzantine style with emerging naturalism. Gold backgrounds, halos, emotional storytelling. Increased space, volume, and realism. Italian city-states flourished. Influence of Byzantine and Gothic traditions. Bridge to the Renaissance (Giotto, Cimabue, Duccio).
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Built in less than seven years during the mid-13th century, the chapel was commissioned by King Louis IX (future Saint Louis) as a royal chapel within his palace, the Palais de la Cité. Its primary purpose was to house precious relics of the Passion of Christ, including the Crown of Thorns and a fragment of the True Cross, making it a monumental reliquary.
Sainte-Chapelle, c. 1242–1248 CE, Stained glass, stone, Paris, France. -
Giotto's Madonna Enthroned, also known as the Ognissanti Madonna or Ognissanti Maestà, is a seminal painting from the Proto-Renaissance period. More volume and naturalism a major step toward the Renaissance.
Giotto, The Ognissanti Madonna and Child Enthroned, 1306–10, tempera on panel, 325 x 204 cm (Galleria degli Uffizi, Florence), painted for the Church of Ognissanti, Florence -
"rebirth" of classical styles, moving away from the flat, religious art of the Middle Ages towards realism and humanism.Also known as the Quattrocento, saw the development of new techniques like onepoint linear perspective and foreshortening, as well as a greater focus on naturalistic human anatomy. Artists like Masaccio, Botticelli, and Fra Angelico created a richer and more dynamic body of work.
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characterized by extreme realism, intricate detail, and complex symbolism, developed in northern Europe as an adaptation of Italian Renaissance ideals, with a strong emphasis on oil painting techniques to capture textures and light. Major Artist: Jan van Eyck, Robert Campin, and Rogier van der Weyden.
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It displays meticulous detail, symbolic imagery, and the early perfection of oil paint. Created for a wealthy patron it reflects the rise of urban prosperity, humanism and religious devotion in Northern Europe.Jan van Eyck, The Ghent Altarpiece (closed), completed 1432, oil on wood, 11 feet 5 inches x 7 feet 6 inches (Saint Bavo Cathedral, Ghent, Belgium) -
Oil painting on oak panel depicts a wealthy couple in a Flemish home. known for its meticulous detail, rich symbolism, and complex iconography. Jan van Eyck, The Arnolfini Portrait, 1434, oil on oak panel, 82.2 x 60 cm (National Gallery, London) -
It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".Sandro Botticelli, La Primavera (Spring), c. 1481–82, tempera on panel, 203 x 314 cm (Galleria degli Uffizi, Florence) -
It depicts the goddess Venus arriving at the shore after her birth, when she had emerged from the sea fully-grown.Sandro Botticelli, The Birth of Venus, c. 1483–85, tempera on canvas, 172.5 x 278.5 cm (Galleria degli Uffizi, Florence)