Month: October 2021

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141

A Grimm Legacy

Grimm’s Fairy Tales Published: – Survey 4: Steam and the speed of light (1750 – 1850) and Survey 5: Painters and posters (1850 – 1895)
One of the original covers to the Grimm’s Fairy Tales collection.

Once Apon a Time

Grimm’s Fairy Tales is arguably the most influential collection of folklore to this day. There aren’t many people who can say they’ve never heard or seen any modernized iteration of the classic stories. Originally published in 1812 by the Brothers Grimm, Grimm’s Fairy Tales was a two-volume collection of 86 children’s stories. This is where iconic names such as Rapunzel, Snow White, as well as Hansel and Grettel came from. The stories were well received and over the coming years would expand from 86 stories to 210 with their rising popularity. 

“The Goose Girl” Illustrated by Heinrich Vogeler and one of the original 86 stories in the Grimm’s Fairy Tales.

A Change in Violent Tendencies

As time passed more stories were added in, but there were also many that changed due to public opinion. See, even though the stories were marketed towards children, they aren’t the type of stories you’d think of telling a child nowadays. Especially as the original 86 stories were blunter, and more tragic with often brutal and graphic descriptions of violence. The Grimm brother even added some concepts that were too complex and scholarly for kids to understand. This lead to some revisions in the later editions of Grimm’s Fairy Tales.

One of the first changes that happened was the rise in evil stepmothers. Originally, many of the stories simply used a wicked mother as the villain. Though, this wasn’t received well so they later changed any evil mother to an evil stepmother for their lack of “motherhood sacredness”. There was another issue with violence and mature themes being unsuitable for children. In many respects, those aspects were changed, but the violence was never truly toned down. In fact, it seems as if instead of lessening the violence, that brutality became redirected towards punishing villains. Yet, this must have been seen as more respectable for readers as there were no complaints or changes till Disney came along to create their line of animated adaptations. This is also where fairy tales got pushed into mainstream pop culture. Disney was also the force that came along and created the idea of a ‘happily ever after’, as before this there was no guarantee that the protagonist would come out the other side of the story unharmed. Grimm’s Fary Tales pushed the idea of narrating a moral lesson over providing happy endings. Disney didn’t completely remove the idea of a moral lesson from their stories but did significantly childproof them for the silver screens.

Illustrated by Arthur Rackham in the book the Grimm’s Fairytale 1917’s version of the story ‘The True Sweetheart’. One of my personal favorites from the collection of stories.

The Modern Influence and Legacy

Grimm’s Fairy Tales and most of their stories are talked about like common knowledge and referenced to likes of ancient Myths and Legends. Characters in the stories are considered iconic, they are referenced as notable archetypes and are the inspiration for many artists and storytellers to draw upon, sometimes without even knowing. Grimm’s Fairy Tales are deeply saturated in all forms of media and have a strong grip on pop culture. This is especially true, as recently Hollowood pushes the production of as many live-action re-makes of the Disney original cartoons as they can. No matter how good the movies are, or how closely they stick to the source material; they tend to do well as they feed on a strong sense of childhood nostalgia. This speaks volumes of how the stories are to this day able to be enjoyed by a wide audience of children and adults alike. There is a universal appeal to these stories like no other. They have the ability to adapt and evolve with time. They can change genre, and medium and still be well recognized by a wide audience. Whether it’s a painting, play, musical, dance number, movie, or even the one original Grimm’s story, they have and will continue to hold their place in history for people everywhere to enjoy.

Citations:

“Category:François Boucher.” Wikimedia Commons, https://commons.wikimedia.org/wiki/Category:Fran%C3%A7ois_Boucher.

Denecke, Ludwig. “Brothers Grimm.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Brothers-Grimm.

Kuiper, Kathleen. “Grimm’s Fairy Tales.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/topic/Grimms-Fairy-Tales.

