Germanic art (400-900AD)

Portable, functional (purse clasps, cloak fasteners...)

intricate ornamental metalwork with stylized animal-like/organic forms

Anglo-Saxon ship burial in England (early 7th century)

Would bury 'vikings' with ships, goods, pets...

provided spiritual, social, economic, and cultural information to art historians and archaeologists

768-877

Charlemagne and Pope Leo III: Renewal of Imperial Rome

Illuminated Manuscripts (Ebbo Gospels, Godesalc Gospels)

Ebbo Gospels: Reims Style: shows energy and motion

Early Middle Ages

400-960

311 AD - Christianity Institiutionalized, Rise of Constantine

323 - Constantine moves to Byzantium

Beginning of cities built around cathedrals

ARTICLE

Performing Art, Enacting Death

Elina Gertsman

3 Bodies: Mary, Christ, Viewer (witness to Nativity and Passion)

Womb is repository of male impressions

Christ cooked in womb, Eucharist cooked in over

Virgin with no labor pains, markers of femininity erased

Sacrifice and salvation with every opening, transitory and everlasting

Male priest is the midwife of salvation

Whole story apparent from beginning

transitions easily made, movements in time moved through different compartments

pageant wagons

abbey and two chapels form holy trinity

traditional basilica (Roman influence) with transept and apse

Transept

Apse

Nave

1000-1250

In the Roman Manner

Crude 2D to 3D in 1000s/1100s

themes: death comes for all, processionals, trinities

Representation (stories, history) linked to art/decoration

reconstructed churches outsplendoring all others

world not ending in 1000 led to exuberant churches, increase in building, decrease in nomadic existence, easier to travel/communicate 

low ceilings, barrel vaults

built with math (monks) and feudal workers, knowledge centralized in church and state (king/lord)

churches became cathedrals, holding holy relics, having a patron saint

bore pilgrimages and indulgences: beginning of tourist industry

basilica, transept, apse, nave, side isles, radiating chapels (for relics), ambulatory (for pilgrims to see relics without disturbing mass)

communitary or solitary life to attain perfection outside of worldly elements

knowledge seeking (St. Gall) cooking, medicine, writing, reading, baking, gardening, animal livery, artisans, brewery, construction, math...

ARTICLE:

Moving Subject of Processional Performance

Carefully structured, symbolically coherent affirmations, in mimetic form, of traditional communal values, customs and beliefs and theatrically conceived maps for illustrating legal, religious, and economic relationships

Use light, color, movement, gesture to affect audience: synaesthesia

Ritual frame: let us believe, Play frame: make believe

togetherness/solidarity: public statement of commitment and power

funerals biggest 'cast' processions: keeners (loud Italian mourners)

1080-1120

high ceilings in nave to take mind upwards in contemplation

groin-vault in crypt, barrel in nave, ambulatory, radiating chapels

1120-1182

decorated with alternating black and white blocks

buttresses outside-weight bearers

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Last Judgment Tympanum by Gisleburtus

known for texture (dots and stripes), sinuous lines, deep relief for appreciation from afar, and droppng right at height of story

holy on right, hell on left

church not basilica oriented, 1130-1135

Last Judgment Tympanum at St Lazare

Eve

Angel Appearing to Wise Men (touching hand, waking up)

1095-Pope Urban II calls for first crusade, christianity taken to Mid. East

1100-St Bernard (Benedictine order) founds abbey of Clairvaux (Cistercian order)

1146- St Bernard calls for second crusade, denounces distracting decor in churches-distracts from pure contemplative thought

Abbot Suger remodeled Abbey Church of St. Denis, synonymous with beginning of gothic art and architecture

claimed to honor god with most precious materials available

chief advisor to King Louis VI, forged alliance b/w monarchy and church

Barrel and Groin- Romanesque

Groin, Rib, then Fan- Gothic

The more intersecting barrels, the more weight it can hold

Advanced vaults and flying buttresses reason the Gothic period could exist. Allowed for higher ceilings and more windows. 

