Fichas

Art History

Amy Benenson Inglés 65 fichas

Fichas del conjunto (65)

1—Hero and Centaur Geometric Period.
750-700 BCE
half man/half horse
the man, possibly Herakles, is shown stabbing the centaur
the anatomy is considered geometric
Man is greater than animal
2—Kouros, Archaic Period. 600 BCE
Free standing (no support) - Archaic Smile
Naked males a valued image to Greeks
Similar in proportions and pose to Egyptian sculptures
3—Peplos Kore. 350 BCE
Originally painted, possible to depict her as a goddess
Athena or Artemis
"peplos"= draped cloth
Represent gods, warriors, athletes - idealized males/athletes
Relation to fertility
Females always clothed
Goddesses, nymphs and priestesses
4—Euxitheos, Death of Sarpedon, Archaic Period 515 BCE
Red figure style - artists painted background and negative space rather than figure. most important innovation found on Sarpedon's leg : foreshortening** coming out towards the viewer
Archaic Period
5—Polykleitos, Spear Bearer (Roman Copy), Classical Period 450-440 BCE
Possibly Achiles
Contrapposto pose- left leg bent to support weight of missing spear while supporting himself with his right leg
Classical Period
Polykleitos- created rules for creating ideal human body, proportions
more muslce - ideal body
Roman copy - arm joined to body by a beam, tree stump added for support
6—Parthenon, Athens Acropolis, Classical Period 447-438
Dedicated to Athena, columns demonstrate entasis - a slight bulge or swelling in the middle of the column
demonstrate great attention to proportions, sculptures were meant to signify triumphs
Classical Period
most cultured/education, democratic city states, dominance of Athens
7—Pheidias, Birth of Athena, East Pediment, Parthenon
State of Zeus and newborn Athena missing
Other Gods depicted
- Hearkles or dionysus
- Persephone
- Iris
_ 3 females - Hestia, Dione, Aphrodite
- Close drapping - more anatomical
8—Lapith and Centaur, metope, Parthenon
- Violent scene turned into a dramatic and fluid pose. Depicts human victory over animalistic behavior - reflection of Greeks
9—Horseman, Frieze, Parthenon
- Procession scene celebrating a festival in Athens
- Depiction of sturdy men and horses suggest Athenians were civilizes healthy Greeks
- Sculpted with high relief and low relief to better show the scene for viewers standing on the ground - Parthenon
10—Praxiteles, Hermes and the Infant Dionysos, Late Classical 340 BCE
- Newer sculpture demonstrates more sensuality, dramatic contrapposto, and mic of textures - part narrative
11—Praxiteles, Aphrodite of Knidos, 350-340
- gesture of modesty only enhances that Aphrodite is nude
- Inclusion of more female nudes in Greek Art - innovation bring about increased nude female sculptures -- Aphrodite about to take a bath
12—Epigonos, Dyling Galic Trumpeter, Hellenistic 230-220 BCE
- Signs of his Gallic label; hair, mustache, necklace
Grecian enemy still shows dignity and beckons for pity or expressionism, a Hellenistic innovation
Crazy wild hair - not Greek like
13—Reconstruction of an Etruscan Temple
- more porch space, would have been decorated with pain and terracotta sculptures, mud-brick, volcanic rock (tufa), more walking space/columns
14—Porta Augusta - 2C BCE
- Example of monumental architecture - barrel vault over the walkway, which gives way to the roman round arch
15—Middle-Aged Flavian Woman - Less elaboarte fashion compared to previous examples, face showing aging blemishes unlike flawless skin of other sculptures - showing a natural again of a person - demonstrate importance of wisdom that comes with age - ROMAN
16—Augustus of Primaporta, early 1st century - Idealized visual of Emperor Augustus, Scene depicted on armor represents his victory over the Parthians
Cupid-deviness
Idealized proportions and ratio and body shape - like Greeks
17—Equestrian Statue of Marcus Aurelius ca 175
- Imperial portrait
- Depicts M.A. as a military leader without armor or weapons but also implies his intelectual feats. - originally had a person under the hood of the horse
- saved because thought to be Constantine
Horse = military
18—Caracalla ca. 211-217 - stern, aggressive facial expression, deep sculpting light and dark contrasts, reflection of caracalla's character: militaristic, merciless ruler - Enhance feats with artistic elements
- Romans = lots of bust portraits, Greek is full body mostly
19—The Tetrarchs, 300CE, Porphyry
- dressed in militaristic manner, but hugging gestures relate to unity and alliance
- use of repetitive geometric shapes and fluid bodies (such as the arms) seen in other exs of Roman Art
- elongated pieces, roman geometric patterns
20—Portrait of Constantine, 315-330
- part of larger statue, feats abstracted compared to earlier roman sculptures, hair comprised of repeating geometric shapes, exaggerated eyes
21—Basilica-113
basilica served as court of law, others act as public chambers, drill halls, and schools
- Roman forum near commercial buildings
22—Pantheon, Rome 118-125
- Emperor Hadrian
- Rotunda plan, demonstrates early centralized plan
- Oculus in middle of ceiling to provide a sort of escape from physical building - dedicated to Olympic gods
