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Aula Palatina(exterior), Trier, Germany, early fourth century CE.
Basilica converted into church
Plain on exterior
Beautiful interior |
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| Aula Palatina(exterior), Trier, Germany, early fourth century CE. |
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Samuel anoints David, detail of the mural paintings in the synagogue, Dura-Europos, Syria, ca. 245–256. Tempera on plaster, 47 high.
Typcial late anitque paiting
Low rolume
Rows
sylized gestures
Rare to be found most depictions were thought to be illiegal
only depictions of the torah from the time period
weightless |
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Christ seated, from CivitaLatina, Italy, ca. 350–375. Marble, 2’ 41/2” high. MuseoNazionaleRomano–Palazzo Massimo alleTerme, Rome
Was a funerary marker in catacomb
Showed devotion and power
Status expense
Shows connection to graeco roman traditions in subject matter
christ as a seated philosopher sacrates
all interconnected |
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Sarcophagus of JuniusBassus, from Rome, Italy, ca. 359. Marble, 3’ 10 1/2” x 8’. MuseoStoricodel Tesoro dellaBasilica diSan Pietro, Rome.
Shows conversion from roman to christian
similar stories
different subjects
archetecture differnt statuary the same |
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Interior of Santa Costanza, Rome, Italy, ca. 337–351.
is a central plan building (equal dimensions)
popular in bryzantine
cicular
possible mausoleum for constantines daughter
later into a church
severe brick exterior
beautiful mosaics inside |
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Mausoleum of GallaPlacidia, Ravenna, Italy, ca. 425.
cuciform structure
barrel vaults
originally a chapel
fell and redecorated by bryzantine
one of earliest successful fusions of central and longitudinal structures |
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Miracle of the loaves and fishes, mosaic from the top register of the nave wall (above the clerestory windows in FIG. 11-17) of Sant’ApollinareNuovo, Ravenna, Italy, ca. 504.
is a example of transition from late antiquity to bryzantine
jesus directly facing toward the viewer
gold background is the norm
extended arms
least number of figures necessary which is very different from previous |
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Justinian as world conqueror (BarberiniIvory), mid-sixth century. Ivory, 1’ 1 1/2” X 10 1/2”. Louvre, Paris.
Eastern half is bryantine
shows emperor riding trimumphantly
personificaitons of victory and earth
Viewed themselves as continuation of roman emperors
shows power, bringing order to barbarains
animlas at the bottom like near east |
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ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, aerial view of HagiaSophia (looking north), Constantinople (Istanbul), Turkey, 532–537.
justinina built
church of holy wisdom
domes are classic of time
spreads weight out
still relatively plain but extravagant inside
dome is like a halo
beginnign of importance of light
golden chain from heaven
pendentives are what transfer the weight
circle on square base
is a big domed basicllica |
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| ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, aerial view of HagiaSophia (looking north), Constantinople (Istanbul), Turkey, 532–537. |
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Aerial view of San Vitale (looking northwest), Ravenna, Italy, 526–547.
Racennas greatest shrine
octagonal church with dome
mosaic of san vitale inside
shapes and shadows to dissorient
not basilica
dazzeling mosaics
christ rule over the world
christ redemption of humanity |
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| Aerial view of San Vitale (looking northwest), Ravenna, Italy, 526–547. |
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Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca. 547.
positions are important
emperor in the middle
gestures important
3 groups
the golden patten
overlaps bishop to show relationship
movement in the objects
no background
very important complex relationships shown
emperor forever a participant in the sacred rites |
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Transfiguration of Jesus, apse mosaic, Church of the Virgin, monastery of Saint Catherine, Mount Sinai, Egypt, ca. 548–565.
• Lots of skulls
• Survived iconoclasm
• Very rare depiction of jesus
• Has beard, not young appolo
• Emerged from the holy land
• Is the new norm
• Story of transfiguration
• Jesus goes on mountain and revealed to dissiaples in true divine form
• Intense whiteness past purple
• Golden enternal in background
• Curious shape around it
• Mandorla around him
• It shows the contrast between outside and inside
• Compared to him everything else is blackness
change from naturalism to more abstractness |
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Virgin (Theotokos) and Child between Saints Theodore and George, icon, sixth or early seventh century. Encaustic on wood, 2’ 3” X 1’ 7 3/8”. Monastery of Saint Catherine, Mount Sinai, Egypt.
icons
very important in bryzantine worship
indespensible medium
• Hand of god abover her head
• Still some greek/roman style seen
• But still mostly flat
• Grows in prominence during this time
• Jesus dressed in gold clothing
• Shows awkwardness in dealing with childish proportions |
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Katholikon, HosiosLoukas, Greece, first quarter of 11th century.
