EXAM REVIEW

STUDY GUIDE     

Your study guide should be a concise synopsis of the chapter which you have been assigned to cover.  It should be 1 page, 2 pages maximum for those larger or double chapters.

Your study guide should include:

The format in which you choose to present your information is completely up to you. 
I will be compiling the study guides to make a larger packet for you all to review with for the exam.
You will present your information in class as we go though the chapters on Monday and Tuesday.

 

SAMPLE STUDY GUIDES FROM 2000              

Mrs. Casto- Chapter  The Birth of Art p. 24 - 39

Emily - Chapter 11: Early Christian p. 256 - 279
             Chapter 17: Romanesque Art p. 378 - 461

Joanna - Chapter 2: Ancient Near East p. 40 - 63
                Chapter 12: Byzantine Art p. 284 - 317

Spencer - Chapter 3: Egyptian Art p. 64-97
                  Chapter 13: Islamic Art p. 318 - 343

Corbin - Chapter 4: Aegean Art p. 98 - 115
               Chapter 16: Medieval Art p. 344 - 377

Jessica - Chapter 5: Greek Art p. 116 - 183

Kelly - Chapter 9: Etruscan Art p. 184 - 197
            Chapter 18: Gothic Art

Kameron - Chapter 10: Roman Art p. 198 - 255

 

PREHISTORIC ART

OLD STONE AGE / PALEOLITHIC 35,000 - 7000 BC

Paleolithic begins when the Ice Age ends in Europe, whose climate at the time resembled Alask.  Wooly mammoths, herds of reindeer, and herbivores roamed the plains. The people were nomadic; they roamed the earth carrying possessions following the herds on which they depended for survival. All art is based on their lives and environment.

CAVE ART
When they could, they were cave dwellers or lived under stone overhangs that would provide protection from weather. Cave art is exemplum of the beginning of the history of human intelligence, imagination, and creative power. These Stone Age peoples invented representation.

Cave art remains because the caves have remained sealed. Exposure to air leads to the beginning of their end because of calcification - stalactites and stalagmites

Altamira, Spain Dead Bison c. 14,000 - 12,000 BC

Discovered in 1879 in northern Spain when a man was exploring his property with his daughter. The artist has chosen a specific point in the life of the animal, his death. The head lays heavily on the ground as the bison collapses in agony. Not merely depicting a type, but a specific animal at a specific moment.

Painted using outline and shading for three-dimensional effect- lifelike and animated.

Lascaux, France Axial Gallery c. 15000 - 13,000 BC (c. 13,000 BC)
Discovered in 1940 when boy's dog fell into a hole.
6 chambers with over 150 paintings and 1500 engravings.

Hall of Bulls - Contains ourochs, bear, bison, cow, and a unicorn

Specific pattern to the placement of the animals.
Unicorn guards the door.
Find the presence of a ground line. PLANNED space

Axial Gallery - Chinese Horse

Painted on a curved ceiling. The images way above head level. How was it created? Scaffolding! Presence of carved recesses aligned opposite each other on the walls below the animals. Sat on cross beams.

ARRANGEMENT: Using the surface of the rock to determine the placement of the animals. Connecting form and contour. Using natural concavities and convexities, cracks, etc. Intensive imagination, decision making and planning.

Naturalistic approach both in composition and design - Convincing poses and action: eating, running, and dying.

Trick perspective: head and parts in profile with some parts in 3/4 or full frontal view for identification.

MEDIA USED: Earth pigments, clay, crushed soft stones mixed with animal fat - semi resistant to water. Dappled look created by liquid or powder blown onto wall to create negative images (1-6), an advanced artistic concept.

METHOD: How did they see in these dark spaces? We know they used torches and stone lamps for lighting. Made from animal fat using moss or juniper wicks

PURPOSE: Not random drawings! Created for a specific purpose. Excavation in Lascaux proves that they did not live in the cave. Too cold, narrow and damp for dwellings. Paintings not found in light accessible areas. No traces of daily remains found so must have been used for specific rituals and probably not accessible to the general prehistoric population - perhaps medicine man or spiritual leader - ALL SPECULATION

    1. Magic ritual to assure a successful hunt. Often find spears of darts pointing at the animals, plus the fact that images have been superimposed upon one another suggesting on time use. May not have distinguished between image and reality thus believing that they were through these drawings killing the spirit of the animal. Assured the hunter confidence knowing would kill a weakened animal.
    2. As herds shifted these images might have taken on another meaning to actually attract the game and assure survival of the Magdalenians. Perhaps even they believed they were creating and birthing new animals into existence in the bowels of the earth. Perhaps explains painstaking accuracy.
    3. The animals divided by sexual typology: bulls-male, horses-female. Indicate the ancestors of animal divinities and the origins of ANIMISM (prehistoric belief that natural phenomena, animate and inanimate things possess an innate soul.)

BLAZONS - form of prehistoric writing, a system of lines and shapes - No two symbols are the same

CARVED IMAGES
If people were nomads and hunters, when would these indigenous peoples have time for art? Obviously if they created works, they are very significant, religious objects.
Nomadic society so we only find small portable objects (Like Medieval Art).

Venus of Willendorf, c. 25,000 - 20,000 BC stone 4.3/8"
Again using natural shape of the rock. Natural indention is her navel. Fertility expressed through bulbous over emphasis of the reproductive organs, enlarged breasts belly and thighs. Executed fully in the round
No identity: lacks face and distinct features - didn't want to attribute a likeness to a fertility goddess. Merely a cap of hair.

