Art History All

Colosseum

(Flavian Amphitheater). Rome, Italy, Imperial Roman, 70-80 CE. Stone and Concrete. It's a Greek amphitheater x2. Held 50,000 people with 76 entrances/exits. The core is concrete and the facing is limestone and marble. The exists were made possible by interplay of barrel vaults, groin vaults, and arches. The purpose of the games held there were originally religious and social control (keeping poor people's problems off their minds), and it promoted the game's sponsor, usually the emperor. It has 3 levels and orders: Tuscan, Ionic, and Corinthian. Brackets held flagstaffs that anchored a retractable canvas roof. There was a basement for storage of animals and gladiators and could be flooded for mock naval battles. The marble was taken off in the Middle Ages because it was a symbol of persecution fo the Christians.

Rottogen Pieta

Late medieval Europe. C. 1300-1325. Painted wood. Devotional image of Andachstbild which was common in Germany in the 14th century (plague). Also called a vesper bill because it was often meditate upon during vespers. Intentionally grotesque imagery: blood from rosettes on Christ, lifeless Boyd, Mary's expression: shock, pity, and grief. The grape-like drops of blood are references to Christ as the "mystical vineyard"-> from death comes new life. Symbolizes the blood of Christ at Communion, too. Gives hope to life at the end of suffering. Hope for the awfulness of the 14th century to be over.

Golden Haggada

Late medieval Spain. 1320. Illuminated manuscript (pigments on vellum). Jewish prayer book. Read as part of a family's celebration of Passover commemorating the Hebrew exodus from Egypt. Songs, prayers, and discussion help mediate Jewish identity from one generation to the next. The artist was likely a Christian (similar style to illuminated manuscripts), but scribe was Jewish (Hebrew, right to left). God is NOT pictured (angels take his place). Avoids restrictions against holy images that applied to art in synagogues. Reflects diverse make-up of Spain until the Spanish Inquisition. Egyptian army looks like European army because they paint what they know.

Bandolier bag

Lenape (Delaware tribe, Eastern Woodlands). C. 1850 ce. Beadwork on leather. The Lenape were one of the 1st tribes to contact the Europeans. It was inspired by the European's ammo bags. It was made of trade cloth (cotton, wool, velvet, or leather). The beads were imported from Europe. It was a status symbol (bag in motion) and functional. It was made for women.

Last Supper

Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera. High Renaissance. In reflectors of St. Maria Della Grazie, Milan where the monks ate. Depicts two different scenes from the Last Supper: right after Jesus says someone will betray him and when he says this is my body. Apostles act in ways that describe their personalities: Thomas painting foreshadows his doubts. Peter pulls a knife foreshadowing Peter cutting off the high priest's servant's ear. Judas pulls away from Christ with money in his hand (Umbra Mortis). Geometry used to express heavenly proportions: Christ is an equilateral triangle, apostles arranged in the number 4 (number of Plato's virtues), groups of 3 (Holy Trinity). Mix of Christian and classical worlds. Table acts a barrier between the physical and spiritual worlds. Window is a figural nimbus. The landscape represents heaven and can only be reached through Christ. In bad shape due to Leonardo's experimental use of oil and tempera applied to a layer of white. Good example of linear perspective, but not a good example of chiaroscuro (contrast between light and shadow) or sfumato (blurry or smoky effects).

Plaque of the Ergastines

Located on the frieze beneath Helios. Depicts the Panathenaic Procession on the Parthenon. Shows 6 Ergastines (young noble women in charge of weaving Athena's Peplos) greeted by the two priests. Contrast of upright figures with expressive priests. 1st time in Greek art that a human event is depicted on a temple. Praises Athenian piety and encourages it.

Palette of Narmer/Menes

3000 BC. Buried in a temple dedicated to Horus. May have been used to paint a statue of Horus. King Narmer unifies Upper and Lower Egypt. Bull in bottom register symbolizing Narmer. Serpents in middle register depicting unification. Narmer marches in a parade. To the right of the top register the heads and balls of people that disobeyed him.

Sarcophagus of the spouses

Etruscan. C. 500 BCE. Terra Cotta. The Sarcophagus had ashes inside of it. The lid features a reclining male and female. Body of sarcophagus resembles klinai. They both held an object, most likely an egg which symbolizes rebirth in the afterlife. Similar to the Tomb of Triclinium, they were both part of a banquet scene as they are eating and drinking. The mood is festive and they invite us to join them in their banquet. It communicates marital love and devotion and also the Etruscan regard for women. It took a while to make and was complex because it had to be constructed in 4 parts, then joined together. It was similar to the Archaic Greek sculptures because it is rigid, stylized hair, and has an Archaic smile.

Great Serpent Mound

Adams County, Ohio. Mississippian (Eastern Woodlands). C. 1070ce. Earthworks/effigy mound. Effigy mount is a raised pile of earth built in the shape of an animal. It is 1300 feet long and 3 feet high. The meaning/purpose is unclear because it could only be seen from above and there are no burials or temples associated with the mound. Also, it is not part of a city. It was probably associated with crop fertility and made to win the favor of the gods. Snakes were important in Mississippian iconography. Also, it could have been made in reaction to Haley's comet in 1066. The head faces the direction of the summer solstice and there is something like an egg or frog that it is about to swallow.