• Still austere exterior
• Except more texture
• Patterns
• Multiple senses engages
• Lots of costumes
• Byzantine art is an experience
light stones framed by dark gred bricks
dynamic surfaces
square base to |
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| Katholikon, HosiosLoukas, Greece, first quarter of 11th century. |
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Interior of the Church of the Dormition (looking into the
dome), Daphni, Greece, ca. 1090–1100. Also Christ as Prokanator
• Lots of lights and shadows
• Alternating cicrucle are rectuanglouar forms
• Picture of crucifiction
• Skull gelow
• Side is pieced
• Shows water and blood coming out body
• Is dead jessu
• Calls upon feelings
• Look at saint john and other to be able to respond
• Daedactic art – art that teaches
connects heaven and the veiwer
almost helenistic facial expression |
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Pantokrator, Theotokosand Child, angels, and saints, apse mosaic in the cathedral at Monreale, (Sicily) Italy, ca. 1180–1190.
is a basillica
symmentry
church hieroarchy displays
stern formally ness of bryzantine
• Shows Islamic influence which has spread |
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Virgin (Theotokos) and Child, icon (Vladimir Virgin), late 11th to early 12th century. Tempera on wood, original panel 2’ 6 1/2” X 1’ 9”. TretyakovGallery, Moscow.
rejection of iconoclastic viewpoint
icons are back
most reknowned from russia
sylized abstraction from reworking same image
mary is virgin of compassion almost hellenistic
pathos |
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ANDREI RUBLYEV, Three angels (Old Testament Trinity), ca. 1410. Tempera on wood, 4’ 8” X 3’ 9”. TretyakovGallery, Moscow.
masterpiece of russian bryzantine
suble linie
vivid colors
drappery
color is the most important aspect
perfection in the art
devotion to god |
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Dome of the Rock
Jerusalem
Islamic
687-692 CE
tribute to triumph of islam
site sacred to christanity, islam, and judasism
octagonal dome
where abraham prepared to sacrafice isaac
where muhamad journeid to heaven
is like late antique
central plan
San Vitale |
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Aerial view of the Great Mosque, Damascus, Syria, 706–715.
mosaics done by byrzantine
earliest minuets in muslim world
is similar to roman basillica
vegetal designs that are seen many other places
no animal forms |
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| Aerial view of the Great Mosque, Damascus, Syria, 706–715. |
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| Aerial view of the Great Mosque, Damascus, Syria, 706–715. |
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Malwiyaminaret of the Great Mosque, Samarra, Iraq, 848–852.
copy of roman lighthouse
• Winding staircase
• To be able to call to prayer
• How would you hear him
• Entirely monumental
• Islam is here
• This is an Islamic space
• Very functional minaret
same idea of asssention |
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Prayer hall of the Great Mosque, Córdoba, Spain, 8th to 10th centuries.
hypostyle hall
double arches not all necessary
• Keeps getting in larged over time
• Shows priotes of Islamic art
• Bryzantine overwhelms sences
• Islamic artecture
• Goal is to cofuse
• All surfaces broken up
• Cannot understand what is necessary for support and aestetic
• 514 columns in there |
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Muqarnasdome, Hall of the Two Sisters, Palace of the Lions, Alhambra, Granada, Spain, 1354–1391.
• Trying to figure out how a dome works
• Whole surface broken up
• Use of muqarnus, stalagtytes, little hanging features coming downward
• No flat surfaces left
• Can’t tell anying
• Swinches turning it into a octagon and then into a square
dome of heaven |
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Koran page with beginning of surah 18, “Al-Kahf” (The Cave), 9th or early 10th century. Ink and gold on vellum, 7 1/4” x 10 1/4”. Chester Beatty Library and Oriental Art Gallery, Dublin.
• In the cuffic sty;e
• Idea of using text decoratively
• Not commonly seen in west before this
• Idea of sacred text as art
• Giving the text extra status
• Leads to caligorafy
• BSM ALLA is a very common phrase, gives reverence to god |
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SINAN, Mosque of SelimII, Edirne, Turkey, 1568–1575.