Bison with a Turned Head, from La Madeleine near Les Eyzies c. 15,000 - 10,000 BC reindeer horn 4" 

NEW STONE AGE / NEOLITHIC 6,000 BC - 3,500 / 1500 BC

In the Neolithic period, human beings took a great stride toward the actual concrete control of their environment. They turned from nomadic hunter-gatherer to dwelling in fixed abodes and raising domesticating plants and animals. With an assured food supply, they turned from hunter to herdsman, farmer and townspeople. They formed permanent communities. The new life brought new invention in their spare time including architectural methods in wood, brick, and stone.

JERICHO - in present day Jordan c. 7000 BC

Shows the development of a city with stone houses, plaster floors, fortified masonry walls (5' thick, 12' high). Obviously a warring society because of intense fortification. Neolithic plastered skull, from Jericho, c. 7000 BC Life-size

These heads were found on the floors of dwellings. Buried their dead with them in their own houses! They must have had an incredible tie to ancestry. Indicates a belief in the afterlife and of a soul or spirit that survives death. These may have been "spirit traps" for the spirit of the person to dwell in once the corporal body died.

Actual skulls with reconstructed faces made of tinted plaster. Shells used to replace the eyes. Tried to capture likeness of individual. Proven by the fact that no two heads found were alike. Each one is strikingly individualistic.

Begins the tradition of portraiture that will continue without ceasing until the time of the Romans.

 

CATAL HUYUK, Anatolia, Turkey 6,500 - 5,700 BC (800 years)

Perhaps the most culturally advanced region of its time. Archeologists have found 12 successive building levels during excavation of the 32 acre site. Indicates that it was a very permanent settlement. Able to trace the evolution of 800 years in an unbroken sequence.

Buildings are attached to one another without streets, providing great fortification. In the case of invasion all they had to do was pull up the ladders that reached the ground.

Shrines fond intermittently among houses. Distinguished from houses by more elaborate decoration and wall paintings dominated by fertility and agricultural symbolism.

 

Animal (Deer )Hunt, Main room of shrine, Catal Huyuk, c. 6,000 BC

Hunter, Dancer

First example of painting on a man-made finished surface (plaster)

Find layers to the paintings indicating they were non-permanent. After ritual was over they replastered the surface.

View of Town and Volcano, wall painting Catal Huyuk, c. 6,000 BC

 

NEOLITHIC EUROPE

The Neolithic revolution progressed at a much slower pace in Europe. We don’t find evidence of structured cities like Jericho and Catal Huyuk. About 3,000 BC Near Eastern influences spread to the north shore of the Mediterranean.

Stonehenge, Salisbury Plain, Wiltshire, England. c. 2000 BC 97' diameter

CROMLECH: circular arrangement of stones, a setting for religious observances

POST AND LINTEL construction

Structure oriented toward the point where the sun rises on the day of the summer solstice which indicates it was built for sun-worshiping rituals. It may have also been an astrological observatory.

Significant is how they moved the huge stones and why. It must have taken major manpower so very likely could have been driven by religion.


 

Ancient Near East

3000 BC-636 AD

Sumerians

 

Architecture

 

Sculpture

Akkadian

Neo Sumerian Art

Babylonian Art

Hittite Art

Elamite Art

Assyrian Art

Neo-Babylonian Art

Achaemenid Persian Art

Sasanian Art

 

 

Spencer’s AP Art History Study Guide

Alright everybody, here we go. I’ve tried to make this as entertaining as possible, since the only humor we have in art history is when that guy with the bad toupee comes on the video. Pay attention to the connections that I talk about in the historical overviews and in the descriptions of the pieces of art. And remember: just because I didn’t write about it doesn’t mean that it’s not important. And for those of you who don’t look at this until the night before the exam,........aw, forget about it. You’re already dead. Good luck, and enjoy.

Chapter 3: Egyptian Art

Historical Overview

-Egyptians were criticized by outsiders for being "...religious to excess, far beyond any other race of men." Religious themes dominated the art of this era, so much so that the mortal pharoahs were deified after their death, simliar to the ROMAN CAESARS (remember this, it might be an essay).

-Very big engineering civilization, built flood gates and such to control Nile’s annual floods.

 

-Families of monarchs are known as dynasties. No, this has nothing to do with the popular T.V. show from the 1980’s. The chronologies are still debatable, but we use them as it is impossible to prove otherwise and it is convenient for historians.

 

Predynastic Period

-Began around 3500 B.C. when a group of Nomadic Africans were exposed to Mesopotamian influence and began making art. Both pieces of art that we have from this period are REALLY important, so pay alot of attention to them.

 

Fig. 3-1

People, Boats, and Animals

-Has heraldic grouping that we see later in Early Medieval Art (purse clasp from Sutton Hoo ship burial), that shows Mesopotamian influence. Also shows man striking prisoners with a mace on the lower left corner.

-Shows twisted perspective (remember that?), as Egyptians at this point were not concerned with anatomical detail.

-This work is symbolic of the journey down the river of life and death.

 

Fig. 3-2

Palette of King Narmer

-This is really important. On the front, two animals are seen with unnatural necks twisted around the other’s neck, as King Narmer wears the cobra crown of lower Egypt as he surveys the dead bodies of an enemy group. The bodies are seen from above, as in the pictues of the dead bison from Altamira cave.

