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Essay / Research Paper Abstract
A 7 page paper which examines two statuettes: “Statuette of a Woman” from 3rd century BC Hellenistic period and “Terracotta Statuette of a Woman” from 5th century BC Classical. No sources cited.
Page Count:
7 pages (~225 words per page)
File: JR7_RAstats3.rtf
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Unformatted sample text from the term paper:
a particular period in history to gain something of value by looking at statues from various time periods. There is, in essence, and unspoken power about ancient art that can
speak to us in many ways. The following paper takes two separate statuettes of women, one from the Hellenistic age during the 3rd century BC and the second from the
Classical age in the 5th century BC. The paper examines the two separately and then provides a comparison and contrast of the two. Hellenistic The first statuette to
be discussed comes from the 3rd century BC in Hellenistic Greece. The figure is apparently 7 3/4 inches high and it is made from terracotta. It appears to be in
incredibly good shape, perhaps even all intact. The picture of this particular statuette was retrieved from http://www.metmuseum.org/toah/hd/tafg/ho_07.286.2.htm. This piece, from the perspective of this writer and not the student, was
chosen for its wonderfully draped presence, its composition, and its simplistic beauty that is also complex. This opinion does not, and should not, reflect the opinions of the student requesting
this paper. This statuette is incredibly complex in its composition, and full of powerful texture. The cloth that apparently is draped around the woman seems quite tight, and beautifully
well distributed. It appears to be tighter, or spread out more, across the chest than it does the rest of the body. In this draping, something we would imagine to
be quiet organic in design, we are actually given powerful geometric shapes. This is seen through an almost criss-crossing of the fabric from the hips down. This is further enhanced
by the straight draping of the lines that go perpendicular to the drapes across the hips and the floor. All of this draping, however, becomes far softer near the face
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