• This is after constantanoble falls
• Build a similar structure to eye of Sophia that is Cristian that is bigger and is a mosque
• Tall minurets
• Domes and semi domes
• Can be configured easily for exact structural needs
• Taken by vactness of the space
• Light air lots of patterns
• Typical of western Islamic art
artist was a christian intially
Better than christian |
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Mihrabfrom the Madrasa Imami, Isfahan, Iran, ca. 1354. Glazed mosaic tilework, 11’ 3” X 7’ 6”. Metropolitan Museum of Art, New York.
• Great example of everything Islamic
• Filling space with vegetal patterns
• Texts with multiple fonts
• Using mosaic tile work
• Very labor instensive
3d wall to 2d painting |
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Muqarnastileworkof the entrance portal of the Imam (Shah) Mosque, Isfahan, Iran, 1611-1638.
Exception tilework
idea of breaking up surfaces
trandendence
artistry |
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MAQSUD OF KASHAN, carpet from the funerary mosque of ShaykhSafi al-Din, Ardabil, Iran, 1540. Knotted pile of wool and silk, 34’ 6” X 17’ 7”. Victoria & Albert Museum, London
• Carpet making is very important
• Reflective of the ceiling
illusion of heavenly doe
beauty divinity
all vegetal |
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Aerial view of the Great Mosque, Kairouan, Tunisia, ca. 836–875.
• Standard layout
• Hypostyle on the back
• Dome where the miqrob is that orients toward mecca
resembles mohamads hourse
representative is the prayer |
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| Frieze of the Umayyad palace, Mshatta, Jordan, ca. 740-750. Limestone, 16’ 7” high. Museum fur Islamische Kunst, Staatliche Museen, Berlin. |
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Canteen with episodes from the life of Christ, from Syria, ca. 1240–1250. Brass, inlaid with silver, 1’ 2 1/2” high. Freer Gallery of Art, Washington, D.C.
• Depictes scenes from the bible
• Probably a sourvenier
• Sold in the holy land
• Made by muslim craftsmen
• Pilgrim flaks
• Buy it and fill with holy water or other valuable liquid
• Must be aware of context of artwork |
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Purse cover, from the Sutton Hooship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long. British Museum, London.
was buried with the warlord at sea
interaction of ornamentation and aminal figures
skilled metal working
shows power to the beholder
status
tells a story battles with the grouping
• Uses the inlaid technique
• Swedish issues
• Snakes bitting and entangled
• This is the cover of a pouch filled with silver coins
• For the public display of gifting
• Typical of warlord government |
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Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum of National Antiquities, Oslo.
chartachistic of viking ships
skilled craftsmen
power in the animal skill in the man |
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Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070.
culmentation of viking craftsmen ship
shows old influence on new christian tradition
it was the interest
abstraction
message
vegetal like islamic |
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Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. Trinity College Library, Dublin.
• Very stylized
• Is the beginning of the gospel
• Triscols all over
• Figures intricately tucked into the design
• Very difficult to read
• Shows clear link to metal working
Shows improtance of color
work of god
in the Viking way |
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Saint Matthew, folio 18 verso of the EbboGospels(Gospel Book of ArchbishopEbboof Reims), from Hautvillers(near Reims), France, ca. 816–835. Ink and tempera on vellum, 10 1/4” X 8 3/4”. BibliothèqueMunicipale, Épernay.
• Celts are very good at metal working and then translate to manuscripts
• This is more classically looking
• Moving north and merging with linear style
• Looks like Pompeii
• Shows progression of manuscript design
Culmentation of manuscript work going from formal metal working to more realistic classism |
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Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 1/2” high. Louvre, Paris.
• Statuette
• King of france
• Became emperor or rome
• Consolidated into the kindom of franks
• First emprie in a long time
• He is holding the orb of the world
• It is known that we collected other old roman equestrian statues
• Meaning he is the king of all of them
• He thinks he has restored the roman empire = restored their power |
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Saint Michael’s, Hildesheim, Germany, 1001–1031.
• After the death of Charlemagne
• Roman and not roman at same time
• Enter on the side like basilicas
• Double transcept
• Crossing square(between transcept and apse)
• Is root geometry for the rest of the church
• Doors with reliefs of genesis scene
• And life of Christ
• Adam and eve
• Has a column very much like trajans column
Craftsmen ship
innovation registers |
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| Saint Michael’s, Hildesheim, Germany, 1001–1031. |
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| Saint Michael’s, Hildesheim, Germany, 1001–1031. |
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Otto III enthroned, folio 24 recto of the Gospel Book of Otto III, from Reichenau, Germany, 997–1000. Tempera on vellum, 1’ 1” x 9 3/8”. BayerischeStaatsbibliothek, Munich.