-On the back, Narmer has the bowling-pin shaped crown of Upper Egypt on his head as he is beheading an enemy. A servant holding Narmer’s sandals look son. Horus, the eagle god, look on from above.

-This is important because it symbolizes Narmer’s unification of Egypt, and it also shows the deification of Pharoahs. From here on out, the king is shown as larger than life and certainly much larger than other people in the works.

 

 

The Old Kingdom

Historical Overview

-Architecture became important, as mastabas became commonplace for royal tombs. Later, King Zoser had many mastabas in increasingly smaller sizes stacked on top of one another to form his step pyramid. Necropolis’ (cities of the dead) were formed around these structures. The Great Pyramids of Giza were built, becoming one of the 7 great wonders of the ancient world. It is still unknown how they wer constructed.

-Sculpture was also very popular in this period. All royal sculpture was ideal, picturing all pharoahs as perfect, identical human specimen. However, non-royal people were depicted realistically (seated sribe, fig. 3-15).

-Due to grave robbers, royal tombs were moved to cliffside locales, such as the Mortuary Tomb of Queen Hatshepsut (1490-1460 BC) and the Temple of Ramses II (1275-1225 BC).

-King Akhenaton (ne Amenhotep) commanded that realistic depction take place, as he and his wife Nefertiti were depicted accurately. Later, this reform was banished.

 

 

Islamic Art

Historical Overview

If humans or other creations of Allah were depicted, the artist would be damned in Islamic culture. Therefore, we have little human figures. Much of Islamic mosque design was inspired by Muhammed, Allah’s first and only prophet. He lived in Medinah, and later in Mecca, where Muslims must make a pilgrimmage once in their lifetime. Islam follows a strict code called the 5 Pillars of Islam. They are as follows:

-Muslims must profess their faith to Allah

-They must pray in the direction of Mecca 3 or 5 times daily.

-must give alms to the poor

-must fast during the month of Ramadan

-Must make a pilgrimmage to Mecca

-Since no human depiction is allowed, Muslims came up with a philosophy of design called arabesque. A principle of this is horror vacui, literally a fear of empty space. Coupled with this, arabesque commanded that all available space be filled with design.

 

Architecture

-Mosques were designed with aspects of Muhammed’s house in mind, such as qibla wall (the wall that faced Mecca), a mihrab (indention in the qible wall, used for preaching), minbar (platform in the middle of the mosque), and minaret (tower from which the meuzzin, or crier, calls people to worship.) By the way, Dave Matthews Band sings a really cool Islamic-inspired song called Minarets. You should check it out.

 

Mosques to Know

-Mosque at Cordoba, Spain, 10-7 to 10-11

-Great Mosque, Qairawan, Tunisia, 10-4 to 10-6

-Dome of the Rock, Jerusalem, 10-1

-Great Mosque, Damascus, Syria, 10-2

-Alhambra, Granada, Spain, 10-19

-Selimiye Cami, Adrianople, Turkey, 10-24 to 10-26

KNOW THIS:

-Taj Mahal, 10-23, IS NOT A MOSQUE. It is a masoleum for the Queen.

I hope this covers it all. Make sure to know what the works look like, and look at the notes I have made while you are looking at them. This will help with information. Relax, and take into mind the WISE words of Bob Marley: Don’t worry ‘bout a thing little darlin. Don’t shed no tears. ‘Cause every little thing is gonna be alright. This is the best piece of advice you can get. Take it to heart.

Good luck, Spencer

 

Aegean Art

Aegean Periods: Early, Middle, and Late…

Cycladic, Minoan, Helladic, Mycenaean (Late Helladic)

Important Works:

The Queen’s Megaron at the Cycladic Figurine The Lion Gate

Palace of Knossos, : notice marine 2500-2000 BC at the Citadel décor (Minoan) of Mycenae

1300 BC


Bull Leaping Fresco 1450-1400 BC, Knossos, Minoan

Octopus Jar: Harvester’s

Kamares Ware Vase : 2300 BC

2000 BC, Minoan Minoan

 

Death Mask, from Grave Circle A,

Mycenae16th century B.C

Vocabulary:

Fresco fresco secco megaron relieving triangle tholos

Kamares Ware dromos Faience repoussée krater

ashlar masonry

Cycladic Civilization:

 


Minoan Civilization:

Mycenaean Civilization:

Topics of Thought:

 

Jessica Cooley
Greek, Chapter 5

 

Greek Exam Review

Styles:
Geometric: (900-700 BC)
Orientalizing: (700-600 BC)
Archaic: (600-480 BC)
Early Classical: (480-450 BC)
High Classical: (450-400 BC)
Late Classical: (400-323 BC)
Hellenistic: (323-31 BC)

 

Vocabulary:

