The Humanity throughout Art

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

A look at the human form, how and why it has been changed throughout art.

Cycladic female figurine (post-canonical type), Unknown, "2800-2300 BC" - "", From the collection of: Museum of Cycladic Art
Prehistoric Art. A Small female figure, thought to be crafted for the travel-driven Nomadic life.
Human head figurine, Unknown, Epipaleolithic period, 12,000 years ago, From the collection of: The Israel Museum, Jerusalem
One of the oldest depictions of the human face. Prehistoric.
Goddess figurine, Unknown, Pottery Neolithic 8000 years ago, From the collection of: The Israel Museum, Jerusalem
This Prehistoric female figure shows the primal instict of exageration towards the important body parts.
Sumerian Foundation Figurine, Unknown, ca. 2900 B.C.E.-2500 B.C.E., From the collection of: Brooklyn Museum
This Sumerian statuet is more refined in the face and head. The male depicted can be seen with clearly depicted arms. Ancient Near East
Statue of a Family Group, Unknown, ca. 2371-2298 B.C.E., From the collection of: Brooklyn Museum
This sculpture of an Egyptian family uses hiarchle scale to show the father as the head of the family. Ancient Egypt
Relief of Hairdresser Inu, Unknown, ca. 2008-1957 B.C.E., From the collection of: Brooklyn Museum
This relief of the Hairdresser Inu shows the Ancient Egyptian's New enphasis of evenness and exact proportions. Ancient Egypt.
Lady Tjepu, Unknown, ca. 1390-1353 B.C.E., From the collection of: Brooklyn Museum
In this Egyptian pice of art, the eye is shown in a frontal view while the rest of the body is in profile. Ancient Egyptian
Seated Statue of Nehy, Egyptian, ca. 1250-1230 BC (New Kingdom), From the collection of: The Walters Art Museum
This statue shows how the Egyptians enlarged and twists the body in order to retain the hiarchle scale. Ancient Egypt.
Figure of a Bound Foreign Prisoner, Unknown, ca. 1979-1801 B.C.E., From the collection of: Brooklyn Museum
THis figure shows how the concorers viewed theirr prisoners, bleak and hopeless.
Painted Wall Panel with an Athletic Trainer, Unknown, 520–510 B.C., From the collection of: The J. Paul Getty Museum
An Etruscan Wall painting of an Athletic Trainer. Getting ready to Pump *clap* You up. This Borrows from the profile view of the Egyptians and Ageans.
Statue of a Kouros, about 530 B.C. or modern forgery, From the collection of: The J. Paul Getty Museum
A marble statue of a young Greek. Shows the Greek's strive for Idealism using emphasis.
Stamnos, Attributed to the Chicago Painter, About 450 B.C., From the collection of: The Art Institute of Chicago
A wine jar depicting Greek Men and women. shows the figures as flat with deapth in their clothing's fold.
Statue of a Girl ("The Budapest Dancer"), ca. 240–220 B.C., From the collection of: Museum of Fine Arts, Budapest
Statue of a Girl ("The Budapest Dancer") is remenicent of the late greek period and its new attention to detail.
Aphrodite and Eros, unknown, 100 BC - 0 AD, From the collection of: Kunsthistorisches Museum Wien
Aphrodite and Eros shows the Helenistic Period's dramatic overtone.
Fragmentary Antefix, 4th century B.C., From the collection of: The J. Paul Getty Museum
Etruscan view of the face.
Bust of a Young Roman, Unknown, Ancient Rome. Early 2nd century A.D., From the collection of: The State Hermitage Museum
This Roman bust show's remarcable realism and less idealism.
Saint Thecla with Wild Beasts and Angels, 5th century C.E., From the collection of: The Nelson-Atkins Museum of Art
This Saint Thelca representation is not idealized like the Roman gods and godesses during its time. To separate it's self from the Roman gods this early christian sculpture is unidealized.
Silver Reliquary: Christ with the Apostles, unknown, 400 AD - 410 AD, From the collection of: Kunsthistorisches Museum Wien
The representations of the apostles on this Early Christian work show the apostles relaxed with folding robes.
Virgin and Child, Coptic, 7th-8th century (Early Medieval), From the collection of: The Walters Art Museum
The Virgin and Child statue puts enphasis on Both Mary and Christ's heads by enlarging them. It is also constructed out of wood, a common art medium of the Midevil period.
New Testament, 1133, From the collection of: The J. Paul Getty Museum
New Testament shows the Byzentine aspect of floating figures. Byzentine period.
The Transfiguration, Unknown, late 13th century, From the collection of: The J. Paul Getty Museum
This depiction of The Transfiguration shows the use of the Golden Halo in Byzentine paintings.
Portable Altarpiece with the Weeping Madonna, Georges Trubert, about 1480 - 1490, From the collection of: The J. Paul Getty Museum
The Portable Altarpice with the Weeping Virgin shows the flat style of Prerenaissance art.
Mausoleum Doors, Qanbar ibn Mahmud, December 1551-January 1552 (early Safavid), From the collection of: The Walters Art Museum
These Mausoleum doors show Coligraphy disctibing the people who lie within.
Hedwig Listening to a Reading; Hedwig Praying, 1353, From the collection of: The J. Paul Getty Museum
This prayer book page shows the range of colors available to the Midevile painters and coligraphers.
Evangelist Mark Seated in his Study, Byzantine, 1025-1050, From the collection of: The Walters Art Museum