Popova, Maria. “Arthur Rackham’s Rare and Revolutionary 1917 Illustrations for the Brothers Grimm Fairy Tales.” The Marginalian, 10 Oct. 2019, https://www.themarginalian.org/2016/02/29/arthur-rackham-brothers-grimm/.

Zipes, Jack, et al. “How the Grimm Brothers Saved the Fairy Tale.” The National Endowment for the Humanities, Apr. 2015, https://www.neh.gov/humanities/2015/marchapril/feature/how-the-grimm-brothers-saved-the-fairy-tale.

Image Citations:

Forgottenbeauty. “The True Sweetheart – Little Brother & Little Sister – Brothers Grimm – Arthur Rackham Art Board Print by Forgottenbeauty.” Redbubble, https://www.redbubble.com/i/art-board-print/The-True-Sweetheart-Little-Brother-and-Little-Sister-Brothers-Grimm-Arthur-Rackham-by-forgottenbeauty/33821322.TR477.

“Grimm’s Fairy Tales by Rackham, Arthur – Jonkers Rare Books.” Jonkers Rare Books – First Edition Books, Signed & Antique – Jonkers Rare Books, https://www.jonkers.co.uk/rare-book/9727/grimm-s-fairy-tales/arthur-rackham.

“The Goose Girl.” Wikipedia, Wikimedia Foundation, 30 Aug. 2021, https://en.wikipedia.org/wiki/The_Goose_Girl.

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141

Arnold Böcklin’s Nouveau Type

Typography Zine Project Rational on the Most Memorable Font from the Art Nouveau Era

In this assignment, I started off with a very strong idea of where I wanted to go with the project. I loved the research and aesthetic I built for the layouts. Unfortunately, I didn’t realize until much later that I picked a font that would not be subtle for the project. This was a major set back and in the future, I will be reading the briefs more carefully. For these setbacks, I will be giving myself a 7 for my personal score. The setback cause a time restriction and I feel I could have done more for this project. I did enjoy it when I eventually got to the font I’d end up using, Arnold Böcklin. The design choices came easy to me, as I love Art Nouveau and Alphonse Mucha, whose work help define the era. Art Nouveau was the theme for this zine so I used naturalistic shapes like arches in the patterns as many of the design choices done in Art Nouveau were inspired by nature. With that came a softer color pallet that I kept very minimal. I spent around 6 hours on the collective research and design portion of the assignment and have left with a better understanding of the intricacies of typography and the Art Nouveau.

My Arnold Böcklin typography design.
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121

Tiepolo and the Stories within Stories

Survey 2: Baroque, The Dutch Golden Age, Rococo, Neoclassicism, & Romanticism

“Allegory of the Planets and Continents” is regeared as Tiepolo’s greatest artistic achievement. It is both complex with the multitude of figures in dynamic poses that lead the viewer’s eye smoothly around the composition. The painting is packed with detail to create an allegorical message behind the piece. The figures represent both the four continents and members of the Greco-Roman that were often connected to celestial bodies. The way different characters in the painting interact each tells smaller stories within the larger piece.

Giambattista Tiepolo is the first name you will find on the list of the Venetian painters’ guild in 1717. He is also known as Giovanni Battista Tiepolo and was a notable Italian painter and printmaker who was often commissioned to create art for Germany and Spain during the Rococo era. His work commonly showcases popular Rococo themes as he often painted allegorical pieces of classical myths or incorporated layers upon layers of symbolism to tell stories within his art.

