Lascaux Cave

Yellow/blacks/brown/red ground minerals
over 2000 images
gave sense of shape by using bumps on walls.

1. possibly made for aesthetic reasons
2. made as sacrificial act
3. evironmental records

Chauvet Cave- Lion Panel 2500-1700 BCE

only depiction of owl in cave art and rhinosaurous

overlapping of animals depicts mass

Stonehege 2100-2000 BCE

40,000 to 50,000 kg

unsure how it was accomplished

relates to solstices (winter and spring)

may have been used to predict climate changes

site for rituals and festivals

org, thought they were tombs

post and lentil

was one of the largest megalith(memorial consisting of a very large stone)

Mesopotamia

agricultural society

mud and brick homes

written language formed

each city had it's own god

Sculpture qualities: made of alabaster 4 horizontal bands.

1.goddess Anana 2.naked men barring gifts 3. animals (female) 4. row of crops

Represented fertility rite.

Woman of Willendorf (or Venus) 2500-2100 BCE

naturalistic

Sculpted Vase from Uruk 3500-3000 BCE

flat space

no spatial depth/ receding space

figure may appear as suspended in mid-air

Palette of Narmer, From Hierakonopolis 3200 BCE

stylistic- never showed age of Pharaoh

hierarchical proportions-Pharaoh is monumental in proportion

shown bare foot- holy or on holy ground

often had god on or rear shoulder-chosen

servant holding sandals ment Pharaoh was on holy ground

3 vertical bands

Example of Mastaba

longest recorded buildings used as tombs

room for Pharaoh's fam. and wordly materials

aid in transition from one life to the next

mummifies bodies and coffins

Step Pyramid of Zoser, 2630-2611 BCE

(Egyptian)

vertical shaft was to stop pilfering

numerous buildings around pyramids to house workers and fam. members

grand under ground- false hallways to trap theives

org. surface smooth but fell away over time reveiling brick under structure

Great Sphinx, 2500 BCE Giza

(Egyptian)

thought to be portrait of Khafre

part animal and pharaoh

monumental size used to represent power

Seated Statue of Khafre, Giza, 2500 BCE (Egyptian)

hands in lap

carved from rectangular stone- leaving some block gives sense of monumentality

one with his throne

lion guardians and sky god on the back of his head shows importance and choosen by god

always shown as youthful and athlectic

Khafre- second lrg. pyramid at Giza

Mycerinus and Queen, Giza, 2600 BCE

(Egyptian)

illusion of carved in round (however back is flat showing form of block)

more attention on upper body-still stylized

queen less important so smaller and supporting Pharaoh

left foot forward- showing assertivness/power

Temple of Amon-Re at Luxor built 1417-1379 BCE

(Egyptian)

Amon-Re: Sun god

Akhenaten, from Karnak, Egypt, Amarna Period 1375 BCE

(Egyptian)

ruler who rejected the old gods and replaced the with sun worship

still stylized but moved towards realism

Nefertiti, 1360 BCE

(Egyptian)

queen of Egypt and wife of Akhenaten

more realistic

faint wrinkles around mouth

Dipylon Vase, Attic Geometric Amphora, 8th cent. BCE

(Greek)

Represented how a burial would go

would hire professional mourners if didn't have enough people

Stylistic short hand

geometric forms

Exekias Amphora showing Achilles and Ajax playing a board game 540-530 BCE (Archaic Greek)

Black-figure vase

no sense of depth or space

stylized image of the animals

beginning of artist being recognized

used black paint or slip then remove it to create images

narrating a story- size shows who wins game

more sensof movement and naturalism

Kouros from Tenea, 570 BCE

(Archaic Greek)

free standing male nude (mimc Egyptian art)

still stylized but has a hint of naturalism

most images were depicted along the lines of Apollo

Shown nude (influenced from Olympics where they preformed nude)

Archaic smile- features are more rounded and natural looking

Hair was the last not to be stylized

Kritios Boy, 480 BCE

(Archaic Greek)

face is idealized however a more natural expression

eyes are missing

Posture: slight turn in the hips tilted and slack leg and one that is holding weight

form moving through space became very important in thi period

ripple of flesh over hip muscle- remains a trend of bridging the front and back of the sculpture

