Art History Study Notes

artificerry Hist. Review Ancient Grecian Art and Arch. (600 BCE-30 BCE) The Early untarnished Period 480-450 BCE 5. 23 KRITIOS BOY Acropolis, Athens 480 BCE -Marble -He is self confident and serious looking -He is a sculpture in the rhythm -The artist is believed to be KRITIOS -The statue has an S-curve to him and is in the contrapposto pose, which is when artists use tension and relaxation around the central axis of the trunk to increase to muscular tension and conjure up the musculature of a be. It is shown here because his incubus is entirely on the re main(prenominal)ing pluck, cau darknessg his hip to jut out.His proper knee is slightly bent grass and he has a slight drop in his shoulders. -The artist as well as made a point to engage his head slightly turn to hint that the viewer should compact in the entirety of the piece. High unsullied Period 450-400 BCE 5. 29 ACROPOLIS, ATHENS 447-432 BCE -In the High classical dot which save lasted a fractional-cent ury and set the standards for art and architecture. There was also turmoil mingled with the Spartans and the Athenians in this time period which was referred to as the Peloponnesian War. -Acro heart and soul luxuriously and polis means city. The Acropolis of Athens was once con alignred a fortress and sanctuary exactly was later turned into a religious and ceremonial occasion centre for genus Athene the cities patron and protector. -It was destroyed by Persian troops in 480 BCE and was red ink to be left field and a memorial site of ruins but Perikles convert them to rebuild it. 5. 31 Parthenon, Acropolis Athens 447-432 BCE -KALLIKRATES AND IKTINOS -Pantelic Marble -Has the pediment, frieze, triglyph, metope, architrive, abacus, mechinus and necking -Athens, Corinth and Sparta. Depicted gods and goddesses who they believed were eternal and super intrinsic -Sanctuaries for gods and goddesses in assortment of outdoor extrapolatesreplaced by temples integrated into natural s ite -temples decorated with ceramic sculptures -mathematical proportions which artists use to convey structure and launch 49 ratio 42+1 -human value of truth virtue and harmony -High classical period -plain capital -temple employ to Athena -stylobate floor columns rest on and stereobate foundation itself -post and lintel body -entasis columns slightly swell in the middle -Doric order plain capitals peace, successfulness and power by dint of the create projects -transport wood, favourable, marble and ivory -sculptures celebrate the Greek victory all over Persians 5. 32 EAST PEDIMENT OF THE PARTHENON 447-432 BCE (ATHENS) High Classical period 450-400 BCE -Sculpture in the round fill up both pediments of the Parthenon -illustrated the birth of Athena, fully gravid and clad in armor, from the brow of her father Zeus. -The statues from the west pediment atomic number 18 the beat preserved of the both. -besides Zeus and the sweetborn Athena be three goddesses followed by a single reclining male figure who could be Diomysos or Herakles. In the left corner was Helios (sun god) in his horse-drawn chariot rising from the sea and to the reclaim the moon god Selene desc abates in her chariot to the sea. -The trial female figure in the center is Iris the messenger of the gods. P. G. 134 gig BEARER (DORYPHOROS) 450-440 BCE (NAPLES) -POLYKLEITOS -Marble -developed canon of proportions system of measurement utilize to determine the proportions of the body -contropposto pose is balance and counterbalance unmatchable foot bearing encumbrance and mavin not bearing the weight.In this case his right foot is the one bearing all the weight of his body while the left foot is relaxed. -It is said to be the hero Achilles -Theorists believed that the basic unit was the length of the figures abi illumey finger or the width of the figures hand a flub the knuckles others call in it was the height of the head from chin to hairline. -S-curve -High classical period -spear be arr, idealized, exaggerated The latterly Classical Period 400-323 BCE 5. 