“An Allegory with Venus and Time” this oil painting represents the passage of time using Greek gods and their associations to illustrate the fable. This painting uses Rococo’s infamous softer pastel color pallet. Tiepolo also has a unique way he frames and crops his paintings. He often uses shapes, whether that’s blocks of flat color or detailed frames like the example above.
This is an example of some of the lesser-known works of his prints. Known as the “Half-dressed Nymph with two children, surrounded by four men”. I thought it would be interesting to dive into some of Tiepolo’s work in other mediums. I was looking to see the possible stylistic crossover between his printing and painting work. It’s possible that the sketches for his paintings could look similar in style to these prints as he uses etching techniques to create fine lines that imitate the look of pencils or ink on paper

Tiepolo’s paintings carried all the whimsy and decor expected from the Rococo era, even though his style is defined and said to be influenced by the earlier Baroque period. Many of the characteristics in his work can be attributed to incorporating Baroque techniques. This is shown in the sense of drama and movement he brought to each painting. He was almost able to direct his figures among the canvas like actors on stage, conceiving large scenes with genuine emotions and dynamic compositions. All of his work was completed in his signature melancholic style that Tiepolo achieved through the use of strong ‘chiaroscuro’. This can be seen in famous works of his like “Madonna of Carmelo and the “Souls of Purgatory” and especially in “The Sacrifice of Isaac”.

“The Sacrifice of Isaac” is one of Tiepolo’s fewer allegories from the Christain Bible. It’s a story about an angel that keeps Abraham from sacrificing his son Issac in a test of faithfulness. This is a looser painting in terms of brushstrokes, especially in the background. Yet it still uses softer colors and dynamic poses to convey a father’s conviction and faith. This is also the strongest use of chiaroscuro in his work.

I’m an avid lover of storytelling regardless of mediums, so over the process of this blog post, I’ve become a big fan of Giambattista Tiepolo’s work. I love to study the different techniques people use to get these stories across. Tiepolo used symbols to craft his own unique way of illustrating these stories. I love mythology and breaking down symbolism, so I found his work especially interesting research. His style reflected this love for telling stories, as though it’s complex and detailed, he also integrates the use of looser brushstrokes in his works. It seems almost as if he knows the exact quantity of detail and precisely where to put it to get the story of his artwork across in the most succinct way possible. I would like to be able to integrate this quality into my own work to improve my visual compositions and storytelling.

“The Apotheosis of the Spanish Monarch”, was created in 1716 through the use of oil on canvas. This painting was commissioned to be representative of the Spanish Monarchy, attesting to it’s its antiquity, military power, and preeminence among European royal families. This painting is packed with iconography and symbolism, as each figure is either historical, mythological, or allegorical. This is piece is truly a mosaic of stories and symbolism that pushes a larger narrative. It’s a fascinating painting to break down and is probably my favorite as I spent way too much time invested in attempting to understand all the symbolism. If you’re interested the website link below takes you to the MUSEO DEL PRADO’s breakdown of some of the key features in the painting, which I recommend as it adds a level of understanding to help you appreciate the piece further.
https://www.museodelprado.es/en/the-collection/art-work/vault-with-the-apotheosis-of-the-spanish-monarchy/6bd56ee8-029e-4534-ac84-c83292602d0b

Citations:

“The Banquet of Cleopatra – Giambattista Tiepolo – Google Arts & Culture.” Google, Google, https://artsandculture.google.com/asset/the-banquet-of-cleopatra-giambattista-tiepolo/wwFHnS1cmltkFw?hl=en.

Christiansen, Keith. “Giovanni Battista Tiepolo (1696–1770).” Metmuseum.org, Department of European Paintings, The Metropolitan Museum of Art, Oct. 2003, https://www.metmuseum.org/toah/hd/tiep/hd_tiep.htm.

“Giovanni Battista Tiepolo.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Giovanni-Battista-Tiepolo.

“Giovanni Battista Tiepolo.” Wikipedia, Wikimedia Foundation, 1 Sept. 2021, https://en.wikipedia.org/wiki/Giovanni_Battista_Tiepolo.

Metmuseum.org, https://www.metmuseum.org/art/collection/search/437792.

Metmuseum.org, https://www.metmuseum.org/art/collection/search/437815.

“Vault with the Apotheosis of the Spanish Monarchy – the Collection.” The Collection – Museo Nacional Del Prado, https://www.museodelprado.es/en/the-collection/art-work/vault-with-the-apotheosis-of-the-spanish-monarchy/6bd56ee8-029e-4534-ac84-c83292602d0b.