  1. Black Figure Painting –(5-5) In early Greek pottery, the silhouetting of dark figure against a light background of natural, reddish clay
  2. Red Figure Painting – (5-24) In later Greek pottery, the silhouetting of red figures against a black background; the reverse of black figure
  3. Chiton and Himation – (5-13) A Greek tunic, with the Himation a kind of cape draping over the tunic
  4. Doric- (5-15) Characterized by capitals with funnel shaped echinuses, columns without bases and a frieze of triglyphs and metopes.
  5. Ionic – (5-15) Characterized by volute capitals, columns with bases, and an uninterrupted frieze.
  6. Caryatids- (5-20) A female figure that functions as a supporting column.
  7. Entasis- (5-18) A convex tapering (an apparent swelling) in the shaft of a column.
  8. Gigantomachy- (5-21) A battle of Gods and Giants
  9. Contrapposto- (5-37) The disposition of the human figure in which one part is turned in opposition to another part. A weight shift, because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other.
  10. Canon- (5-42) Rule, i.e., of proportion. The ancient Greeks considered beauty to be a matter of "correct proportion" and sought a canon of proportion, like Polkleitos’s Doryphoros
  11. Corinthian Capital – (5-82) A more ornate form than Doric or Ionic; it consists of a double row of acanthus leaves from which tendrils and flowers grow, wrapped around a bell shaped echinus.
  12. Humanism – The Greek philosophy that "man is the measure of all things." Chief concern for human values and interests as distinct from, but not opposed to, the otherworldly values of religion.
  13. Pinwheel Stance – (5-19) When the figure has bent legs and bent arms which signifies running.
  14. Phidian Style – (5-50) Phidias was the overseer of all the sculptural decoration of the Temple of Athena Parthenos. Ideal proportions of Doric temple design found through the equation X = 2y + 1.
  15. Cire Perdue – (5-38) The lost wax process. A bronze casting method in which a figure is modeled in wax and covered with clay; the whole is fired, melting away the wax and hardening the clay, which then becomes a mold for molten metal.
  16. Mosaic – Patterns of pictures made by embedding small pieces of stone of glass in cement on surfaces such as walls and floors.

Social and Political History:

The Greeks appeared to have been a product of an intermingling of Aegean people and Indo-European invaders. They never formed a single nation, but rather established independent, city-states or poleis. The Dorians of the north, who many believed brought an end to Mycenean civilization, settled in the Peloponnesos. Across the Aegean, the western coast of Asia Minor was settled by the Ionians, whose origin is disputed. Political development differed from polis to polis; although a pattern emerged in which rule was first by kings, then by nobles, and then by tyrants who seized personal power. At last, in Athens, almost twenty-five hundred years ago, the tyrants were overthrown and democracy established. In 776 BC, the separate Greek-speaking states held their first ceremonial games in common at Olympia, it was from here that the Greeks calculated their chronology.

Important Works:

  1. Dipylon Master

    Dipylon Vase
    Athens
    c.750 BC
    Geometric

  2. Lady of Auxerre

    c. 650-625 BC
    Orientalizing

  3. Calf- Bearer

    c. 560 BC
    Athens
    Archaic

  4. Kroisos

    c. 530 BC
    Archaic

  5. Temple of Hera I

    c. 550 BC
    Paestum

  6. Exekias

    Ajax and Achilles
    c. 540-530 BC
    Vulci
    Archaic

7) Dying Warrior from east pediment
        c. 490-480 BC
        Temple of Aphaia at Aegina
        Archaic

8) Myron
    Diskobolos
    c. 450 BC
    High Empire

9) Polykleitos
    Doryphoros
    c. 459-440 BC
    High Empire

10) Lysippos
    Apoxyomenos (Scraper)
    c. 330 BC
    Late Classical

11) Nike of Samothrace
    c. 190 Bc
    Hellenistic

12) Anthanadoros Hagesandros, and Polydoros of Rhodes, Laocoon Group
    Early first century
    Hellenistic

 

 

 

Chapter 6: Etruscan Art

History

Society

Important Art Forms:

1. Architecture, usually temples and tombs

a. The Etruscan Temple
-somewhat similar to the Greek temple, purpose was to serve as ornate home for deity’s cult image.
-made of mud-brick, not stone, rejected Greek tradition.
-plan: narrow staircase leading to podium supported by columns (creating one main side, unlike Greek temples); three cellas for Zeus, Hera, and Athena; columns resemble Greek Doric columns, but made of wood, unfluted, and no bases; no pedimental statuary
-sculpture was displayed along the top of the roof, made of terracotta instead of stone.

Examples:

A. Model of a typical Etruscan temple of the 6th century BC (6-3)
-shows the basic plan of the Etruscan temple, with rooftop statuary

B. Apollo of Veii, from the roof of the Portonaccio Temple, 510-500 BC (6-4)

-This is an example of the terracotta rooftop statuary on an Etruscan Temple. It resembles the Greek kouros because of the archaic face, hair, and drapery, but demonstrates the Etruscan power through its massiveness and energy. This shows that the Etruscans were influenced by the Greeks, but did not fully adapt to their style.

b. The Etruscan Cemetery (tumulus)
-burial mounds constructed of tufa, a type of rock. The mounds were underground and multi-chambered. They were connected by a network of streets, creating a city of the dead or necropolis.
-resembled houses of the living, complete with beds, chairs, doorways, windows, everyday objects and pillows to rest the heads of the dead! Each room would house a family or two
-very permanent (made of stone,) unlike the temples
-some tombs with wall paintings, for wealthy families

Examples:

A. Tomb of the Reliefs, Cerveteri, 3rd cent. BC (6-8)
-perfect example of the similarity between tomb and dwelling

B. Tarquinia, (6-9 and 6-10)
-not covered by tumuli, example of wall painting, which depict celebrations and hunting

Tomb of the Leopards: Banqueters and Musicians, 480-470 BC
-similar to Minoan Art, evident in white/dark figures,
-depicts celebrations/life, not death