46 MAN SCRAPING HIMSELF (APOXYOMENOS) 350-325 (VATICAN) -LYSIPPOS -Marble sculpture -Done in the late classical period male nude athlete, which is a usual Classical subject -This is a sculpture in the round that depicts a young athlete later on his workout removing dirt and oil from his body with a tool called a strigil. -Has a different canon of proportions than The spike Be arr. -His head is smaller in proportion to The Spear Bearer and his legs are spread further apart to counterbalance his outstretched arms. -There is a marked S-curve to his posture. -The arms break free into the surrounding piazza inviting the viewer to take in the entirety of the piece. The Early Roman Empire 27 BCE-96 CE P. G. 76-177 ARA PACIS AUGUSTAE 13-9 BCE -Ancient roman art -Dedicated to Augustus triumphant return from the capital after three years of establishing Roman rule in Gaul and Hispania. -It was aline with a giant sundial. -it contained propoganda of portraiture and allegory, religion and polotics and the private and the public. -on the inside of the alter there are foliate garlands susp stop in swags from ox skulls, which symbolize sacrificial fling at the alter during annual commemorations and garlands signify the go along peace and prosperity brought to the Roman world by Augustae. Augustaes royal Family is visualised on the south side of the Ara Pacis and represent his across-the-board family, possibly Marcus Agrippa (far left) who might have been his successor. The child pulling at Agrippas robe is possibly Agrippas son Gaius Caesar. The women next to Agrippa on the right may be Augustus married woman, Livia who grasps her younger sons hand (Germanicus) who is in beside Tiberius (the next emporer). tush Tiberius is Antonia, Augusts niece who looks at her husband Drusus (Livias younger son). -Pax Romana Roman Peace -pointifex maximus full(prenominal) priest 6. 34 & 6. 5 FL AVION AMPITHEATER (COLOSSEUM) 70-80 CE (ROME) -Tuscan fathom -Ionic middle -Corinthian on top -It was called the colosseum because the statue of Nero called the colossus stood next to it. -seating was by locate begin the rank higher you sat -Early Roman Empire -Flavion dynasty -begun on a lower floor Vespasian finished on a lower floor Titus -soldiers would fight animals -tiered seating with good sight lines from where you sit. -Top level covered by and onning -top story in referred to as attic -cartouche shield shaped ornaments -look at Roman arches High Imperial Art of Trajan and Hadrian 6. 38 MODEL OF majestic beard ROME 324 CEColosseum, Temple of Venus and Rome, Arch of Titus, Basilica of Maxentius and Constantine, Rorum of Vespasian, meeting place of Augustus, Forum of Julius Ceasar, Rostrum, Forum of Trajan, Basilica Ulpia, Colmn of Trajan, Patheon. 6. 45 THE PANTHEON 118-128 CE (ROME) -It was reinforced for the all the gods -built by Marcus Agrippa son in law of August us -it has a giant rotunda surmounted by a huge, bowl-shaped dome. -the oculus that allows light into the rotunda building shows a pattern-like administration when looking up at the coffers in the domes ceiling. -Corinthian columns -optimus is a skylight or opening in dome corticoid of columns -Exadraie break for the statues rectilinear and rounded arches -made out of brick and concrete (powdered lime, small rocks, pebbles, rubble) -produced during high regal period -Hadrian oversaw building of this he admired Greek art and arch. -podium or steps in front of building that lead to porch -Rotunda and dome -Pantheon means all the gods Early saviorian Art P. G. 228 OLD ST. PETERS BASILICA 320-327 (ROME) -It is a longitudinal-plan church service buildinges are characterized by a forecourt, the atrium, leading to an fascinate porch, the narthex, which spans one of the buildings short ends. The nave can be lit by windows along its upper level just under the clerestories, called a cle restory above the aisles roof. -At the opposite end of the nave from the narthex is a semicircular projection, the apse, which functions as the buildings focal point where the alter, raised on a platform. -plan is known as the Latin cross CHURCH OF SANTA COSTANZA 350 (ROME) -This church is a central-plan church, which were first used by the delivererians. -Central planned churches have an atrium, a narthex, and an apse. It has a central more vertical axis from the center up through the dome, which may have functioned as a symbolic neglect of paradise. 