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141

Rococo’s Functionless Fashion and Art

Survey 3: Block books and baroque (1450 – 1750)

Arguably the most iconic and well-known art piece that came from the Rococo era. ‘The Swing’ is an 18th-century oil painting by Jean-Honoré Fragonard that perfectly encapsulated the Rococo ideals of light-hearted enjoyment, extravagant clothing, and the commonly used pastel colour pallets.

The Rococo period was defined by its extreme extravagance. The word ‘Rococo’ is derived from ‘rocaille,’ the french word that means a shell-covered rock decorating grottoes. Like many eras, the name was an insult or critique of the times’ main ideas and popular style. Rococo was seen as a movement with no substance. All elaborate ornamentation and no meaning or message. Critics of the movement look past all the glamour to see a plain grotto, except with no shells to decorate the cold exterior; leaving behind what is essentially just a dark and empty cave. 

Oil painting portrait of King Louis XIV in Coronation Robes. His alternate title (The Sun King) had this painting commissioned to the French painter Hyacinthe Rigaud in 1701. Louis XIV was known for his love and endorsement of arts within the Rococo period.

Even though many people didn’t appreciate Rococo, it is still recognizable and has become iconic. The style is commonly used in fashion, art, and media as a reference point to build off or for its romanticized setting. At the time, Rococo’s fashion, art, and architecture was established by its lavish indulgence, yet modeled after popular ideas of love, youth, and playfulness. Subjects of paintings consisted commonly of innocent lovers in soft pastel colour pallets. Artists typically depicted old myths in naturalist settings. The architecture was centered around gold details and intricate embellishments. The building became more theatrical, with high ceilings, curving lines, and an emphasis on asymmetry. Rococo fashion is known for frills and ruffles. Lace and layers were found in both men’s and women’s fashion. Hair was piled higher, and silhouettes stretched larger and more exaggerated in form. In essence, everything became way more fashionable and much less functional. 

Extravagant Rococo architecture, at the Hotel de Soubise in Paris, France. A great example of the detailed gold embellishments that line the ceilings.
An example of the frilly and highly embellished male garment, popular in the Rococo period. The waistcoat and vest encapsulate the dreamy and decadent quality found in the lavish silhouettes and ornamentation.

Overall, it was a very lighthearted and playful period well reflected in its various arts. Jean-Antoine Watteau and Jean-Honore Fragonard capture this well in their artworks. There was an emphasis on fashion as the Rococo period was also the first era where magazines came out. Articles were being designed and published to spread the word of notable fashion designers and artists. Even though like many periods in history, it’s important to recognize this is an era defined, enjoyed, and documented by the wealthy who could afford the iconic extravagance and luxury. Rococo created a lasting impression on arts and culture that can still be admired and enjoyed to this day.

Painted by François Boucher, this work is inspired by the myth, The Birth of Venus. this painting shows the popular fascination with mythology and lighthearted romantic qualities that defined Rococo art.

Citations:

Boundless. “Boundless Art History.” Lumen, https://courses.lumenlearning.com/boundless-arthistory/chapter/rococo/#:~:text=Rococo%20style%20is%20characterized%20by,myths%2C%20youth%2C%20and%20playfulness.

Editorial, Artsy, and Rachel Lebowitz. “10 Rococo Artworks You Should Know.” Artsy, 29 May 2018, https://www.artsy.net/article/artsy-editorial-10-artworks-defined-rococo-style.

“Rococo.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/Rococo.

“Rococo.” History of Costume, https://historyofeuropeanfashion.wordpress.com/tag/rococo/.Trapasso, Erica. “A Brief History of Rococo Art.” Artnet News, Artnet News, 10 Mar. 2015, https://news.artnet.com/market/a-brief-history-of-rococo-art-32790.

Image Citations:

“Category:François Boucher.” Wikimedia Commons, https://commons.wikimedia.org/wiki/Category:Fran%C3%A7ois_Boucher.