Evangelist Mark Seated at his study shows the importance of gold in Byzantine painting.
Mary Magdalene Borne Aloft, Taddeo Crivelli, about 1469, From the collection of: The J. Paul Getty Museum
THis Depiction of Mary Magdalene shows the first use ofbordering in painting. Byzantine Art.
Book-Cover Plaque with the Crucifixion and Holy Women at the Tomb, Carolingian, ca. 870-880 (Medieval), From the collection of: The Walters Art Museum
This Midevile sculpture shows the Great detail put into Reliefe diring this time period. Medival.
Mural paintings from the apse of Sant Sadurní in Osormort, Vic workshops, Mestre d'Osormort, 1125/1150, From the collection of: Mev, Museu d'Art Medieval
Madonna and Child with St John the Evangelist, St John the Baptist, St James of Compostela and St Nicholas of Bari, Agnolo Gaddi, (c. 1388-1390), From the collection of: National Gallery of Victoria
Sambadar is scukpted in the round and shows the religious dedication of the Indian People.
Young Knight in a Landscape, Vittore Carpaccio, 1510, From the collection of: Museo Nacional Thyssen-Bornemisza
Young Night in a Landscape shows the new trend of detail on the human figure.
Figurilla de mujer con niño, unknown, 1325/1521, From the collection of: Museo Nacional de Antropología, México
This Early American statuet shows the enphasis seen in other societies untouched by europe.
The birth of Venus, Sandro Botticelli, 1483 - 1485, From the collection of: Uffizi Gallery
The Birth of Venus Painting shows european artists going back to the classic idealizm of the greeks. Renaissance.
The Sistine Madonna, Raphael, 1512 - 1513, From the collection of: Old Masters Picture Gallery, Dresden State Art Museums
The Sistine Madonna Combinds the New use of shadowing with the classical folds of Greel Sculpture.
The Ambassadors, Hans Holbein the Younger, 1533, From the collection of: The National Gallery, London
The Ambassadors Shows the Northern Renaissance's thriving detail oriented style. Northern Renaissance.
Adam and Eve, Albrecht Dürer (German, b.1471, d.1528), 1504, From the collection of: Cincinnati Art Museum
Adam and Eve by Durer shows the new effects of shadowing on the human form.
Sacrifice of Isaac, Caravaggio Merisi, 1603 - 1604, From the collection of: Uffizi Gallery
The Sacrifice of Isaac shows The "Spotlight" emphesis of baroque on the face.
The Risen Christ, Gian Lorenzo Bernini, 1673-1674 (Baroque), From the collection of: The Walters Art Museum
The Risen Christ shows the heavy nature of Baroque art. Boraque.
Self-Portrait, Judith Leyster, c. 1630, From the collection of: National Gallery of Art, Washington DC
The Baroque period Self portrait of Judith Leyster had heavy paint which defined most of the paintings of the period. Baroque.
The Feast of Love, Antoine Watteau, around 1718 - 1719, From the collection of: Old Masters Picture Gallery, Dresden State Art Museums
This painting shows the light hearted subject of Rococo Painting. Rococo.
Portrait of an officer, Nicolas de Largillierre, circa 1714-circa 1715, From the collection of: Art Gallery of New South Wales
This Painting shows the typical patrons of its period. Rococo.
George Washington, Gilbert Stuart, 1797, From the collection of: The White House
Marat Assassinated, Jacques-Louis David, 1793, From the collection of: Royal Museums of Fine Arts of Belgium
This painting shows art returning to a more propaganda based style of painting using the picture as a message.
A Burial at Ornans, Gustave Courbet, 1849 - 1850, From the collection of: Musée d’Orsay, Paris
A Burial at Ornans Shows The Shift to a more realistic form of the body. Realism.
Gleaners, Jean-François Millet, 1857, From the collection of: Musée d’Orsay, Paris
The Gleaners shows the Shift from light happy people to hard working people, their bodies looking more rugged and strong. Realism.
Olympia, Edouard Manet, 1863, From the collection of: Musée d’Orsay, Paris
The way Olimpia looks directly at the viewer shows more real emotion. Realism.
The Kiss, Gustav Klimt, 1908-1909, From the collection of: Belvedere
The Kiss Combines the human form with geometric Patterns.
The Scream, Edvard Munch, 1910, From the collection of: The Munch Museum, Oslo
By Using Curvilinear lines, the Scream shows a Post Impressionistic Demonstration of color describing the emotion of the person in the painting.
Christus, Heinrich Maria Davringhausen, 1914, From the collection of: Olomouc Museum of Art
Portrait of Josette Gris, Juan Gris, 1916, From the collection of: Museo Reina Sofia
By combining geometric shapes with the human form, the artist is able to capture the human form in more than one point of view.
The Fortune-telling, Julio Romero de Torres, 1922, From the collection of: Museo Carmen Thyssen Málaga
American Gothic, Grant Wood (American, 1891-1942), 1930, From the collection of: The Art Institute of Chicago
We inhabit the corrosive littoral of habit, James Gleeson, 1940, From the collection of: National Gallery of Victoria
By morphing the human body, Surrealist painters paint Symbolism with great intensity. Surrealism.
Adam and Eve from Our Historical Heritage, Salvador Dali, 1975, From the collection of: SCAD Museum of Art
Madonna (Self-Portrait), Cindy Sherman, 1975, From the collection of: SCAD Museum of Art
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