Adam and Eve

Albrecht Durer, 1504, engraving. Northern Renaissance. Durer is the first international sensation of the Renaissance. Depicts the Fall as a rip to Italy and was influenced by the ideal image of humans influenced by Ancient Greek sculpture. It's an engraving and a way of making a print. Unite the Italian and Northern Renaissance because it's highly detailed and an engraving. There's symbols like a Parrot which is Mary (says Eva ave aka Hail Mary). The four animals represent the 4 humors that were held in balance until the Fall. Italian elements are Contrapposto stance, 3-D modeling, Idealized, and spatial realism.

Temple of Athena Nike

First fully ionic temple on the Acropolis. It replaced a Doric temple that was destroyed by the Persians. It commemorates the Athenian victory over the Persians at the Battle of Marathon in 490 BCE. It was built during the Peloponnesian War in order to attain divine assistance versus the Spartans. There are scenes of victory depicted on the frieze.

Niobides Krater

Anonymous vase painter of Calssical Greece known as the Niobid Painter. C. 460-450 BCE. Clay, red-figure technique with white highlights. Pottery is the main source of surviving Greek painting. Used as grave markers, storing olive oil. Inscriptions were used to identify narratives, artists, viewers, etc. Depiction of human form were archaic and stiff and formal. Red style. Found in Orevieto, Italy. A krater, so most likely used for mixing water and wine. Name comes from its depiction of the killing of Niobid's children by Apollo and Artemis for her excessive Huber is. Could be based off of the paintings of Polygnotus, the first painter to paint in depth. The other side depicts Heracles surrounded by Athena and warriors or the warriors of Marathon. Marks the first time isocephalism was used. Isocephalism is when all the heads are in a line. Makes a more realistic scene by situating some figures in front of others making a foreground, middle ground, and background.

Apollo and Temple of Minerva

Apollo: By Vulca of Veii, c. 500 BCE. Terra Cotta. One of the 4 large figures that once stood on the roof of the Temple of Minerva at Veii. Apollo probably was contending with Heracles over the Golden Deer. Vulca de Veii was the most famous Etruscan sculptor of his age. It was meant to be seen from below. It was similar to Archaic Greek architecture. It is different than Archaic Greek because it has clothes, is more dynamic, hollow, and arm is not as constricted. Temple of Minerva: (Veii, near Rome) c. 500BCE. Original temple was made from wood, mud brick, and tufa. (Statue of Apollo by Vulca attached to the roof). Does not survive because it was made out of terra cotta and wood. Model is based on Vitruvius, a Roman architect form the 1st century BCE. Different than Greek architecture because there's only one entrance, no architecture in pediment space, architecture on the roof. Both have columns and a triangular roof and Doric columns. Wood vs. Marble. Both elevated. Temple of Minerva is in Tuscan Order. Has a base under the column

Anavysos Kuoros

Archaic Greek, c.530 BCE. Marble with remnants of paint. Kuoros- generic term for youthful male. Used as a grave marker for the patron's son who was a fallen soldier. Has an archaic smile. Similar to Menkaura and Queen because has a rigid stance, idealized. Different from Menkaura and Queen because more built and no clothes.

Athenian agora

Archaic through Hellenistic Greek. 600 BCE-150 CE. Marketplace, center of civic and social life. Organic design. Along the Panathenaic Way (main religious processional route at the base of the Acropolis). Had a Bouleuterion, a chamber used by the Council of 500. The Tholos where the 50 executive council met. Stoas- covered walkways with columns on one side and walls on the other. Provided gathering space which built the community.

Great Altar of Zeus at Pergamon

Asia Minor (present-day Turkey). Hellenistic Greek. C. 175 BCE Marble (architecture and sculpture). Ionic order, horseshoe shape (130x120). Made to honor the gods and thank them for their favor. Offer sacrifices and libations to the gods there. Created a holy space because only certain people could go in it. On the acropolis of Pergamon near Dionysius' temple, the agora, and ampitheater. Shows propaganda of the might of Pergamon and their leaders. The relief is very deep and contains the longest frieze in Greek art (9ft. Tall, 370 ft. Long). Shows gigantomachy, the battle between gods and giants. Athena grabs a giant by the hair and drags him up to worship Zeus and Nike crowns Athena in victory. Mother Earths looks in horro. This shows the might of the Attalid dynasty. Attalid- the people that are Alexander the Great's heirs and people of Pergamon. Also symbolizes the Greeks' earlier victories against the Persians and the Attalid victory over the Gauls. Inspired by Parthenon. Different than Classical Art because it shows more emotion and movement. Same because the depictions of the bodies are the same.

Nike Adjusting her Sandal

Graceful, high relief, deeper folds in her clothes. Depiction incised lines of drapery reveal rather than conceal the body underneath. Effect of wet drapery is slightly erotic. The Greeks's taboo on showing female form started going away because of foreign influence. Not as rigid and formal as previous female sculptures. There is more skin shown and the female form is being highlighted.