David, Georgianna and. “Hôtel De Soubise.” Parisian Moments, Parisian Moments, 23 May 2020, https://parisianmoments.com/blog-1/2018/hotel-de-soubise.

“Portrait of Louis XIV.” Wikipedia, Wikimedia Foundation, 6 June 2021, https://en.wikipedia.org/wiki/Portrait_of_Louis_XIV.

sartistacostume. “1700 Rococo Costume for Men.” Etsy, https://www.etsy.com/listing/613264667/1700-rococo-costume-for-men?ref=shop_home_active_13&epik=dj0yJnU9d0NEcmFqRElXR0dyV19Wc2J2QUU3dXQ2bURZWUVIa1kmcD0wJm49V0VndlBNUkVVVmw3ZjQwSVFmZVdkUSZ0PUFBQUFBR0Y2RE1j.

“The Swing (Fragonard).” Wikipedia, Wikimedia Foundation, 22 July 2021, https://en.wikipedia.org/wiki/The_Swing_(Fragonard).

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141

Mood Board Rational

Review on my Survey 3 Mood Board: Born from Criticism

I really enjoyed the research process within this project. I loved drawing historical connections between different major events. I thought it was fun to create interesting and (hopefully) witty titles, with equally interesting captions that attempt to tell a collective story. I went in with very clear mental depictions of each section on my Mood Board and their overall aesthetics. The most trouble I had on the project was probably the ideation portion of the assignment as I got lost in the research (mainly Rococo art and fashion), and wasted time researching information I knew I wouldn’t use. Aswell as I struggled to adapt to InVision at first, but got the hang of the software soon after. My projects focus was on survey 3, even though it might be the reason I dock myself half a point. I had more unique ideas and connections that I could have explored in other surveys; yet, out of the love for this time period I caved and choose to create my Mood Board on a more generic subject choice. The other half a point would be for the layout of my photos. The way each section is set up isn’t in perfect order to smoothly tell a readable story. My overall personal score is a 9/10. My overall time spent on the project is estimated to be around 6.5 hours.

Click here to view my Survey 3 Mood board Project: Born from Criticism: https://projects.invisionapp.com/boards/5A42YW76HZR/

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131

The Even-Tempered Raphael

Blog Post #1 – Late Gothic & Early Renaissance – High Renaissance & Mannerism.

Raphael’s self-portrait, oil on board. In this, he attempts to capture his own artistic persona. It’s a soft painting that cast his eyes downward. This with deeper shadows perfectly portrays his thoughtful and more polite attitude.

The famous Italian painter Raphael started out working under the mentor Perugino; a master painter in the high Renaissance, known for primarily religious paintings in tempera and oils on altarpieces or wood panels. Through his mentorship, Raphael was also able to master techniques such as sfumato, perspective, anatomy, and capturing emotions; these were key qualities that defined the high renaissance art style. Raphael was particularly known for using richer colors in well-balanced compositions as seen in his works like ‘The triumph of Galetea’,  ‘Disputation of the Most Holy Sacrament’, ‘Transfiguration, and my personal favorite ‘The School of Athens’.

The fresco painting ‘The Triumph of Galatea’, is based on the Greek myth of Galatea and Pygmalion. A great example of Raphael’s capturing emotions and his use of brighter pigments. It helps portray the narrative and moral of idealized forms and love towards artistic creations in the original myth.

Though these works highlight his greatest technical skills they don’t portray the qualities Raphael possessed that set him apart from other painters in the high Renaissance. Raphael’s arguably greatest skill accounts for his even-temper and tenacious work ethic to improve. He was comparably easier to work with and more well-mannered than the other great artists of the time such as Michelangelo and Leonardo DaVinci. Though in comparison he started off at a disadvantage technically, his soft skills of being able to work well with patrons gave him a great advantage in his career. His work ethic to improve is both inspiring to myself and the reason I choose to do further research on this painter. His technical skill is equally amazing but his tenacity to improve is a quality that I value deeply. It greatly paid off for Raphael, as he is now one of the most influential figures that defined art in the High Renaissance.