Kore: Female sculpture- never depicted nude

Myron, Discibolus, mid. 5th cent. BCE

(Classical Greek)

no expression in face

resisting to contort face is to choose beaty over realism

idealized: youthful figure

sense of harmony

Greek sculpture would have been bronze (Roman repo. has tree trunk for support)

turning and winding the body wanted to show the muscles in the soft beauty

Polyclitus, Doryphorus, 450-440 BCE

(Classical Greek)

movement in shoulders and body

more movement becomes more and more exaggerated threw the classical period

development of realism and naturalism eg. veins in right arm

stylized hair and flat expression

Warrior from Riace, 450 BCE

(Classical Greek)

copper, bone and silver teeth

attention to detail give more realistic feel

dynamic pose and posture gives a sense to the classical period

face is older however body is stillstylized

LOST WAX PROCESS

plaster molds- cover in wax- then another layer of plaster or sand- melt away wax- pour molten bronze in between layers

Praxiteles, Aphrodite of Cindus (Kindos) 350-330 BCE

(Classical Greek)

originally rejected due to being female nude

Parthenon, Athens, 447-438 BCE

(Classical Greek)

Replaced earlier temple that was destroyed in Persian Wars

Athena was housed inside (made from ivory anf gold: mostly melted down in future years)

# obstacle illusions, things would have curved to look larger

Columns not evenly placed

Allegory (stories) Sculptures on pediments

Marble would had been painted to add to realism

increase interest in movement of drapery

Extreme realism: Horse of Selene

Polyeuktos, Demonsthenes, 280 BCE

(Hellenistic)

chest area sagging

arms no longer idealized

sense of worry and age is present in his face, loose skin around his face

overall the impression is inner persecution, dejection

roman copy of original

Victory (Nike) from Samothrace, 190 BCE

(Hellenistic)

myth personified strength, speed , victory

body leans forward- wings stretched far back into space (1st to do this)

right hand would have been cupped around mouth shouting about victory

wings are in gesture of victory (shows movement)

position of wings give impression that she is about to touch down

deep cuts of drapery, plays with light and shadows

Allegory

Altar of Zeus From Pergamum, 175 BCE

(Hellenistic)

in Asia Minor

very large structure- front steps 20 meters

new interest in diagonal plains, sever angles to cont. interesst of movement

dramatic interest of site- dramtic view of city

allegory for good prevailing over evil

Gigantomachy: was the symbolic struggle between the cosmic order of the Olympians led by Zeus and the nether forces of Chaos led by the giant

Battle of Issus, 2nd-1st cent. BCE

(Hellenistic)

1st example of Greek history art

Depicts Alexander(shown as youthful) the great and King Darius III

Black / white/ red/ yellow and brown

interest in showing perspective figure have sense of robustness

movement form one side to the other

in the moment of death seeing himmself in sheild

"Man is the measure of all things"

Villa of the Mysteries, Pompeii, 50 BCE

(Hellenistic)

buon fresco- layered on top to give shine and protection

many remain intact

illusion of space, make the painting an extension of the room

no longer passive viewer but are interacting with painting story

figures begin to look out at the viewer (dramatic props)

Actor boots indicate a drama is about to ensue

red background gives a sense of drama

little less than life size

Colosseum, Rome, 70-82 CE

(Roman)

concrete- arch

perfected art of building making

Augustus' goal to build impressive country

optical refinements and interest in the viewer

built for public entertainment and opularity of Emperor

limestone would have been faced with marble, and sculptures would have been n archesto give homage to the gods

built massive sun cover

overwhelming defeat iover architecture

Pantheon, Rome, 118-128 CE

(Roman)

roman temples followed greek

traditional pediment- ment to overwhelm sense of awe

oculus (eye)- gives light

coffered ceiling: took weight off of ceiling

built in perfect propotion split down center would measure exactly the same

pattern on floor- circles and squares

columns supporting- in patter of 2 columns then niche etc.

drum dome

portico with rotundra

pagan symbol removed in 609 CE and replaced by Christain ones

Hagesandrus, Polydorus and Athenodorus Lacoon and his two Sons, 1st cent. CE

(Roman)

punishment from Poseidon

strong zig-zags- kick back to hellenistic sculpture

violent, agony in face: not idealized

sculpture shifts to leaft as result the boy shifts right to give balance to vertical plains

missing limbs were reinterpreted

Augutus of Primaporta early 1st cent. CE

(Roman)

warts and all sculpture

may have had had death mask created to make it more realistic

Stock body: therefore idealized (Doryphoros body shape and posture)

breast plate depicts roman peace won through negotiations

pastiche: a work of art that imitates the style of some previous work

sphinx on shoulder to depict the defeat of Egyptains

Venus' son- Augustus tracred lineage back to gods- imperial propaganda

Ara Pacis, Rome, 13-9 BCE

(Roman)

political propaganda

2 friezes- veg. vine scroll- upper frieze depicts hist. events

Portraiture: Agustus shown in priest garb

children not in Roman grab- shows diverse culture

spatial depiction-closer higher relief

thought one figure was Romulus father of Rome linking Augustus to god status (propaganda furthered)