7. 15 ORATORY OF GALLA PLACIDIA 425-426 (RAVENNA) -It is one of the earliest surviving Christian structures in Ravenna is an oratory, which is a small chapel service). -Its named after Honorius half-sister Galla Placidia. -Galla Placidia was the daughter of Western Roman Emperor, the wife of a Gothic queen mole rat and the mother of Emperor Valentinian. -This small building is cruciform, which means cross-shaped. -Each arm is covere d with a Barrel vault and a pendentive dome covers the square base at its center. it is designed to make you incur as though you are walking from the real world to the weird world as you walk into the interior of the church. -the upper bulwarks are filled with standing apostles, gesturing like orators. Eternal spiritedness in heaven is symbolized by doves flanking a small fountain between the apostles. -The Marter caries a cross over his shoulder like a trophy gesturing towards the fire-engulfed grill he was roasted on martyrdom. The Gospels are to the left signifying the faith for which he gave his life. 7. 16 THE GOOD SHEPARD 425-426 (RAVENNA) Jesus is an adult emperor wearing olympian and opulent royal robes. He wears a flamboyant halo and carries a halcyonen staff that ends in a cross to represent his purple majesty. -Christianity was the official state of religion for the 45 years this is why the artist chose to depict Jesus in the mosaic. Early knotted Art 7. 17 CHUR CH OF HAGIA SOPHIA 532-537 (ISTANBUL) -ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS -means Holy Wisdom -It was rebuilt after a devastating gross out that killed 30,000 people set fire to the old church burning it to the ground. -Anthemius and Miletus rebuilt the church in just 5 years longitudinal and central architectural planning -flanking conches-semi domes-extend the extend central space into longitudinal nave with the narthex on one end and the half dome of the sanctuary apse on the other. The core called the naos is flanked by side isles and galleries overlooking the naos. 7. 20 CHURCH OF SAN VITALE 520 (RAVENNA) -Ecclesius bishop of Ravenna commissioned 2 new churched one for the port and one the city. -A martyrium is a church built over a grave was dedicated to 4th-century Roman martyr St. Vitalis in the 520s -central domed octogon with circular rooms flanking the apse. the church and palace are joined by a separate oval narthex and access to molybdenum floor gallery. -It has a double set of doors leading into the church. 7. 21-7. 22 rescuer ENTHRONED, FLANKED BY ANGELS, ST. VITALIS AND BISHOP ECCLESIUS 547 ( RAVEENA) -Early Byzantine Art -Christ is flanked by St. Vitalis and Bishop Ecclesius. -Christ appears dressed in imperial purple and en reard on an orb of paradise, which is evident because of the 4 rivers that flow at a lower place him. -two winged angels flank him, like imperial bodyguards or attendants. -Christ holds a spiral with 7 seals at his Second Coming at the end of time. he offers a crown to martyrdom (far left) labeled by St. Vitalis. -Bishop Eucclesius holds a modelling of the church offering it to Christ. 7. 23 EMPEROR JUSTINIAN AND HIS ATTENDANTS, NORTH WALL OF apse 547 (RAVENNA) -Early Byzantine Art -Justinian carries a mammoth golden paten that will be used to hold the Eucharitic Host and stands beside Maximianus, who holds a gold jewel crusty cross. The priests to the right hold carry the Gospels, in a golden jewel book that symbolizes the coming of Word, and a censer with burning incense to purify. 7. 24 EMPRESS THEODORA AND HER ATTENDANTS, SOUTH WALL OF THE APSE 547 (RAVENNA) -Early Byzantine Art Theodora wears a golden halo and elaborate crown while she stands under a fluted suit canopy, she carries a jeweled golden chalice. -The rulers present these vests as offe sound to Christ -At the bottom of Theodoras cloak the three Magi who brought gifts to Jesus are depicted. -Revolves around themes of offering -They stand beside a fountain and the open doorway and curtain are space-creating devices. 