The Uprising

Honore Daumier

19th century

Realism

Satire and Political Commentary

Liberty Leading the People

Eugene Delacroix

19th Century

Romanticism

Personification of France leading the French Revolution

The Laundress

Jean Baptiste Greuze

18th Century

Enlightenment

French "Natural"

Rue Transnonain

Honore Daumier

19th Century

Realism

Satire and Political Commentary

May 3 1808

Francisco Goya

19th Century

Romanticism

horror of war

Death of Socrates

Jacques Louis David

18th Century

Neoclassicism

Enlightenment Ideals

Sleeping Spinner

Gustave Courbet

19th Century

Realism

Bashi Bazouk

Jean Leon Gerome

Orientalism

Romanticism

Exotic types

The Stone Breakers

Gustave Courbet

19th Century

Realism

Witches Sabbath

from Black Paintings series

Francisco Goya

19th century

Romanticism

[depression and or commentary on depraved society]

The Slave Ship

J.M.W. Turner

19th Century

Romaticism

horrors of slavery

seascape

Self Portrait

Elisabeth Vigee Le Brun

18th Century

Female artist

Enlightenment

pre/post French Revolution

Death of Marat

Jacques Louis David

18th Century

Neoclassicism

Enlightenment

French Revolution

Early Operation Under Ether

American

19th Century

Early Photography on Paper

documenting scientific studies

Third Class

Honore Daumier

19th Century

Realism

Social Commentary and Satire

Diagram of a Romanesque church

Keypoints:

Romanesque churches are thick on the exterior and interior. Smaller windows lend to a darker and perhaps gloomier sanctuary.

Raphael Sanzio

Paintings from the Vatican Stanze, c. 16th century, Rome

see School of Athens

Giotto

The Betrayal or the Kiss of Judas

Fresco, c. 14th century, Padua, Italy

Giotto is considered the father of Renaissance art. He began is career in the late Gothic period as an icon painter. His Betrayal fresco represents a departure from staid, passionless figures. In this detail, we see Jesus and Judas looked into a non-verbal but angry encounter. Giotto injected a sense of pathos into this emotionally charged scene.

Fra Carnevale

Birth of the Virgin (architectural scene)

Tempura on Wood panel, c. 15th century

Though this painting is titled, Birth of the Virgin, the emphasis in on the painter's depiction of architecture. The results, though impressive for early Renaissance, the architectural building is unrealistic. There is no attempt of perspective, an innovation of the Renaissance. The building looks two-dimensional.The artist attempted foreshortening and depth of field. The figures in the foreground seem to be an afterthought, instead of characters in the Christian narrative.

Plan of Old St. Peter's Basilica

c. 4th century CE Late Antique

Like the early Rabbis, the early Christians chose the Roman basilica as the design of the church. The design of Old St. Peter's follows the apsical basilica plan. While apsical synagogues were more box-shaped, the Christian buildings added a transcept which gave the building the allusion of a cross.

Michelangelo

Prophet Isaiah from Sistine Chapel

Fresco, c. 16th century, the Vatican, Rome

Michelangelo thought of himself as an architect and sculptor not a painter. He as gifted in all three. The frescoes on the ceiling of the Sistine Chapel are some of his greatest triumphs. He was commissioned by Pope Julius II to paint a program of paintings depicting the creation of man to the last judgement with a vengeful and angry Jesus commanding the heavens. Unlike many of the his male and even female figures, Isaiah is portrayed as soft, not muscular. The prophet's purplish gray hair frames his youthful, contemplative face. Most of the other prophets are depicted as older, bearded men. Even so, one can imagine this painted figure as one of Michelangelo's statues.