Portrait of a Young Flavian Lady, 90 CE

(Roman)

new tool- the drill used to create the hair

life size bust

popular to show woman with these elaborate hairstyles

painterly effect

Chi-Rho Monogram on Sarcophagus 340 CE

(Christian Art)

1st two letters in Christs name, used as monogram

Ikhtus- symbol of fish

mark meeting places and tombs

The Breaking of the Bread, Catacomb of Priscilla, late 2nd cent. CE

(Christian Art)

fresco- showing agape: love of God for mankind

depicting last supper- 2 fish for 1000 ppl

bread and wine shared in catacombes

Ceiling of catacomb of St. Peter and Marcellinus, Rome, 340 CE

(Christian Art)

pagan and Christian style

Greek cross

Jonah's story

hands of figures raised in "orant" (a praying or mourning figure) position

in between sharing and recieving

always refering back to religious text

Synagogue at Dura Europas, interior west wall, 245 CE

(Christian Art)

Tempera on Plaster

Greek inspiration

horizontal moving scenes

no modeling or shadowing

no feeling for perspective, foreshortening, shadowing not 3D

Moses Giving Water tot he Twelve Tribes of Israel, Dura Europas, 245 CE

(Christian Art)

people standing in orant (praying or mourning figure) style

lines around him, feet are not realistic

very little modeling position

contradictions as themes of religions

not portraits- depicting a story

higher relief

Plan of Old St. Peter's Rome, 320 CE

(Christian Art)

designed for large sculptures and lots of people

Constantine- ruler

Alter: focal point

Martyrium- sm. funerary edifice marking the tomb of a Christian martyr

basilica- a Roman building used for public administration

Nave: central area of a church (long nave inverted boat)

Apse: domed or vaulted recess or projection on a building especially the east end of a church: usually contains altar

Transept: structure forming the transverse part of a cruciform church: crosses the nave at right angles

Clerestory- part of an interior wall rising above the adjacent roof with window admitting light (upper windows)

Santa Costanza, Rome, 350 CE

(Christian Art)

Church in Rome built under Emperor Constantine and place of burial (mausoleum) of his daughters

Represents many pagan styles

god of wine transformed into Christ then created into grape vines

Central plan- a building which the sides are eqaul length and in which the main space is symmetrical when bisected

Ambulatory: a covered walkway (as in cloister)

Mausoleum of Galla Placidia, Ravenna, 425 CE

(Byzantine)

paintings for decoration

excessive use of tiles

1st place to have lots of mosaics

brick (plan) outside

form a cross (latin)

very vibrant in colour

ceilings were covered

Christ as the good shepherd

The Good Shepherd, Mosaic in Mausoleum of Galla Placidia, 425 CE

(Byzantine)

Christ holding crock- form of a cross

Christ's robes is purple and gold- divinity and imperial power

gold halo around his head (idea of hero)

3 rock's , the Son, the Father and the Holy Ghost

supposed to reflect/ devote to Emperor

interest in space and illusionism

Plan of San Vitale, Ravenna, 540-547 CE

(Byzantine Art)

very popular saint

dome in middle

plain brick

well know for it's beautiful mosaics

gold light- honey colour glow

vantone detail/ colour

every detail links to christian meaning

Hagia Sophia, Constantinople, 537 CE

(Byzantine Art)

originally imperial place of worship only

3- apses (holy trinity symbol)

pendentives- a curving triangular vault springing from the corners of rectangular area to transition between the walls and the circular base of a dome- 4 triangular supports- a concave spandrel leading from the angle of 2 walls to the base of a circular dome- more lighter feeling

mosaics rep. Christ's life

mutiple entrances

Joseph and Potiphar's Wife, Vienna Genesis, 6th Cent.

(Byzantine Art)

old testiment story

attempt at perspective and scale

if you didn't know how to read you could read it through the pictures

Rebecca and Eliezer, Vienna Genesis, 6th cent.

