Although entangled with the temple crowd, Christ is a stable axis around which the noisy happening churns. Less concerned with aesthetic qualities than the authors quoted above, he was more rigorous in his study of shapes, volumes, and composition.
Fry made his argument through Formal analysis of relief of a study of individual paintings, many in private collections and almost all of them unfamiliar to his readers. Deity representation on Assyrian relief. In other books, notably Visual Thinking and the Power of the Center: Less frequently, gods are identified by a written label or dedication; such labels would only have been intended for the literate elites.
Furthermore, the artist used the sunken relief technique. This was, Fry felt, the necessary place of beginning because all that we see and feel ultimately comes from paint applied to a surface. Frankfort himself based his interpretation of the deity as the demon Lilith on the presence of wings, the birds' feet and the representation of owls.
One divines, in fact, that the forms are held together by some strict harmonic principle almost like that of the canon in Greek architecture, and that it is this that gives its extraordinary repose and equilibrium to the whole design. Both hands are symmetrically lifted up, palms turned towards the viewer and detailed with visible life- head- and heart linesholding two rod-and-ring symbols of which only the one in the left hand is well preserved.
He excludes Lamashtu and Pazuzu as candidate demons and states: During this early classical period, sculptors and painters endowed their works with a feeling of seriousness in order to portray a sense of sophrosyne  References and sources[ edit ].
Reaction to object or monument 3. This union of in and out, of near and far, repeated in the mirror image, emphasizes the plane of the picture, the two-dimensional character of which is further asserted by the planar organization into four horizontal divisions: Around both wrists she wears bracelets which appear composed of three rings.
And this direction of the brush strokes is carried through without regard to the contours of the objects. Context[ edit ] Date and place of origin[ edit ] Stylistic comparisons place the relief at the earliest into the Isin — Larsa period,  or slightly later, to the beginning of the Old Babylonian period.
It shall be the haunt of jackals, an abode for ostriches.
In Learning to Look, Joshua Taylor identified three key elements that determine much of our response to works of sculpture. The lively interaction between the messenger and recipient also helps bridge the separation.
Although it might fit physically, its rhythms would seem truncated, and it would suffer considerably as a work of art. But this particular depiction of a goddess represents a specific motif: Citations regarding this assertion lead back to Henri Frankfort One of the reasons that the color choice of the background was such as great choice is that it compliments the sun that is seen being positioned above them at the top of the art piece.
But the more one looks the more they elude any precise definition. Moreover, examples of this motif are the only existing examples of a nude god or goddess; all other representations of gods are clothed.
Opitz who noted the "absolutely unique" nature of the owls with no comparables in all of Babylonian figurative artefacts. Though his rosette stele only lists Koroibos, his sons, and grandson up to possibly five generations in the inscription, most label Hegeso as the wife of Koroibos.
In creating a religious object, the sculptor was not free to create novel images: There can be different, competing, and contradictory interpretations of the same artwork.
Is it figurative or abstract? Douglas Van Buren examined examples of Sumerian [ sic ] art, which had been excavated and provenanced and she presented examples: The hypothesis that this tablet was created for worship makes it unlikely that a demon was depicted.
What immediately stands out about this figure is the exaggerated musculature of his forearms and lower left leg, again the element of strength and power is emphasized here.
Naturally the curvature of this line is sharply contrasted with his parallel hatchings, and arrests the eye too much. Tell us what you need to have done now! Thus, while the distance of the landscape is firmly stated, it is just as firmly denied.
An interpretation of the relief thus relies on stylistic comparisons with other objects for which the date and place of origin have been established, on an analysis of the iconography, and on the interpretation of textual sources from Mesopotamian mythology and religion.
However, no traces of yellow pigment now remain on the relief. However Frankfort did not himself make the identification of the figure with Lilith; rather he cites Emil Kraeling instead. A year later Frankfort acknowledged Van Buren's examples, added some of his own and concluded "that the relief is genuine".
The association of Lilith with owls in later Jewish literature such as the Songs of the Sage 1st century BCE and Babylonian Talmud 5th century CE is derived from a reference to a liliyth among a list of wilderness birds and animals in Isaiah 7th century BCEthough some scholars, such as Blair   consider the pre-Talmudic Isaiah reference to be non-supernatural, and this is reflected in some modern Bible translations:Formal Analysis of "Relief of a Winged Genius" Yahaira Guzman Art History 09/29/10 Relief of a winged genius is a two-dimensional stone relief sculpture currently located on the first floor of the Museum of Fine Arts Boston, in the Ancient Near East.
Oct 12, · Formal Anaylsis of Akhenaten and his family's sunken relief art piece Formal Analysis of Akhenaten and his Family Sunken Relief Sculpture.
The choice of color used in this art piece goes very well with what is being expressed here. There is a sun that seems to shine down on all of the individuals in the art piece. “The Warka Vase or the Uruk Vase is a carved alabaster stone vessel found in the temple complex of the Sumerian goddess Inanna in the ruins of the ancient city of Uruk, located in the modern Al Muthanna Governorate, in southern Iraq.
Writing a Formal Analysis in Art History The goal of a formal analysis is to explain how the formal elements of a work of art affect the representation of the subject matter and expressive content.
The emphasis should be on analyzing the formal elements—not interpreting the artwork.
That said, an understanding of the meaning of the work is the. Formal analysis is a specific type of visual description. Unlike ekphrasis, it is not meant to evoke the work in the reader’s mind. Instead it is an explanation of visual structure, of the ways in which certain visual elements have been arranged and.
Jan 20, · Formal Analysis. Prevailing Axis; Vertical, horizontal, diagonal, spiral? Is it a relief that creates an illusion of space within it? Is the sculpture frontal Does it turn in space? Was it meant to be seen from one point of view only, or from many?Download