In demand for the concrete, cultural inquire turned toward materialism where a body is understood as a nexus of finely interlaced force fields (emotions, affects, perception, senses)

Physical experience hard to separate from passionate intensity (feelings hurt, touched by presence, bruised ego)

Performance of work and of life suggest transformation from ethos through experiments in living (experiential pedagogy IE vindaloo), constantly submitting sensorium to new sensual worlds that sit uncomfortably within your ethos

Aesthetics

(Related to Affect, Food, and Social Aesthetics)

sensate perception; material experience, sensual world greeting sensate body AND affective forces generated from meetings, attuned to perception, sensation, attention

Artists provide most usable materials (beauty) but ignore common existence

Aesthetic satisfaction is satisfaction in the end form of process, the resolved

Schismogenesis

(Related to Affect, Food, and Social Aesthetics)

acculturation resulting in intensification of cultural differences

Symmetrical Schism.: rivalry, behaviors elicit similar behaviors in other party IE arms race

Complementary Schism.: creating a split in a mutually aggravating way IE differing conversational styles interacting

to occur, we may abstract ethos (definite tone of appropriate behavior or sentiments toward rest of world) from a cuture and define as expression of individual: based on concrete elements (ways of doing:shaking hands, forms of perceiving:social recognition of race or class, affective intensities:affordances of anger)

Post-Apocalyptic

palette-charred, faded, radioactive neon

devaluation of money, themes of death and impotence

mutilated or melted lines

displacement

assault-no place for eye to rest

no barriers between painting, sculpture, or performance, interrelation of voice, pieces in context with one another

pressure internally for how to make something new after WWII

1042-1063 period of intense rebuilding

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Last Judgment -Second coming of Christ

Hieratic Scale

Clerics at bottom show deep relief, could reach around their heads

quivering lines, ribbon patterns, drapery and scallopped outlines show religious zeal characteristic of Ebbo gospels and Utrecht Psalter

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Prophet Jeremiah, supporting wall, long and thin 

Founded by Saint Bernard

Cistercian

began 1139

simple, unadorned forms vs Cluny’s opulence

simple geometry, tightly controlled equilibrium vs

sprawling abbey complex

no sculpture or wall painting, no towers

1137-1144

 stained glass windows appear as translucent walls

new geometric form for apsidal chapels creating 2nd ambulatory

pointed arch, ribbed groin vault

Romanesque traits creating gothic mindset

increase in height and light

radiating chapels more open and unified

barrel nixed for groin, rib and fan

large stained glass windows

ornate decoration inside AND outside

elongated flat figures become more realistic

dark and gloomy to tall and light filled

artists become specialists, knowledge more widespread with travel

Affect

Relating to Affect, Food, and Social Aesthetics

arises in midst of in betweeness

capacity to act and be acted upon

found intensities passing from body to body

live things affect each other all the time and yet we map what is said and not felt or done

Art of Illumination

VIDEO

Belles Heures of Jean de France, Duc de Berry

(Beautiful Hours of Jean of France, Duke of Berry)

Book of Hours is a prayer book, a way for an individual to establish a more immediate relationship with God

lots of prayers to Mary

The Limbourg Bros, 16-19 years old, drew it all 1405-09

personal emblems of Duke in borders

amazing detail-saint spitting blood back at demon/woman/temptation

Towers: first built in 1160, 349 ft. Second in mid 1500s, 377 ft. 

Rose window (wheel window or catherine window)[image]

oculus is center, opening to transcendent wisdom

panels below are LANCETS

876: Charlemagne gives Sancta Camisa (Mary's tunic) to church, important for cult of Mary, unscathed by time or misfortune:

Church burns in 1020, rebuilt Romaesque basilica under bishops, burned again in 1194, donations for rebuilding, not destroyed/looted during french revolution

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sculpture freer from architecture, platforms allow body to not be subsumed by trumeau, drapery detailed (ties at waist)

Limestone, takes on color of light

choir screens

grisaille windows: working with tracery and silver (not lead)  melted on glass (created red hue), difficult, expensive and fragile