(Byzantine Art)

old testiment story

see Joesph and Potiphar's wife

The Virgin and Child Enthroned between St. Theodore and St. George, Monastery of St. Catherine, Mount Sinai, Egypt, 6th century

(Byzantine Art)

high demand for these paintings- highlighted human qualities and realism

depicted Christ as small man not a small child

positioned in teaching gestures

divine halos- light emanating from head- byzantine character

God's hand reaching down from heavens

images destroyed because they didn'twant Christ/God shown as human

Christ Panocrator, Monastery of St. Catherine, Mount Sinai, Egypt, 6th cent.

(Byzantine Art)

pantocrator (ruler of all things)- a painting of Christ holding the gospel book that dominates the center of the dome of a church showing him as almighty God, Lord of Universe

Hinged Clasp, from Sutton Hoo ship burial, 7th Cent.

(Byzantine Art)

Animal style- characterized by linear, animal like forms arranged in intricate patterns

Insular style- native forms mixed with Christian forms

Interlace- a type of linear decoration particularly popular in Celtic art, in which ribbon like bands are illusionistically depicted as if woven under and over one another

Cloisonne: enamleware in which coloured areas are separted by thin metal strips

Tunc Crucifixerant XPI, the book of Kells (fol. 124) early 9th cent.

(Byzantine Art)

page from the gospel of Matthew illuminated manuscript- taking old forms and making them have Christian menaings

most famous manuscript of all time- books of Matt., Mark, Luke and John

Scriptoria- Lrg. monasteries had rooms called scriptoria where monks would copy manuscripts

Chi-Rho

Saint John, from the Coronation Gospels (fol. 178v) late 8th cent.

(Carolingian Period)

fol. means page- v. means verso- back side of page

purple tinge to page showing that it was an imperial commission

sense of roundness- shadowing to give sense of deeper form- colours of byzantine period

new consideration of depth- slightly moving body in space- naturalistic form

The Palace Chapel, Aachen, 792-805 CE

(Carolingian Period)

central plan

Charlemagne's arch enhanced his political image

tribute to colisseum

sense of great weight at bottom and gets lighter at top

columns don't quite fit in arches at top (decorative not structural)

Cross of Gero 969-76 CE

Cologne Cathedral, Germany (Ottonian Period)

made of oak

1st know depiction of Christ on Cross

not idealized- shown suffering humble

interest of showing anatomy and expression

Abbey Church of St. Michael's at Hildesheim 1001- 1031 CE

Carolingian's influence (Ottonian Period)

2 transept and 2 apses

Interest in massive quality

bronze door scenes from old test. -shows Roman influence -1st use of bronze  since antiquity (Greek Sculptures)

8 scenes: 4 from Genisis, 4 from book of Matt.- fall of man and Christ redemption often paired together

hierarchy of pose and position

bronze column: Christ sending forth Aposles

Christ Washing the Apostles Feet 1000 CE

(Ottonian Period)

Christ story- triumph over death: narrative

some flattness- still show interest in naturalistic form

expressive quality

St. Serin, Toulous, France 1080-1120 CE

(Romanesque)

Moved away from wood roof

development of cult of relics- relics brought $ in: (piece of true cross)

pilgrims go church to church

round arches (vaulted) supported through ridges- frieproofing- spritual consideration- ceiling gave better acoustics for chanting

isles- lower, galleries- above

 ceilings require weight barring walls= low light in church

largest cilca in Europe

Ambulatory- could walk around perimeter witout disrupting ceremonies

Autun Cathedral 1130 CE

Combination of Roman and Gothic pillars:

Gislebertus, Last Judgement, tympanum and lintel, Cathedral at Atun, France

Christ Fig. in center- divine form

form of drapery showing form in arms

reinforces that this church is a pigrimage church

right side shows devil tormenting the damned

capitals are richly carved- well known  biblical stories

Roman structures solidifies the Christian faith- beg. of crusades

Bayeux Tapestry, 1073-83

(Romanesque)

wool embroidey on linen

most don't survive- found as interior decoration for homes

Bishop Odo of Bayeux commisioned by him and William th conqueror

Shows halley's comet 1066- 5 fig. seeing the comet

still shown flat, pictures higgher up are supposed to be farther away- very rudimentary

depicts history

Interior of Durham Cathedral, Eng. 1093 Ce

(Romanesque)

Groin vault: 2 barrels vaults meeting in center (step towards Gothic arch.)

didn't need as much wood to support- allowed for higher ceiling

1st pointed arches

removed need for heavy walls

stone rib vaulting- projecting band on a ceiling or vault (mostly structural)

Abbey Church of St. Denis, 1140-4 CE

(Gothic)

Abbot Suger- lrg. participant in building and $ for church

Narthex: a vestibule at main entrance of a church

Chevet: east end of church, comprising the choir, ambulatory, aspe and raidiating chapels if there are any