Cult Room

Catal Huyuk, Neolithic period

Earlies city from Neolithic

Cult room probably used for religion

Possibly worshiped "bull" god

Bulcrania (bull heads) on the walls

Narmer's Palette

Hierokonpolis, Egypt

Early Dynastic period

Earliest depiction of Egyptian power and kingship

Egyptians shown in clothes;

enemies are depicted nude and beheaded

Hand and deer painting

Altamira caves, Spain

Paleolithic period

Appears to be a later painting based upon

the depiction of small herd animals like deer, which assumes that early people are going to forests, and inclusion of human hand, which puts man in the picture instead of being a casual observer

Wall painting of King Tut hunting

New Kingdom

Amarna style

 After Akhenaten, Egyptian art is more fluid and less stiff

As the king is hunting the birds fly from the hiding place in the reeds

Tomb of Ti

Sakkara, Egypt

Old Kingdom

Ti, government official is much larger than pygmies and boats

Ti has stiff geometic body; pygmies have fluid and active bodies

Papyrus reeds are rendered as linear stripes

Stonehenge

England

Neolithic period

megalithic art

cultic  (religious) in nature

Huned (cut) stones arranged like a sundial

Great Pyramids

Giza, Egypt

Old Kingdom

monumental, megalithic tomb architecture

meant to last forever in the king's memory

Three pyramids:

Khufu

Khafre

Menkaure

Stone Knife with Ivory Hilt

Gebel al Arak, Egypt

Early Dynastic period

Simple stone knife is decorated with ivory hilt carved with animals hunting each other; topped with "strong man" type subduing two rampant lions

Queen Hatshepsut's Mortuary Temple

New Kingdom

First Female Pharaoh

built mortuary near Middle kingdom tomb of Mentuhotep in Valley of the Kings

Hatshepsut's tomb's resembles Mentuhotep's tomb, but her's is bigger

Wall relief of Akhenaten and Nefertiti and the Aten

Tell-el Amarna, New Kingdom

Amarna style

Akhenaten revolutionized Egyptian art

Figures are not stiff, but soft and fleshy

Akhenaten is portrayed with elongated face and effeminate body type

Amarna style is a departure from the stiff figures of the Old Kingdom

Step Pyramid of King Djoser

Sakkara, Egypt

Old Kingdom

Step Pyramid= series of mastabas stacked upon each other

part of funerary complex built by architect, Imhotep

tomb complex complete with palaces and Heb-Sed hall--which commemorated a royal race between the king and the young men at court

Group statue of King Menkaure with Hathor (disc and cow horns) and Neith

Giza, Egypt

Old Kingdom

depicts mastery of the human body with musculature and and strong legs

bone structure of the knees not very realistic

posture is stiff

king's face is idealized; this his official portrait

Wall painting of Volcano and houses

Catal Huyuk, Turkey

Neolithic

depiction of volcanic eruption over the town at Catal Huyuk

volcano is shown spouting lava

important because the wall painting shows that Neolithic people have an active interest in the past, present and future

Neolithic period marks the beginning of urban development

Wall painting of Bison

Altamira caves, Spain

Paleolithic period

Almost realistic depiction of large herd animals

animals are "painted" on the walls with either fur paint brushes, spray painted through a bone or color applied with fingers

cave walls are a natural canvas for the animal figures

cave surface gives the animals musculature and movement

King Senwosret III

Middle Kingdom

Egyptian pharaoh

Official portrait rendered with realistic signs of aging

different from Old Kingdom portraits

Warka Vase

c. 3000 BCE Early Dyanstic period

Uruk

Sumerian culture

images are presented like a parade with animals for sacrifice at the bottom leading to offering/sacrifice to deity by priest/king

Drawing of Warka vase

see card on Warka vase for details

Soundbox of Harp

from Royal tomb of Ur

inlay of ivory and mother of pearl

animal figures are depicted acting like humans

top register strong man theme

man vs. animals

Stele of Naram Sin

2250 BCE

Akkadian culture

victory sculptural relief depicting triumphant

king Naram Sin advancing up mountain to worship the deity shown as two sun disks

Detail of Stele of Naram Sin

see full card for details