23—Arch of Titus, after 81
- Arches signify victory or triumph
- Sculpts throughout arch support accomplishments in Titus' reign
- "Spoils of Jerusalem" - shows how Titus suppressed the Jewish revolt in Jerusalem
24—Triumphal Arch of Constantine, 312-315
- dedicated to defeat of Maxentius in 312, triple arch a newer innovation
- separate pieces taken from other buildings or sculpts, but the reused images only boost Constantine's good image to the romans - details of medallions and frieze
25—Menorahs and the Ark of the Covenant, Jewish Catacomb - 3rd century --
- Simple layout and painting aids viewers in the darkness of the catacombs
- Image of lost Jewish treasures, remind Jews of treasures and reminds ppl of the end of life but paradise in afterlife
- Ark of Covenant scene comes from the Torah
- Jewish catacombs in Rome
26—Wall with Torah Niche, House- Synagogue, Dura Europos
- this room contains scenes of important history to the Jews as wall as scenes of Moses - The crossing of the Red Sea b/c of their importance to their religion
- Displays names of Donors, Jewish and Christian a like
- Reading of Torah and social gatherings
27—The good Shepherd, Orants, and the story of Jonah, Catacomb of Saints Peter and Marcellinus :
- One central imagine (medallion) surrounded by four additional images (lunettes)
- Feats of the subjs resemble those of later roman sculpts
- Used for commemorative rites- affordable to wealthy
Saints Peter and Marcellinus
*Christian
28—Santa Sabina, Rome, 5C: - Basilica plan, nave, side aisles
- Nave Arcade made with arches between columns
- Not important outside (not lavish) - focused on morals and personal belief found in oneself - don't need outside goods or exterior parallels
- Inside decorated, outside not
29—Santa Maria Maggiore, Parting of Lot and Abraham :
- Cont classical artistic elements (contrapposto) but shows multi pts of communication btwn subjs (eyes, hand gests, body position) - Abraham and Lot depicted in foreground and as the largest subjs vs main landscape and smaller background subjs
- Go with Ab good or Lot bad
30—Santa Constanza, Rome, ca. 337-351
- Oratory of Galla Placidia - another structure demonstrating the centralized plan, but this time incorporating arms that make it cross like
- Good Shepherd- part of upper level structure - displayed mosaics
Jesus shown as an adult and in regal colors - associated galla placidia to royalty and religion
31—Santa Constanza - Interior :
- Built as a tomb for Constantine's daughter Constantina centralized plan
- Ambulatory: covered passage surrounds the central core of the church
- Circular plan used as way to represent an endless life and afterlife
32—San Vitale : PLAN-- Another centralized plan, but uses an octagon as the basic shape - Emperor Justinian took over from the Ostrogoths
33—San Vitale Sanctuary : wave-like walls and mosaics take away the stiffness and rigidness of the structure and make it appear more mystical
- use of color ceramic and glass cubes==>in candlelight the whole interior would sparkle
34—San Vitale Apsidal Mosaic, Christ in Majesty with Donor, St.Vitalis and Angels : jesus depicted in purple and seated like an emperor, joined by St.Vitalis left and Bishop Ecclesius who commissioned the church
35—San Vitale, Sanctuary Mosaic, Jusinian and Court: depicts Justinian and his retinue taking part in service- holds patan for Eucharist
36—San Vitale Sanctuary Mosaic, Theodora and Court : also holding obj relating to Christian mass but probably worshiping in diff section of the church - w/Halo, golden chalice- for wine
37—Qur'an with Kufic script, 9C ==> large test only allowed for a few lines per page, red marks indicate pronunciation, gold design indicates chapter or page; Islam, Calligraphers well renounced and high in society
38—Jerusalem, Dome of the Rock - 685-7 : Muslim pilgrimage shrine, dome and centralized plan, older texts from Qur'an decorate walls **Jerusalem
39—Cordoba, Great Mosque and Cathedral 785/6-786/7 - legend ascribes building to Abd al-Rahman I, Umayyad prince who founded Al-Andalus
40—Anglo-Saxon, Purse Cover, Sutton Hoo Ship Burial 625 : Cloisonne - metal surrounded onto a plate to hold colored components, Southern England, Migration art includes the intertwining patterns and animal interlace. Gold, precious stones interlay, animals and humans **Anglo Saxon
41—Hiberno-Saxon, Chi-rhoiota Page, Book of Kells, late 8/early 9C : Page introduced Matthew's account of the birth of Christ
- snakes and animals, Eucharist embedded into page - symbolically- god has power all over the natural world
42—Saint Matthew, Coronation Gospels, ca. 800-810; Fresco from Pompeii : idealized illustration, attempts at 3D - foot on the ledge of the desk, Roman art for representing flesh and light - Gospels education and importance of religion - Charlemagne
43—Saint Matthew, Eddo Gospels, 816-835: wispy lines and gaze energy, education importance going down hill
44—Washing of the Feet, Aachen Gospels c.1000: Figures portrayed as tall, slim and not proportional, while there is a background, it is simple to encourage focus on the scene in the foreground