Chartres Cathedral, 1145-1220 CE

(Gothic)

Flying Buttresses- is in form of arch half-arch transmitting the thrust of a vault or roof from the upper part of a wall to an outter support- integrates interior with exterior

Cult of Virgin- center of Chartres Cathedral (relic: tunic of Mary, brought in $)

guilds

Rose Window, North Transept 1230 CE

(Gothic)

Center shows Virgin and Christ Child on knee

Around her, panels arranged in symbolic 12: Angels, archangels and four white doves representing bith the Holy Spirit and the Gospels, then in squares, the kings of Israel nsmed St. matt. as the ancestors of St. Joseph, with prophets on the outer rim

Reims Cathedral, facade, 1255-60 CE

(Gothic)

Detail in stonework in windows

Annunciation and visitation, doorjam statues, 1225CE

Cimabue, Madonna Enthroned with Angels and Prophets, 1280-90 CE

(Gothic)

Giotto, Madonna Enthroned, 1310 CE

(Gothic)

Tempera on wood, 10'8" by 6"8"

Humanism: In Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty

Giotto, Scrovegni (Arena) Chapel Frescoes, Padua 1304-13 CE

(Gothic)

Commonly called the Arena Chapel- depicts the life of the Virgin and the life of Christ

Regarded as one of the supreme masterpieces of early Renaissance

Grisaille: monochrome painting done mainly in neutral grays to simulate sculpture

Last Judgement, Envy, hope, Lamentation, Jonah details

Limbourg Brothers, Tres Riches Heures du Luc de Berry, 1413-16 CE

(International Gothic: Brilliant colours)

variety of colours obtained from minerals, plants or chemicals

mixed with arabic or tragacinth gum for a binder

extremely fine details- needed fine brushes and lenses

Sept. Detail: most famous- grapes are haarvested by peasants and carried into Chateau de Saumur

Oct. Detail: tilling and sowing are carried out- Charels V's royal palace

Feb. Detail: winter shows daily life

Gentile da Fabriano, Adoration of the Magi, 1423 CE

(International Gothic)

not geometrically constructed

read as if text of a tale- beginning at left corner

3 stages of story

intricate detail and brilliant colour

Filippo Brunelleschi, Foundling Hospital, Florence designed 1419 CE

(Internationaal Gothic)

1st great architect of the Italian Renaissance, a Florentine by birth. Trained as sculptor and goldsmith

Linear perspective- the appearance of things relative to one another as determined by their distance of viewer

one point perspective: parallel lines converge at a single point on the horizon or eye level line

Lorenzo Ghiberti, The Sacrifice of Isaac, Florence Baptistry, 1401-2 CE

(International Gothic)

door designed to match with older portion of building

worked within limits of the ornate quatrefoil framework of the Gothic period

depicted scene from the life of Jesus and representation of the Evangelists and Fathers of the Church

Filippo Brunelleschi, Dome of Florence Cathedral, begun 1410 CE

(International Gothic)

took 16 years

design features a double-walled ovoid shell anchored at the bottom by a 15m high tambour eliminating the need for scaffolding and reinforcement

dome 44m diameter and 113m high

many had a hand in designing the Florence Cathedral

Lorenzo Ghiberti, The Gates of Paradise, Florence Baptistry, 1424-52 CE

(Mix: Imternational Gothic and Italian Renaissance art)

Reliefs on the 1st door are the major sculptura; works of the international Gothic style in Italy

Those on 2nd door are in a advanced style and the finest examples of Italian Renaissance

Details: Meeting of solomon and Sheba, Story of Jacob and Esau, detail of self-portrait

Masaccio, Holy Trinity, 1425 CE

(International Gothic)

1st artist to use Linear perspective successfully

God, the Holy Spirit (dove) and the Son

Geometrical

used string nailed into plaster and stretched across painting to create straight lines

foreshortening of virgin's head

can see were wet plaster met up (put wet plaster on eachday and only painted until patch was dry- there was 28 patches)

Masaccio, Frescoes at Branacci Chapel, Santa Maria del Carmine, Florence, 1427 CE

(International Gothic)

Masaccio, Frescoes, detail: Tribute Money, 1427 CE

(International Gothic)

tell story of St. Peter (thought of 1st Pope)

3 separate scenes within the same fresco

called a continuous narrative

depicts Jesus and the apostles being asked for taxes owed

Masaccio, Frescoes, detail: Expulsion from Eden, 1427 CE

(International Gothic)