Tomb of Hunting and Fishing: Diving and Fishing, 530-520 BC
-depicts youth diving and others fishing and hunting
-hunting and fishing similar to Egyptian tomb paintings in Tomb of Nebamun and Ti (3-34 and 3-18)
-rocky landscape similar to Aegean landscape, specifically Spring Fresco (4-10)
-also inspired Greek painting of Youth Diving (5-67)

2. Sculpture

a. Sarcophagi

A. Sarcophagus with Reclining Couple, from Cerveteri, c. 520 BC
-an early example of funerary art made of terracotta.
-features a husband and wife, a uniquely Etruscan image. Appear to be happy about afterlife, do not fear death. Expressed by animated gestures. Shows importance of afterlife and burial practices in Etruscan culture, which is also evident in the tumuli.
-Archaic style: hair, smile, and twisted forms.

B. Sarcophagus of Lars Pulena, from Tarquinia, 2nd century BC
-later example of sarcophagus, marks a change in attitude.
-made of tufa, in same reclining position, but unhappy or fearful of afterlife. Not accompanied by wife, has a somber expression. Holds a scroll that lists his accomplishments, looks back at past and worries about future. This attitude is symbolic of the Etruscan attitude, after being defeated by the Romans.
-below him is a depiction of the deceased in the underworld attacked by demons.

b. Capitoline Wolf, c. 500-480 BC

-an example of Etruscan art, but later adopted as a symbol of Rome. Etruscan Power is displayed by the fierce stance, pointed ears, gaunt ribs and glaring eyes. During the Renaissance, the figures of Romulus and Remus were added, which show the Etruscan influence on Roman Art.

c. Aule Metele, early 1st century BC

-bronze sculpture, portrays a magistrate raising his arm to address an assembly, seems self-confident.
-only Etruscan in name, wearing Roman laced boots and toga, hair and facial appearance resembles Roman portraits. Demonstrates the transfer of power from the Etruscans to the Romans, and the Etruscan influence on Roman Art.

 

 

 

 

Roman Art (c.510-400)

Roman Art immediately took over Etruscan, and Greek.

-Dominated most of Europe.

-Roman Art unified everything under one government.

The Republican Period (c.510 B.C.-27 B.C)

- Roman art and architecture embodied the imperial ideal of the Roman "State".

-Government was very efficient, ruthless, and brutal.

-Town was very diverse from all different cultures and languages.

-Signed in art, philosophy, law, gov., and engineering.

-Were tolerant of traditions and cultures, which lead them to taking over. (Although, still allowed traditions to occur.)

-City-states had well relations.

According to the cities purposes new demands were needed for the town

-Demands-needed bridges, water supply, etc.

-Romans were not striving for the same ideals and perfections in their art, although they had high interests among the individuals.

-No works were signed (Greeks did)

-Town needed more space for public purposes, e.g. public meetings.

 

Architecture:

-Started taking advantage of new building techniques.

-Developed Concrete by mixing substances.

-Introduced Barrel Vaults, half cylinders, Domes, Groin Vaults.

-Needed public masses.

-Show’s many influences from other countries but was laid out in a Roman way.

7-1 "Temple of Fortuna Virilis," Rome, late 2nd century or early first B.C.

"God of Harbor’s" shows strong relations to Etruscan and Greek Art. Has Greek ionic columns, and an Etruscan podium deep porch with entrance steps. Used to display trophies of war. No longer has one cella. Now has three.

7-2 "Temple of Sibyl," Tivoli, early 1st century B.C.

Shows influence from tholos temples. Corinthian columns, and Etruscan podium. Shows Romans adapting Greek works. Walls made of concrete, and cover w/ stucco relief.

7-3 Sanctuary of Fortuna Primigenia, Palestrina. Late 2nd century B.C.

Shows Romans taking advantage of use of concrete, using enormous strength. Barrel vaults all over with Groin Vault System. Starting to create several levels.

 

Sculpture:

-Greek concept-full body is important.

-New concept of Portuary.

Portraits

Veristic-super realistic features. Shows reproductions of individuals. Shows the "map maker" idea of concentrating on each fold, wrinkle, etc. Showed every sense of realism even if it was ugly.

-Tie of ancestry-series of homes of heads sculpture in wooden cupboards.

Roman coins-represented portraits of dictator. Used by means of molding public opinion in favor of the current ruler by announcing his achievements in war and peace, both real and fictional.

-Stern frontal portraits- proclaims their new status as legal members of Roman society.

-Stylistic preferences were often tied to one’s position in the political and social hierarchy.

 

 

Pompeii and the Cities of Vesuvius:

-Mount Vesuvius, an extinct volcano during the Late Republic and Early Empire, suddenly erupted Aug 24, A.D. 79, and buries a host of prosperous towns around the Bay of Naples (the ancient Greek city of Neapolis), among them Pompeii.

-Earthquake permits us to reconstruct the art and life a Roman town.

-There are good reasons the Pompeii is considered the living city of the dead. Nothing has changed.

LAYOUT OF TOWN-

Forum-center of civic life in any Roman town was its forum, located in center of city.

Temple of Jupiter (later became triple shrine) has chief side of focus of attention.