culture: Ottonian- shape and elongated feats, slanted and swayed curving lines
45—Crucifix of Archbishop - life-sized sculpture, Jesus' body sags and represents human suffering rather than idealization, Wood-ottonian as well as ivory and bronze, Archbishop of Cologne
46—Santiago de Compostela - dedicated and housed the body of St.James- Romanesque Churches to accomadate the growing # of visitors needed side aisles, radiating chapels house relics and other religious items
47—Saint-Semin, Toulouse c1070-1120: France- pilgrimage church, Cruciform plan, taller by heightening the nae while being supported by side aisle butresses - allow for galleries or tribunes **Toulouse
48—Paintings like this were common as decoration for apses
Its theme, Christ as King, reinforced the ritual at the altar—the Eucharist—in which bread and wine were consecrated and according to medieval Christian theology became the actual body and blood of Christ (Transubstantiation)
As the priest raised up the eucharistic wafer in consecration, the faithful would look up to see the image of Christ in heaven
49Romanesque Portal
50—Saint-Lazare, Autun, Last Judgment c.1120-1135 : A scene of the last judgment where the good and evil are divided by god, visitors reminded to live a good christian life or end up like the evil who are subjected to eternal damnation
- bad -right/ good-left
51—Chartes Cathedral, St. Sernin : innovations-->ribbed vaults, pointed arches, flying buttresses **gothic innovation -- Dedicated to Virgin Mary
52—Santiago de Compostela, Plan of Choir; Saint-Denis, Plan of Choir -- Sanitago does not have ribbed vaulting
53—Saint-Denis, ambulatory and Radiation chapels : Choir achieves an openess and sense of light not present in Romanesque buildings Achieved by use of pointed arch -- French abbey church- considered the first gothic structure
- Pointed arches in choir allow for more light and space - Romanesque was closed off and dark - more scholarly - building is higher and better lit
54—Chartres Cathedral, Royal Portal, Jamb Figures, OT Kings, Queens, Prophets:: Column statues representing Old Testament kings, queens, and prophets are the first link. They are the spiritual ancestors of Christ; When you pass by them as you enter the portal you enter sacred history.
55—Reims Cathedral, West Facade c.1225-1260 : the west facade displays an even more broken up surface than Amiens, to the extent of replacing the stone tympana with stained glass ;; almost every inch of exterior is sculpted --> highly gothic-nearly every surface is sculpted *France
56—Reims Cathedral Jamb Figs : jamb figs are more separated, figs communicated btwn themselves instead of the viewer, angel figs stands in swaying position but not totally contrapposto - courtly style- origins in French court
57—Gothic** courtly style -commissions for King Louis IX, Psalter of St.Louis, god also value, Figs skin tone is monochrome white ** gothic - Narrative divided by stylized tree
58—Sainte-Chapelle, Paris, Upper Chapel, 1239-1248 : The Sainte-Chapelle is the ultimate step in the drive to replace stone with glass, in a phase of Gothic labelled Rayyonnant. It was the personal prayer chapel for King Louis IX and it housed relics of the Passion of Christ, including the crown of thorns
59—Salisbury Cathedral 1220-1258: Salisbury Cathedral displays feats of typical of the English approach to Gothic architecture; features double transepts, portals not nearly as prominent as in French gothic structures, consistent style throughout, interior uses dark and light stones to emphasize horizontal layers
60—Salisbury Cathedral, Nave - interior displays emphasis on the horizontal levels by the use of darker colored stone in some places - proportions are broad and low rather than narrow and tall as at Amiens
61—Exeter Cathedral, Nave - decorated style : England, gothic - decoarted style, vaults decorative - did not serve to reinforce structure, ribs joined together in decoarte bosses, or joints
62—Gloucester Cathedral Choir and Vault: perpendicular style focused on grids and glass - generally cheaper to construct vaults become more elaborate
63—Saint Elizabeth, Marbug, 1235-1283 - German Gothic employed all the familiar elements but a slightly different spatial configuration, in which the side aisles are the same height as the central nave. Overall space took after hall church plan - side aisles and nave ==> height not usually found in gothic structures
64—Vesperbild c. 1330 : reoccurring scene in Christian art - pieta, human suffering and posthumous expression; beckoning viewers to have pity on mourning Virgin Mary
65—Altneuschul, later 13C - Although Gothic is a style primarily associated with Christian medieval architecture, is was also used in synagogues. In Germany this synagogue uses the familiar vocabulary, and the German hall church idea, it is only divided into two aisles, and the emphasis is not on an altar at the east end, but on the bimah, or reading platform, in the center. - Focus on bimah or reading platform, also used hall church spatial plan