 ‘The School of Athens’ is a large fresco that adorns the walls of the Apostolic Palace in the Vatican. The painting contains some of the most influential thinkers and creators of the High Renaissance. This shows Raphael’s master over perspective in his almost effortless compositions.
Raphael’s, ‘Transfiguration’ uses dynamic forms and emotion help to narrate the biblical story. The figures have an almost sculpted quality through the use of sfumato. This piece also contains higher areas of contrast than his others. It was completed using Temura on wood in the Vatican city.
‘Disputation of the Most Holy Sacrament’ is another example of Raphael’s ambition with the number of figures he adds to his paintings. He also showcases once again his understanding of perspective and creating depth within beautifully composed compositions. This painting was completed using fresco in Vatican city.

Citations:

Carrigan, Margaret. “The 10 Best Artworks by Raphael, Seraphic Genius of the Renaissance-Ranked.” Artnet News, Artnet News, 10 Aug. 2017, https://news.artnet.com/art-world/10-greatest-artworks-raphael-seraphic-genius-renaissance-ranked-1047047.

Gombrich, E. H. The Story of Art. 16th ed., Phaidon Press, 2021.

“Raphael Paintings, Bio, Ideas.” The Art Story, https://www.theartstory.org/artist/raphael/#:~:text=Raphael%20not%20only%20mastered%20the,that%20was%20distinctly%20his%20own.

“Raphael.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Raphael-Italian-painter-and-architect.

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141

The King Who Conquered Death

The Epic of Gilgamesh: Survey 1 Blog Post (35,000 BCE – 0 CE)

The First Story 

The Epic of Gilgamesh is, to this date, the earliest surviving written text. Created sometime around 2000 BCE in the Sumerian language of Cuneiform, engraved on clay tablets with a reed stylus. This Epic poem is the foundation for modern-day storytelling and some of the first-ever use of literary tropes. Yet, they aren’t the aspects that make this story so relevant to the modern-day. To understand why you need to understand Gilgamesh’s journey. So a brief spoiler alert for quite literally the oldest story in history.

An example of the Mesopotamian language of Cuneiform on a clay tablet.

A Pretty Epic Poem

It’s hard to summarize this Epic into so few words, but it starts with the King of Uruk, Gilgamesh. Gilgamesh is a terrible person and even worse king. He’s three-fourths god (no, the math doesn’t add up) and cannot come to terms with his mortality. His people hate him and his tyranny, so they pray to the gods for help. In return, the gods crafted Gilgamesh an equal; his name was Enkidu. Enkidu challenged Gilgamesh to a fight. But, being equal in strength, the battle ceased into a stalemate. Gilgamesh was impressed, and with a newfound respect for Enkidu, they became fast friends. Enkidu taught Gilgamesh to be a better person, and eventually, the horrible ruler became a more beloved king. Together they decided to test their strength against the fearsome giant named Humbaba, and together the new friends slew the beast. Upon their return home, Gilgamesh and Enkidu were by with the goddess Ishtar, who proposes herself to Gilgamesh. He refuses her advances, and the infuriated Ishtar sends the Bull of Heaven to rampage the city and kill both the heroes. Once again, with the power of friendship, they both slay the bull. Unfortunately, the gods are outraged that the Bull of Heaven has been killed and decided someone must pay for this. Enkidu falls sick the next day and dies seven days later to repent for the massacre of the bull. Gilgamesh is stricken with grief that his best friend and equal have passed. He contemplates his mortality and, being unable to cope with being one-fourth human, Gilgamesh ventures out searching for a way to cure his mortality and live forever. He searches long and hard and works himself into sickness. When he finds something, it’s the immortal Utnapishtim; he offers Gilgamesh immortality if he can pass one of the trails. Unfortunately, due to his weariness from his desperate search, Gilgamesh isn’t able to complete the first task but eventually is able to obtain the fruit of immortality. On his journey back, Gilgamesh loses the fruit to a snake and gives up, returning to his kingdom empty-handed and mortal.