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contrapposto: s curve: pronounced

figures engaging each other in open space

fabric around midsection emphasizes bulk of bodies

butresses capped with spires, more collonades, more height and ornamentation

lancets double in size and rose windows made smaller and more of

1230-1240

florid style of late gothic architecture in France from 1350-early 1500s

even more decoration and double curved tracery aka ogee arch

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preceded by rayonnet

1240-1350

shift in focus away from the High Gothic mode of utilizing great scale and spatial rationalism (such as with buildings like Chartres Cathedral or the nave of Amiens Cathedral) towards a greater concern for two dimensional surfaces and the repetition of decorative motifs at different scales

radiating spokes on rose windows

move from plate tracery to bar tracery

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Italian

Madonna with Child Enthroned, Four Angels and St. Francis 1280-85

lancet style, wood panel, tempera, 2D playing with depth (steps, knees under drapery)

Byzantine style: flat, long, glittering figure

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1267-1337

Most important painter in 14th century, rounder, deeper figures

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Madonna Enthroned, 1310

Depth: throne, fuzzy angels in background, partially obscured faces, shadows/shading in throne

Difference b/w Cimabue and Giotto: Light (Mary's slightly tilted glowing nimbus), Depth (arches), and presentation of face

letting go of sense of STRAIGHT holiness

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Entry into Jerusalem 1304-06

tower shadow, architectural detail, partial obstruction

Scrovegni Chapel 1306-1310

Giotto 1306-1310 Fresco

Arena chapel, buying his way into heaven

paints boxy architecture to frame stories

"Betrayal" 

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gold center, nimbus emphasized by dark soldiers' helmets

movement uncharacteristic of time

matthew cuts an ear off and jesus heals it

echoes in drapery refuse exit, pointing to focus

"Lamentation"

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expressive angels, contorted and falling in grief

rock bisects painting for foreground/background, points to focus

center man contorted by force of what he's seen

tree of jesse, mary's marker, cross, acts as frame

balanced, crowd on one side, nature on other-equally weighted

above all, every line is functional

Fresco Buon

Fresco Secco

Buon: water and pigment on damp plaster wall (IE Sistine Chapel)

Secco: water and pigment on dry plaster wall (lasts longer, less colorful)

SINGLE POINT PERSPECTIVE

uniform shrinking of figures, geometric precision

The Betrothal of the Virgin by Raphael 1504

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renaissance

legitimate construction

develops ideas about single point perspective that alberti put forth

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The Holy Trinity, fresco, convincing illusion of death, face level with viewer, detailed shadows, exposed skin, gold red blue

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The Tribute Money, deep recession, depth: porch, mountains, sky, building gives way to mountains, partially because technique not developed yet

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Expulsion from Garden, 1425

Santa Maria del Carmine in Florence

deeply emotional, outlined bodies, light gives depth

Sfumato

Cangiante, Chiaroscuro

sfumato-smoke, no defined lines, good for background

cangiante- changing hue because color worked with cannot be light or dark enough

chiaroscuro- strong light/dark contrast

Florence Cathedral fresco-Last Judgment

friend of Michelangelo

architect more successful

championing classical forms with architecture

emphasized straight lines, flat plains, cubic spaces

created the dome vasari's painting was in: Santa Maria del Fiore

1404-1472

maps out grid for single point perspective for art in Della Pitura (1435)

roman

Donatello

1386-1466

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St Mark 1411-1413

niche holding sculpture, free standing dude who looks like he could walk right out

contraposto

bringing back Kritos Boy (480BC) where whole body shifts to support on one leg

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george killing dragon: schiacciato: field of action in shallow relief to create more atmosphere

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1428-32. contraposto, unmuscular boy body, blankness of youth, vulnerability-didn't need protection, fully free standing 3D work***

1452-1519

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Annunciation ca 1484

presentation of natural world, carpet of nature as important as prayer bench, distance, underdrawn, painted, and varnished to get sfumato and radiance, mary in niche surrounded by architectural detail to frame, gold cloth around belly, Gabriel holds trumpet lily (innocence/purity), natural fully fleshed body with bird wings, decorative not glowing halo, architectural detail echoes nature, gold floor, gold flowers

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Madonna on the Rocks 1485

angel signified with red robes, baby jesus signified with benediction, grotto backlit, light shows insane depth, both open and bounded

Last Supper

door and arch make Jesus' halo or nimbus, captured gesticulation, fresco miracle it still exists, war damage, stones thrown, eyes scratched out, oil paint, etc. 