Basilica-housed law of court of Pompeii (long and narrow, with two stories of internal columns dividing the space into a central nave and flanking aisles, which had an after-life in Christian art.)

-Amphitheater (double theatre) for mortal combats, used for entertaining purposes.

-Most area was occupied by private homes

LAYOUT OF HOUSE-

Foyer-where you entered which lead to atrium.

Atrium-large central area, roof partly opened to sky to channel rainwater into a basin below.

Impluvium-bain, which catches rainwater.

Cubiculum-small bedrooms

Triclinium-dining room, kitchen, and sometimes-small garden.

All houses of this type were inward-looking nature. The designs shut off the noise and dust of the street, and internal activity was focused on the brightly illuminated atrium at the physical center of the residence

Painting

-Houses of Pompeii have yielded a treasure trove of mural paintings, which tell us a great deal about both the prosperity and the taste of the times.

-August Mau, a German art historian, divided the various mural paintings schemes into a four so-called Pompeian Styles.

 

 

Four Styles & Characteristics

First Style: "Masonry Style"

Aim: to imitate using painted stucco relief, the appearance of costly marble panels. Makes illusion of walls through wall decoration

Second Style: Painter creates a 3-D setting that also extends beyond the wall. Tried to expand an

Apparent space of the rooms.

Third Style: No longer artists attempted to replace the walls w/3-D worlds of their own creation.

Started to decorate walls of homes with delicate linear fantasies sketched on predominately monochrome backgrounds.

-Landscapes and mythological scenes are presented in frames, like modern paintings on canvases.

Fourth Style: All walls are an austere creamy white w/ present landscapes. Scheme: views through

Walls.

-Irrational fantasies (Latest fourth style-uses garish combinations of color.)

 

The Early Empire (27 B.C.-A.D. 98)

Julius Caesar 44 B.C.

Augustus established peace (1st citizen of Rome that became enthroned) (27 B.C.-A.D. 68)

Was the new figure of Rome. Ruled every aspect of public Roman life. Known as bringing in the "Pax Romana"-reign of peace-

-Overthrew Antony and Cleopatra.

-Adopted son of Caesar (19)

Sculptures

Started idea of depicting their enthroned rulers to elevate their social status.

-Portraits statues of enthroned rulers such as Augustus were based upon Polyklietos’s Doryphoros. Depicts god and man. Followed Egypt in believing kings were the direct descendants of gods. Hands raised shows Greek influence. All humans represented as superhuman. Shows typical Greek stances, hair, posture, etc. from Polyklietos. Represented wives of rulers as being young and youthful

-Augustus built Ara Pacis Augustae, Rome 13-9 B.C. to celebrate a victory. Allowed him to create an ideal image of himself, and create expression.

-Sculptures etc. were being widely depicted to share accomplishments and victories of the kings. This would reassure the king himself that he was indeed a successful ruler.

-Facades started to represent life and peaceful times that were going on during this period. This was used to inspire people to bring peace. Children were beginning to symbolize charm throughout the arts.

-Showed knew focus to depth, like Parthenon.

The Flavians (A.D. 69- 96)

Vespian came in rule. Had two sons, Titus, and Domitian, who in turn succeeded him as emperor. The Flavian Dynasty ruled Rome for over a quarter century.

Flavians left their mark on the capital in many ways, not the least of which was the construction of the Colosseum.

"While the Colosseum stands, Rome stands; when the Colosseum falls, Rome falls; and when Rome, the world!"

Colosseum-provided people for the largest arena for gladiatorial combats and other lavish spectacled that had ever been constructed.

-Art during this time was much more similar in taste. They had more touch w/the people. Showed a lot of republican style portraits. Veristic

 

High Empire (A.D. 98-A.D. 192)

In second century A.D. under Trajan, Hadrian, and the Antoines, the Roman Empire reached its greatest geographical extent and the summit of its power. Rome’s might and influence was unchallenged in the Western World, although there were constant pressures from some. Within the secure boundaries " Pax Romana" provided prosperity to those all under Roman rule.

Trajan (A.D. 98-117)

-Pick general (Spanish)

-First person to rule that was from another country.

Hadrian (A.D. 117-138)

Art

-Everything made was made to idealize him.

-Art never showed Hadrian aging.

-Depicted him as a mature adult

-Had realistic portraits.

-Had private villa w/ statues of Greeks.

-Biggest accomplishment was construction of Pantheon.

Ostia

-Floor mosaics

-Ceiling paintings

-During this time 90% of Romans lived in insulaes (a part of a building)

-Most art was produced for public purposes

Antoines (A.D. 138-192)

-Was adopted at 51 by Hadrian. This required him to adopt Marcus Aurelius, and Lucius Verus to assure peace for next generations.

-When he dies Marcus erected a memorial column in honor of their adopted father.

 

The Severans (A.D. 193-235)

-Wore beard to imitate father

-African

-Built baths~Caracalla

-Fenestrated groin vaults allowing light to come in

-Started to see Christian development amongst architecture\

The Soldier Emperors (A.D. 235-284)

-Shows empire is gradually falling by the murders.

-Coins and sculpture produced.

-Used art for propaganda

-Continuously putting new art to show power of new emperor

-Portraits started to show more expressions, although were not always ideal.

Diocletian and the Tetrarchy (A.D. 284-306)

-The rule of the four tetrarchs.