• Seated emperor pose like old rome
• Very colorful
• Resurgence of roman artwork
• Facing page has women representing provencees
• This is very rome
back to constantine
idea of unity for rome |
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Interior of Saint-Sernin, Toulouse, France, ca. 1070-1120.
• Sums up early Romanesque
• West entrance is large
• Cross shape of church (nave) transcept
• Radiating chapels
• Have relics of saints
• Stop on the way to comp estella (main locations)
• Typical pilgramiage church
• Holds a party
• Barrel vaults
• Every half a crossing square
• Has statue of Christ which is rare
• Christ in majesty
• Some classical aspects (seated)
• Figures are exaggerated vertically |
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| Interior of Saint-Sernin, Toulouse, France, ca. 1070-1120. |
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South portal of Saint-Pierre, Moissac, France, ca. 1115–1135.
• Example of door sculpture
• Main is right above doors
• Shows second coming of Christ as king
• Jesus seated as a king
• Strange animals around
• Symbols of four evangelists
• (Mathew, mark, luke , and john)
• Have to do with way the gospels start
• Point is when you walk into church that there will be a final judgment
• Center is enlogated
• Classiism exachanged into highly coded sculpture
christ is at the door to salvation |
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West facade of Saint-Étienne, Caen, France, begun 1067.
• Bottom is Romanesque
• Top is gothic
• Built by William the conquere
• Interior was initially barrel vaulted and then upgraded to groin (1120)
• Allows for windows
• Adds heights to the nave
• Clerestory is the top |
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Interior of Sant’Ambrogio, Milan, Italy, late 11th to early 12th century.
lots of groin vaults
dome of heaven
very regular
first instances of rib vaulting
low and broad
more cubed |
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Definition
Cathedral complex, Pisa, Italy; cathedral begun 1063; baptistery begun 1153; campanile begun 1174.
rare to have three christian buildings together that survived
more like a basillica
baptistry
one stop shop
plain perfect dimension
much more conservative in italy |
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GISLEBERTUS, Last Judgment, west tympanum of Saint-Lazare, Autun, France, ca. 1120–1135. Marble, 21’ wide at base.
Church portal sculpture
• Christ in glory in center
• With evangelist
• Very graphic horrors illustrated
• Good and bad side
• Unjudged are down below
• Demons grinning lips
• Souls of the dead are being weighed in the scales |
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Head reliquary of Saint Alexander, from StavelotAbbey, Belgium, 1145. Silver repoussé(partly gilt), gilt bronze, gems, pearls, and enamel, 1’ 5 1/2” high. MuséesRoyauxd’Artet d’Histoire, Brussels.
saint that looks like a roman emperor
abstraction of wisdom piety and humility
roman values |
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Definition
EADWINE THE SCRIBE, Eadwinethe scribe at work, folio 283 verso of the EadwinePsalter, ca. 1160–1170. Ink and tempera on vellum. Trinity College, Cambridge.
full on classism
depection of himself as divine
prince among scribes
• Color is very exciting
• Un expected ways
• From a psalm book
• Firm bold patterns
• Hind of softness in the body underneath
• Romanesque statuary is yielding to nature
• Depicts himself as a scibe
• Very first self portrait
• It is so excellent and it is then a gift to god
• God wrote the book though |
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Definition
Funeral procession to Westminster Abbey (top) and Battle of Hastings (bottom), details of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070-1080. Embroidered wool on linen, 1’
most famous romanesque art
history
• Includes haileys commet
• Know exact date
• Same time William the conquerer invades England
• End of Viking age
• One of few tapestries that survived
• Very very long (229 feet)
• Documents the anglos war against the normans
• Gives us glimses into medival life
• William the conquer truly a horrible person
• He is king of the normans |
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Interior of Chartres Cathedral (looking east), Chartres, France, begun 1194.