7. 35 christ PANTOKRATOR AT CREST OF CENTRAL DOME, WITH SCENES FROM THE LIFE OF CHRIST IN THE PENDENIVES, (GREECE) LATE 11TH CENTURY -Early Byzantine Art The video of the Pantokrator is at the centre of the dome like a divine surveyor. -Christ blesses the requisition with one hand and clutches a massive book in the other. -In the corners piers are four signal life episodes promulgation, parturition, Baptism and Transfiguration. 14. 13 14. 14 rook CHAPEL OF CHARLEMAGNE 792-805 (GERMANY) -The Carolingian Empire Was Charlemagnes private place of worship. -central octagonal plan with a monumental western entrance block. -It used westwork, which is a structure combined with a ground-floor narthex and an upper level throne room that opened onto the chapel interior. It also opened outside into a large walled forecourt. The core of the chapel is skirt by and ambulant and a gallery on the second floor which rises to a clerestory under the dome and above the gallery. -There are Corinthian columns on the gallery level. -This chapel was clearly exhortd by Byzantine Architecture with the mosaics and patterned multi-colored stone. 14. 16 SAINT GALL PLAN 817 (SWITZERLAND) -The Carolingian Empire -At the center of the paragon Gall Plan is the cloister, which is an enclosed courtyard which opens all the buildings that are roughly central to the lives of the monks. the large basilican c hurch to the north of the cloister is where monks would gain ground for communal prayer throughout the day and night. -on the north side of the church there were public buildings. -the monks living quarters were off to the southern and easterly sides of the cloister with the dormitory, refectory and work rooms. the kitchen, brewery and bakery were attached to the refectory and a huge cellar was on the west side. -Along the East edge there is a hospital, cemetery, and an educational center. 14. 24 DOORS OF BISHOP BERWARD 1015 (GERMANY) -Bronze doors are more than 16 feet tall. Ottonian Europe -cast in the illogical wax process -the left side depicted scenes from the Hebrew parole and the right was scenes from the new testament. -It depicts life in paradise, the fall, life in the new world and Eves children on the left and Promise of go on to Paradise, The passion, Infancy of Jesus and Marys child on the right. -all depicted in low relief Romanesque Art in the Roman sort P. G . 458 THE PILGRIMAGE ROUTES TO SANTIAGO DE COMPOSTELA -In the 11th and twelfth centuries religious pilgrimage became in truth popular in Western Europe. 15. 7-8 THE ABBEY AT CLUNY 1088-1130 (FRANCE) in the 2nd half of the 11th century there were 200 monks in residence. -The cloister is at the center of the monastic community joining the church with domestic buildings and workshops. -it had intricately carved capitals and relief sculptures on the piers. -it may have been to direct and inspire the monks thoughts and prayers. -Cluniac monks observed the traditional 8 hours of the Divine Office spread over the day and night. -The church was a basilica with five aisles, double transept with chapels and an ambulatory and radiating chapels around the alter. The nave had a three part elevation -it had pointed arches with Classical ornaments. -there were clerestory windows in individually bay and a pointed barrel vault with transverse arches. 15. 9 -10 NAVE, ABBEY CHURCH OF NOTRE-DAME, FONT ENAY 1139-1147 founded by St. Bernard of Clairvaux no interior ornamentation because he believed it would be a distraction to the monks Cistercians led a actually austere simple life Romanesque means in the Rome trend Feudalism lords owned lands loaned to Basils and bellow Basils were Peasants Building has simplicity, austerity Windows symbolize the dedicated trinity- father, son and the holy ghost Cloister is where the monks gathered Simple geometric plan with a long bay-divided nave, rectangular chapels off the square ended transept arms and a shallow choir. There are pointed barrel vaults over the nave and pointed arches in the nave arcade and side isle bays. 15. 