-Diocletian retired…brought in new system of government. Made three people rule other then himself. Each holding charge of part of empire.

Constantine (A.D. 306-337)

-Showed huge shift in style

-No more personality, and creativeness.

-Massive works were used to show authority.

-He cut off others rulers heads and added his own into art pieces.

-Reestablished one man rule dictatorship

-Issued Edict-which ended persecution of Christians.

-Established Christianity as the religion of Rome

-Established a new capitol.

 

 

Byzantine Art

(500-1453 AD)

  • Justinian the First marks the end of the Roman empire and the beginning of the Byzantine Empire.
  • No clear distinction with Early Christian
  • Byzantine art had a style though
  • Justinian made the orthodox Christian Church the only lawful religion of the empire.
  • The Byzantine Emperor was believed to be the earthly vicar of Jesus, he held all temporal and spiritual authority.
  • The Byzantine Empire was a theocratic State, meaning "One god, one empire, one religion."
  • They had a turbulent history, high points were in early, middle and late Byzantine, the low points were in between.
  • The end came when the Turks invaded
  • Roman in form Christian in content

 

Early Byzantine

  • Early Christian art was a preparatory stage of Early Byzantine art. The central plan in architecture was found in the Early Byzantine time period. A perfect example is the San Vitale, and another is the Hagia Sophia. The time span was from 500 to 730. It began with Justinian and went to the terminating onset of Iconoclasm, the destruction of religious icons.
  • Hagia Sophia (532-537) Turkey- The architects were Anthemius of Tralles and Ishidorus of Miletus, they built the church for Justinian. This church was Justinian's greatest contribution to art history. There is a huge dome on pendentives to fit it on a square building. The Hagia Sophia is a conversion of 2 building types, the central plan and the cruciform. The exterior is plain which is a characteristic of Early Byzantine architecture. In the interior clerestory lighting can be found it creates a heavenly glow, the dome looks like it is suspended in the air. it was richly decorated but with the invasion of the Turks, they were taken down.
  • San Vitale (526-547 BC) Ravenna- It is the perfect example of a central plan. It is made of two octagons, there are two floors, and clerestory lighting so there is a gallery. It is an unusual plan, the doorway does not allow a direct path to the apse. The interior of the san Vitale is filled with mosaics that show the glorification of Justinian.
  • Justinian and Attendants (547 BC)- Justinian is the main subject among the army, clergymen and Maximianus. There is a flat gold background, the scene is in it’s place you are supposed to see them as part of the structure. There is a halo around Justinian’s head, he is wearing gold and purple the bodies are elongated. Maximianus, the man responsible for the completion of the San Vitale has his feet before Justinian's, but Justinian’s arm is before his. This shows a balance or struggle for power. There is a linear quality.
  • Theodora and Attendants (547 BC)- The empress is about to enter the church, she is behind the scenes, she has a halo around her head. She has three wise men at the hem of her skirt wearing purple and gold to show royalty the heads are all in a line and the bodies are slender and elongated
  • Other works- Christ Between Angels and Saints/ Sant’Apollinare/ Apse mosaic from Sant’ Appollinare/The transfiguration of Jesus/Virgin and child between St.Theodore and St.George

 

Middle Byzantine

  • Iconoclasm was stopped in the 9th century. Restoration of images began in 843. Iconoclasm made many artists move west. In middle Byzantine we find Hellenistic influences. In architecture we find the cross inscribed in a square.
  • Davis Composing the Psalms (960 BC)- This painting shows the use of the classical Hellenistic style with a Christian subject. We see the classical style in the folds of the drapery and we can see the body underneath. The landscape is depicted.
  • The Katholikon and Theotokos (10th –11th c) Greece- The Theotokos shows the cross inscribed in a square plan, with a domed cross. Squinches are used, a new method of putting a dome on a square. Middle Byzantine architecture are taller and more slender and the exteriors are more decorated than those of the Early Byzantine Churches.
  • Lamentation over the Dead Christ (1164)- This is different because extreme emotion is depicted. It is not symmetrical, there is no gold background. Mary and John are clinging to Christ and even the angels are crying.
  • The Vladimir Madonna (12th c) –This is a famous portable icon, they are objects of devotion for the Russians, it is held sacred there. It is not in proportion. Gold rays create Christ’s robe. Mary’s head is tilted towards Christ to show motherly love.

 

Late Byzantine

Medieval

by Corbin Gurkin

 

Vocabulary:

animal style cloisonné cloisons feudalism regular clergy abbot maquette stringcourse refectory crossing square

Benedictine order cloister westwork Animal interlace

Medieval Periods: Hiberno Saxon, Viking, Carolingian, Ottonian

 

Hiberno-Saxon

 

 

Carolingian Art

 

 Viking Art

 

Ottonian Art

 

 

 

Chapter 13: Gothic Art

 

History and Society

 

Gothic Art: an evolution from Romanesque, five main differences between styles

Romanesque Gothic

1. massiveness thinness

2. militant (Crusades) more spiritual, heavenly

3. dark light

4. regional styles urbanized, mostly France

5. clarity of parts, compartmentalization organic unity, flowing

Styles and Important Art

A. Early Gothic: began in 1140, by Abbot Suger. Characterized by ribbed vaulting, continuous flowing space (dissolving of walls,) presence of light, 4-part elevation with triforium, alternate support system, square schematism, pointed arch, less decoration on wall surfaces.