• Broken up into two pieces
• Had a large fire only one fasade surived in 11th century
• Portal sculptures are the only surving complete gothic sculpture left
• All feature scenes of life of Christ
• Emphases narrative throughout the building
• First unified narrative
• Mary starts to gain importance
• In 12th and 13th century
• Sculpture steps out of the wall
portal represent life and second coming of christ
realism starts to begin |
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Definition
| Interior of Chartres Cathedral (looking east), Chartres, France, begun 1194. |
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Virgin and Child and angels (Notre Dame de la Belle Verrière), detail of a window in the choir of Chartres Cathedral, Chartres, France, ca. 1170, with 13th century side panels. Stained glass, full height 16’.
• Shows awkward baby
• Most expensive part of cathedral
• Extrememly difficult to make
• Extremely rare
• Gives color to people that propraly have never seen much of before
• Tracery
• Stone work pieced together to frame stained glass
• Start to get structural proplems as they get bigger
much softer than bryzantine |
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Definition
Saint Theodore, jamb statue, Porch of the Martyrs (left doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1230.
• Shows very naturalistic
• Personal expressions and faces
• Gestures and eye contact are still relevant though
• Aniamated coming out of the wall
• Starting to hold there own weight
idea but natural
controposto |
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Definition
ROBERT DE LUZARCHES, THOMAS DE CORMONT, AND RENAUD DE CORMONT, vaults, clerestory, and triforiumof the choir of Amiens Cathedral, Amiens, France, begun 1220.
• Shows the extreme of decoration and tracery
• Very very tall
• Massive
• Has structural problmes
• Buttresses were placed too high
• Very open
• Shows prominent move
• Triforeum has windows into it
• As much openeness as humanly possible
• Epitomy of French gothic
• Pushes complexity of architecture |
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Definition
Virgin and Child (Virgin of Paris), Notre-Dame, Paris, France, early fourteenth century.
• Shows equating kings and queens of bible to French monarchy
• Scenes of virgin as French queen
• Clear parrells
• Back to helenistic structure of standing
• This is a common trend in gothic sculpture
• Almost ties back to motherhood
looks like aphrodite of kniddos |
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Term
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Definition
| ROBERT JANYNS, fan vaults of the chapel of Henry VII, Westminster Abbey, London, England, 1503–1519 |
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Definition
VILLARD DE HONNECOURT, figures based on geometric shapes, folio 18 verso of a sketchbook, from Paris, France, ca. 1220-1235. Ink on vellum, 9 ¼” X 6”. BibiliothequeNationale, Paris.
intellectual gothic
comercialized art
returning to roman and greek intelectualism |
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Definition
Abraham and the three angels, folio 7 verso of the Psalter of Saint Louis, from Paris, France, 1253–1270. Ink, tempera, and gold leaf on vellum, 5” X 3 1/2”. BibliothèqueNationale, Paris.
like a cathedral on a page |
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Definition
Virgin of Jeanne d’Evreux, from the abbey church of Saint-Denis, France, 1339. Silver gilt and enamel, 2’ 3 1/2” high. Louvre, Paris.
• Show integration of royalty into the art of france this is common in gothic
• Nobles have arrived
• Important she is holding the fleur de lis which is the emblem of royalty
playful
very realistic
drappery
controposto |
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Definition
Ekkehardand Uta, statues in the west choir, NaumburgCathedral, Naumburg, Germany, ca. 1249–1255. Painted limestone, Ekkehard6’ 2” high.
• German bring in emotion
• Not so much seen through the eyes of god but through the eyes of humans
• They are in the heart of the church
• Figures are attached to the columns
• But now in gothic they are coming out of the archetecutre
• Almost free standing
• They are benifactors of the church
• However not at all affiliated with the church or relgion
• Nobles
• This is like the ancient near east
• Legitimacy of power |
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Definition
Virgin with the Dead Christ (RöttgenPietà), from the Rhineland, Germany, ca. 1300–1325. Painted wood, 2’ 10 1/2” high. RheinischesLandemuseum, Bonn.
• Shows how life is like
• What is your suffering compared to this
• Humbeling
• Still very humanizing
• Very german gothic
• Trying to be as gruesome as possible
humanizing figures
very different |
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Definition
NICHOLAS OF VERDUN, sacrifice of Isaac, detail of the KlosterneuburgAltar, from the abbey church at Klosterneuburg, Austria, 1181. Gilded copper and enamel, 5 1/2” high. Stiftsmuseum, Klosterneuburg
• Passion in the face
• Huge drapery
• Stress
• Ram is down there
• Classical perspective on the altar
• New trend in medieval metalworking
• Use of enamel
• Brilliant blue background
• Glass powder heated and fused into a paste |
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