Gilgamesh slaying the beast Humbaba.

The Hero’s Journey

The Epic of Gilgamesh was the foundation for storytelling and modern literature. It created a variation of what would come to be known as the Hero’s Journey, a storytelling format, and many common story elements that would become modern tropes in entertainment. Yet, it’s still a debate if Gilgamesh was truly even a hero. Gilgamesh was generally disliked for very valid reasons. Throughout Gilgamesh’s story, he is a terrible person. He was a tyrant and committed multiple unforgivable crimes against his people and the gods. He never did anything to help anyone other than himself and got his only friend killed in the process. Not to mention he failed his most important task, the one thing he cared about, gaining immortality. Some might argue for these reasons he’s not a hero at all; and, they’re probably right. Yet, I don’t think that was the point of the story. It is generally known that Mesopotamians had a very negative view of the afterlife; this is reflected in Gilgamesh’s story. He wanted to escape his human faults and weakness; he wanted to escape death. Gilgamesh wants to be immortal, but once he returns to Uruk empty-handed, he is left with nothing but his human mortality. Gilgamesh may have fallen to his hubris and failed most of his tasks: but, in the process, he gained knowledge. He was undeniably very flawed but recognized his mistakes and grew past them to live a better life till his eventual death. He never conquered death, just the idea of it. He conquered the thought process that made death ruin his life. It was his limitations that made him a human, yet it was these same flaws that defined him as a hero. Which is an old lesson that many people could learn.

Carved statue of the Hero Gilgamesh, created in the late 8th century.
Citations:

Agrawal, Pulkit, and Yanping Zhang. “Harvard Wiki.” The Epic of Gilgamesh – Pulkit Agrawal – Literature 114 (Spring 2014-2015) – Harvard Wiki, The President, and Fellows of Harvard College, 10 May 2015, https://wiki.harvard.edu/confluence/display/k104639/The+Epic+of+Gilgamesh+-+Pulkit+Agrawal.

Bryant, Dewayne. “Epic of Gilgamesh.” World History: A Comprehensive Reference Set, edited by Facts on File, Facts On File, 1st edition, 2016. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/fofworld/epic_of_gilgamesh/0?institutionId=6884. Accessed 30 Sep. 2021.

Dixon, Kevin H., and Kent H. Dixon . “The Epic of Gilgamesh.” Sevenstories.com, 5 June 2018, https://www.sevenstories.com/books/4052-the-epic-of-gilgamesh. 

O’Neal, Michael J. ““EPIC OF GILGAMESH”: DOCUMENT ANALYSIS ca. 1300 BCE.” Milestone Documents of World Religions, edited by Grey House Publishing, Salem Press, 2nd edition, 2017. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/greymdwr/epic_of_gilgamesh_document_analysis_ca_1300_bce/0?institutionId=6884. Accessed 01 Oct. 2021.

Images Citations:

“The Forum, Unlocking the Mysteries of Cuneiform Tablets.” BBC World Service, BBC, 30 Nov. 2020, https://www.bbc.co.uk/programmes/w3cszjwd. 

Escabias, M. “‘The Epic of Gilgamesh’. an Epic Poem from 2.500 BC. Incredibly Current.” Actualidad Literatura, Actualidad Literatura, 25 Sept. 2018, https://www.actualidadliteratura.com/en/the-epic-of-gilgamesh-an-epic-poem-from-2-bc-incredibly-current/.

“Harvard Wiki.” The Epic of Gilgamesh – Pulkit Agrawal – Literature 114 (Spring 2014-2015) – Harvard Wiki, https://wiki.harvard.edu/confluence/display/k104639/The+Epic+of+Gilgamesh+-+Pulkit+Agrawal.