 

Architecture: 1. St. Denis, France, 1140-1144.-first Gothic structure

2. Laon, France, 1160-1205.-ex. of early gothic, all characteristics

3. Notre Dame, Paris, 1215.-Romanesque facade

Sculpture: 1. Chartes Cathedral Façade and the Royal Portal, France, 1145-1170

 

B. High Gothic: new characteristics: rectangular bay system (decompartmentalized, more organic, repetitive and flowing,) flying buttresses (provided more light and eliminated gallery), tripartite elevation (no gallery, allows for more height,) no alternate support system, Rayonnant Style.

Architecture: 1. Chartes Cathedral, 1145-1170, rebuilt after fire in High Gothic style.-rect. bay system, first to plan the use of flying buttresses. Tripartite elevation

2. Bourges Cathedral, France, 1195-1255.-no transcept, double side aisles, different elevations in aisles *more light, creates vertical repetition

3. Amiens Cathedral, France, 1220-1236.-second tallest, plan by Robert de Luzarches, 4-paneled rib vault, good ex. of dissolution of walls, strong clerestory lighting that creates "lift."

Rayonnant Style: 13th century, period of refinement, known for stained glass, associated with Royal Court of France. Fundamental feature: bar tracery, stone in stained glass

1. Ste. Chapelle, Paris, 1243-1248-small chapel, ¾ covered by glass, resembles reliquaries. *dissolving the walls

Sculpture: 1. Chartes Cathedral: St. Martin, St. Jerome, and St. Gregory, 1220-1230.-separated from architecture, secured by pedestal and canopy. Figures are discernable, more naturalistic. Lost isocephally, uses symbols to represent holy figues, leading towards individual portraits.

2. Reims Cathedral, portal and the Visitation, France, 1225-1290.-5 gables, much more decorative, intricate, with more piercings. Tympanums contain stained glass, much more realistic in figural sculpture. The visitation: Mary and Elizabeth, age conveyed through portraits, Roman drapery, marks return to classicism and progress towards the individual portrait.

Illumination: 1. Abraham and the Three Angels, from psalter of St. Louis, 1253-1270.-resembles stained glass, uses heavy dark lines, geometic forms and intense colors.

 

C. Late Gothic: "flamboyant style," resembles flames. Changes/new characteristics: much more decoration, surfaces completely covered, walls dissolved. Wars, famine, plagues: all lead to less emphasis on scale, more on ornamentation.

Architecture: 1. St. Maclou, Rouen, France, 1500-1514.-curved façade, 5 gables (2 blind), bar tracery also used for decoration in gables, much more ornate.

Sculpture: The Virgin of Paris, Notre Dame, Paris, early 14th century.-elegant style, return to classical curvilinear form, elongated. Associated with royal court, shows cult of the Virgin Mary, crown depicts her crowning in Heaven. Moving towards portraits.

 

D. Gothic Outside France:

England: 1. Salisbury Cathedral, England, 1220.-adopts Gothic style to English regional style, not as tall, two transcepts, large crossing tower, tripartite elevation

2. Gloucester Cathedral, England, 1332-1357.-perpendicular style, emphasizes vertical lines, uses ribs on ceiling to create dense web of ribs on barrel vault

3. Chapel of Henry VII, Westminster Abbey, London, 1503-1519.-small chapel, perpendicular style, more ornate, with stone pendants.

Germany: retained rib vault, demonstrates "rush into the skies," hall churches: all same elevation

Architecture: 1. Cologne Cathedral, Germany, 13th and 14th centuries, very tall, interpretation of Amiens.

Sculpture: 1. Death of the Virgin, Strasbourg Cathedral, France, 1230.-demonstrates emotion, cult of the Virgin Mary. Uses classical drapery and form. Also demonstrates strife in Gothic Culture: wars, plagues, and famine.

2. Bamberg Rider, late 13th century, Bamberg Cathedral, Germany.-portrait-like quality, new position: on horse, like equestrian statue of Marcus Aurelius. More proportional, looking back to classicism.

3. Pieta (Virgin with the Dead Christ Child,) 1325.-again, shows strong emotion, exaggerated by gestures and forms, representative of Gothic life, demonstrates humanized religious theme

Italy: missing several Gothic features: flying buttresses and clerestory windows, few wall

piercings, more similar to Tuscan Romanesque style.

1. Florence Cathedral, Italy, 1296-1436.-polychrome incrustation, pointed arch, ribbed vaults, massive walls, piers, octagonal dome above crossing, smaller and more compact

2. Milan Cathedral, Italy, begun 1386.-Italian proportions (wider and not as tall,) but Gothic surface decorations. Facade: represents Late Gothic and Classical styles, strong vertical repetition, and many wall piercings.

 

 

 

 

EXAM FORMAT

Your semester exam will cover chapters 1-7(Prehistoric through Gothic).

The questions will be taken from previous AP examinations.  All portions of the exam will be timed. It will be divided as follows:

Part I (a): Multiple Choice based on slides (15 minutes)
Part II (a): 5 and 10 minute short essay questions based on slides (60 minutes)
1-2 images will appear on the screen.  You will have to answer a specific question relating to what you see on the screen.


Part I (b): Multiple Choice  (15 minutes)

YOU WILL NOT HAVE 2 MINUTE SLIDE IDENTIFICATIONS