22 SOUTH approach AND PORCH, SHOWING CHRIST IN MAJESTY, PRIORY CHURCH OF SAINT-PIERRE, MOISSAC 1115 (FRANCE) -Christ in Majesty dominates the kettledrum and is a visual of the Second Coming in chapters 4 and 5 of the Revelation. He is enclosed by a mandorla and a halo rings his head -the four winged creat ures symbolize the evangelists, Matthew the man, Mark the lion, Luke the ox and earth-closet the eagle. -rippling bands may represent waves in the sea of class like quartz THE LAST JUDGMENT TYMPANUM AT AUTUN 1120- 1130 (FRANCE) -GISLEBERTUS -Inscription in Latin on Christ -Mary is enthroned as Queen of heaven and St. Peter bellow is shown with the large keys slung over his shoulder as heavenly gatekeeper. -angel pushes the saved into open archway and into heaven another figure stands beside the angel impatiently waiting to be hoisted up as well. cross and scallop shell identify two bottom figures as former pilgrims and will be a element in their favor at the last judgment. -hell is represented as a Basilica with the devil emerging capturing sinners for eternal torment -he uses a exquisite hook to capture luxuria who is the personification for lust. Gothic Art of the 12th and 13th Centuries 16. 6 WEST FACADE, CHARTERS CATHEDRAL 1134-1260 (FRANCE) -dedicated to the virgin Mary it s main treasure is a piece of cloth said to have been ill-defined by the virtuous Mary when she gave birth to Jesus. -It was a gift from Byzantine Empress Irene to Charlemagne surrounding the three doors is the Royal gateway used for important ceremonial entrances -the middle tympanum Christ enthroned in majesty returns at the end of time surrounded by 4 evangelists. The apostles in 4 groups of 3 fill the litel while 24 elders of the Apocalypse line the archivolts. -The right adit is dedicated to the Incarnation and shows Mary in the early life of Christ -in the left portal is the Ascension where Jesus floats up in a cloud supported by angels. -On the top of the three portals Jesus life on earth is depicted in a series of communicative scenes. abilitys, Queens and prophets from the Hebrew bible are what give the Royal Portal its name. 16. 10-11 NAVE & PLAN,CHARTERS CATHEDRAL 1194 (FRANCE) -Romanesque pilgrimage plan -became typical Gothic structure -it used pointed arches, rib bed groin vaults and flying buttresses. -upper level was now a triform or else than a gallery -the large clerestory windows are formed with lancets that have small circular rose windows done by plate tracery-holes attenuated in wall replaced with stained glass 16. 12 THE GOOD SAMARITAN window 1200-1210 (CHARTERS CATHEDRAL) -On sin and salvation and is Gothic narrative art -Jesus told his followers to discover a moral truth it is a parody for Jesus salvation for humanitys sins -Adam and Eves fall introduce sin into the world and Christ rescues humanity from sin -figures characterize gothic figures because of their dancelike postures 16. 13 ROSE WINDOW AND LANCETS (CHARTERS CATHEDRAL FRANCE) 1230-1235 -quatrefoils are four lobed designs in spite of appearance the rose itself The North Rose and its five lancet windows were a gift from Queen Blanche of Castille in 1230. -The rose window depicts the Glorification of the Virgin Virgin and Child surrounded by doves and angels, then sr. Testament kings and Old Testament prophets. Lancets, from left to right Melchizadek and King Saul King David and King Jeroboam St Anne and the infant Mary with the arms of the Royal House of France King Solomon and King Nebuchadezzar Aaron and Pharaoh. 16. 14-17 THE CATHEDRAL OF NOTRE-DAME IN REIMS 1211-1428 (FRANCE) -finished under Philip the Fair -five master masons enjoin the work over a century. -Mary is featured in the central portal, because of the developing popularity of her cult. -Christ crowns her as queen of heaven in the central gable. -the gallery of kinds is the besides horizontal element of the facade.WEST FACADE -It depicts Visitation and Mary on the left and Elizabeth pregnant with St. prat the Baptist on the right. -the figures are in contrapposto pose because their weight is shifted to one foot as they turn towards each other. -Villard highlighted an innovation that was the exploitation of bar tracery, where thin stone bars called mullions are inserted i nto the wall to form a lacy framework for the stained glass. 