Andre Mantegna, 1480

post-crucifixion holes

foreshortening: shortening foreground to present things close to us with depth, shooting out from us

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Campin, 1525-1530

NORTHERN REN.

tempura and oil on wood

oil saturates color and lasts longer

devil's mousetrap, memento mori (candle blown out), architecture less important, less sacred message of humanity, framing CRAZY, glazing: thin layers of paint that are translucent, conducts light well

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James Van Eyck (1390-1441), 1434

wood, glazing, dog equals fidelity, realistic everyday elements give depth-peaches

atypical painter for his time

1450-1516

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Garden of Earthly Delights, 1505-1510

oil on wood, most allegorical of N Ren painters, moralistic tone, fraught life: fertility, live giving (stamen, pistil, fruit, sexy times), presentation of eve to adam, cat with rat in mouth, death (rat, cracked glass, sickly man, hollow rotting fruit)

color-lurid power, even background for hell detailed and urban, realistic representation of spiritual elements, 

Peter Bruegel the Elder (1525-1569)

Peasant Dance (1567)[image]

genre painting: painting of everyday life, rejection of paintings centered around the sacred, inconsequential church spire in background, novle savage (hard workers) and gluttonous, erotic peasants both presented

figuration, movement b/w color/hues

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Hunters in the Snow (1565)

stark light/dark contrast makes it feel flat, genre painting and landscape painting, humans just part of overall picture

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Landscape with the Fall of Icarus (1565)

unknowing spectatorship of most important story in mythology, myth goes unnoticed all around us, painters paint protagonist, bruegel comment on popular myth subject paintings

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self portrait (1498)

painter, printmaker, not about craftsmenship but intelligence, proud of different view of religion, Martin Luther important (95 theses 1517)

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Adam and Eve (1507)

compared to Masaccio, intelligent and unashamed

"Melancholia" (1514) 

filled of failed things, undone nails, emaciated calf, banner blocking out the sun

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"Four Holy Men" (1526)

aged, not beautiful, faces, mixed focus of painting, not focusing on one holy thing, green gold orange (N Ren pallete)

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Artist Drawing A Nude 

gridding, indictment of perspective, takes living beauty of humanity and cuts it up, flipside: artist's ability to tame chaotic world at large and present it to us, both sin and pleasure of being a painter

1497-1543

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The Ambassadors

skull, anamorphosis, memento mori, beauties and mysteries of earthly world stained by death

surrounded by music, culture, exploration

1508-1512

ceiling by Michelangelo (sculptor): created new scaffolding, bodies present and fleshy, having the feel of labor it can accomplish, anamorphosis, false architecture, figuration both horizontal and vertical, far away and vast-comprehendable to audience, he conceptualized the telling of a story THE story

Walls done by Raphael, Botticelli, and Bernini

1600-1750

away from holy into mythology

 sense of falling upward (Glory of St Dominic)

coiled energy in chaotic clouds

capturing movement

clouds and cloth, taking form as far as it can go in telling a story

The Loves of the Gods

Pallazo Farnese in Rome

fresco, 1597-1601, Annibale Caracci (one of two bros)

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1597-1601

frames painted, not as elaborate as Sistine Chapel, continuation of populated scenes, monumental figures

classic Baroque

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Aurora AKA the Dawn (1613)

semicircles on side-color commentary, representative of four winds, apollo backlit-different way of setting focus, diagonal force (structure, movement), procession going by we happen to catch rather than set up composition like in Ren., coiled energy (horses mane, clouds), chaos underlying painting provides structure

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massacre of the innocents (1611)

center, nothing but absence and a knife, ridiculous spectacle of permanent exertion without effect (6 shrieking women), coiled force, woman top left being sucked back into scene

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Glory of St Dominic (1612)

Bologna, counter reformation movement, annunciation of saint, hieratic scale and single point perspective, freer in Baroque than in Ren, foreshortening-characters on bottom perched on actual architecture-could tumble out

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Return of the Prodigal Son (1619)

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Aurora (1621-23)

instead of Reni's in sky with Aurora, we're on the ground looking up, buildings frame the coming of dawn

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Glorification of Reign of Urban VIII (1633-39)

commissioned by Barberini, bees part of coat of arms

"Allegory of Divine Providence and Barberini Power"

false architecture to increase height, figures moving from panel to panel, backlighting, horizontal and vertical figures, baroque clouds