16. 31-32 PULPIT 1260 (ITALY) -NCOLA PISANO Corinthian columns -elevated and are carved in design of animals -gothic trefoil arch and 6 sided rostrum enunciation angle of Gabriel announces that Mary is pregnant with Christ -classical and naturalistic style -New Testament Subjects -Each panel narrates several continuous scenes such as Annunciation, Nativity and Adoration of the Shepherds. 16. 33 NATIVITY 1302-1310 (PISA) -GIOVANNI PISANO deeply carved setting -Mary gazing at her baby as the midwife below her prepares the bath for the child. -Sheep, shepherds and angels spiral up towards the trees to the right -it is as dynamic as Nicolas is static. Fourth carbon Art in Europe 17. 5 VIRGIN AND CHILD ENTHRONED 1280 (FLORENCE) -CIMABUE -tempera and gold on wood panel the Virgin and Child are surrounded by angels and places a row of Hebrew prophets below them. -Mary is depicted in hierarchy and holds Jesus on her lap. she looks at the viewer while gesturing at her son. -her throne is bronze with enamels and gems inset and provides framework for the figures. He uses thin gold lines to highlight the drapery of the figures to give them a sense of divinity. -he gives naturalistic transport and dimension to his human figures. 17. 6 VIRGIN AND CHILD ENTHRONED 1305-1310 (FLORENCE) -GIOTTO DI BONDONE tempera and gold on wood panel -painted for the church of Ognissanti figures are in a symmetrical composition and use the hierarchy scale like Cimabues Virgin and Child Enthroned. -Mary takes up a large amount of space and overwhelms her Gothic throne. -the halos also overlap the faces of the figures in the background -she holds her childs leg instead of pointing to him. -he has created a better sense of dimension compared to Cimabues -the angels are foreshortened and project towards us. 17. 7 SCROVEGNI (ARENA) CHAPEL 1305-1306 (PADUA) -GIOTTO DI BONDONE -fresco -he covered the entrance wall with The Last Jud gment and the sanctuary wall with 3 scenes from the life of Christ. The Annunciation spreads over two painted architectural frameworks on either side of the opening to the sanctuary. -below and to the left of this is the scene of Judas getting payment for betraying Jesus and to the right the scene of Visitation where Mary pregnant with God is with Elisabeth who is pregnant with John the Baptist. -Colors complement each other, which is supposed to make the viewers relate them to each other -there is a grisaille which is a painting done in all grays -paint replicated marble and carved medallions on vertical bands -portrait disks float like zealous moons in the blue sky. 17. MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION AND RESURRECTION/NOLI ME TANGERE 1305-06 (PADUA) -GIOTTO DI BONDONE -fresco -scene from Christs life -top left Jesus performs his first miracle, at the nuptials feast at Cana turning water to wine and the wine-steward sips it. -to the right is the fostering of La zarus where figures twist in space using gestures they react to the drama by pleading for the help of Jesus. Jesus eyes are locked on Lazarus. -on the lower left register is Jesuss followers grieving over his breathless body in a circle of grief. Mary holds her dead son and John flings his arms back in despair and hunches over the corps. 7. 9 KISS OF JUDAS SCROVEGNI (ARENA) ITALY 1305-06 -GIOTTO DI BONDONE -fresco the mark of betrayal that shows the first step to agony for Jesus. -they are slightly off-center in the foreground. -Judas wears the same outfit as in the scene of payment for his betrayal and looks as though he completely swallows Christs body. -faces glare from all directions -Jesus is calm hostile the figures in the rest of the scene. -Peter is seen lunging forward to cut off the ear of a member of the arresting retinue. -The scenes of cloth compress the chaos into the picture as if to protect the viewer.