Painted elk hide

Attributed to Cotsiogio (Cadiz Cody), Eastern Shoshone, Wind River Reservation, Wyoming. C. 1890-1900. Painted elk hide. Men akimbo and bodies bent in the Sun Dance in the honor of the Creator Deity around buffalo head and an eagle flying above. Women rest near fire and men on horses hunt buffalo. There are two tipis that represent the camp. Buffalos are being skinned. There are also warriors on horses with feathered headdresses which show their bravery in battle. The painted hides represent the nomadic style of the Great Plains. Showed how buffalo are used for food, clothing, and shelter. Was a status symbol. They used ocher or chalk painted on animal hide via free hand and stencils. The painting reflects the forcible removal of the Shoshone to a reservation by the US government. It's function was to remind the Shoshone of their fading identity and included the wolf dance to avoid controversy since the sun dance was illegal until 1935. Work of nostalgia.

Spaniard and Indian Produce a Mestizo.

Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas. From one of the first castas paintings. Shows Spanish social hierarchy= 16 different levels with Europeans at the top and natives on the bottom. Castas show the multiethnic nature of Mexico and that the more European you are, the more civilized you are. Layout is modeled after depictions of the Holy Family and conveys a sense of mutual affection. This harmony suggests the harmonious mixing of classes in society at large. This would not have been considered art, but rather categorization. Commissioned by Europeans most likely to communicate their status and to share with the Old World how the caste system works and to encourage their immigration.

Grave Stele of Hegeso

Attributed to Kallimachos. c. 410 B.C.E. Marble and paint. Placed in a cemetery at Athens. It is a resurgence of private monuments following the Persian wars. Depicts Hegeso with a maidservant examining jewelry. Reflects the role of women in Ancient Greece because they are confined to the house and have to have children. The jewels are probably part of her dowry. It is set indoors and that represents how women are enclosed indoors. It also commemorates the wealth of their family and somewhat their patriotism.

The Code of Hammurabi

Babylon (modern Iran). Susian. c. 1792-1750 B.C.E. Basalt. Hammurabi united Mesopotamia. Laws were written in Akkadian cuneiform. 7 foot Basalt stele. Shamash is handing Hammurabi a ring and scepter giving Hammurabi the right to become king and giving him the laws of Babylon. Shamash's divinity is shown by him being bigger than Hammurabi, his feet are on mountains. By disobeying the rules, you are disobeying Hammurabi and Shamash.

Pazzi Chapel. Basilica di Santa Croce

Basilica di Santa Croce. Italian Renaissance. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry. The Pazzi family was 2nd only to the Medici family in Florence. It was a meeting place for Franciscan monks and a burial chamber for the Pazzi family. Emphasized the Pazzi Family's piety and wealth. Highly geometric plan derived from the architecture of the ancient Roman Vitruvius. There is a dome with an oculi and rounded arches deco red with coffers. There's fluted pilasters with decorative columns. Symbol of ideal proportions (crossing where nave and transept meet is twice the size of nave bays. The nave is twice the width of the aisles. Arches and columns and 2/3 the height of the nave. Lots of calm and sober colors. Contrasted with Gothic churches very much.

Seated Boxer

Hellenistic Greek. C. 100 BC Bronze. Made using the lost-wax method. Depicts an older boxer, past his prime in defeat. He's gazing at his victorious opponent. It's Hellenistic because he's a normal guy and is showing emotion in his sadness that he lost (seated, cauliflower ears, broken nose, sunken lips- busted teeth, blood dripping from face)

Calling of St. Matthew

Caravaggio, 1599-1600. Oil on canvas. Painting is the Church of San Luigi die Francesi in Rome, Italy. It captures the movement right before Matthew is converted to Christianity and follows Jesus. The main figures are Matthew, Christ, and St. Peter. They are identified by a stream of light from the right to the left (Holy Spirit). Figures are different than Renaissance because they are normalized in a normal setting. Caravaggio and Baroque are known for naturalism and tenebroso. It shows a moment in time and is very realistic. Christ's hand resembles Adam's hand in Michelangelo's Creation of Adam-> Jesus is the 2nd Adam. Peter stands next to Christ and represents. The Church. The Church stands between Christ and us (man). This was not viewed well by the Council of Trent because it's too mysterious, but the intended message is "ALL ARE CALLED".

City of Machu Picchu

Central highlands, Peru. Inka. c. 1450-1540 C.E. Granite (architectural complex). PLAN: named Old Peak and is 8,000 ft. above sea level. Built without the wheel and was Pachacuti's winter retreat. Used for religious ceremonies and diplomatic negations. Has terraces to grow crops and cisterns to trap rainwater. Has ashlar masonry which makes an echo. OBSERVATORY: Used to chart the sun's movement and charted the winter solstice and some constellations. There was a cave beneath that represented the Underworld. Used in conjunction with the intihuatana stone. INTIHUATANA STONE: Astronomical clock that was located at the center of the city's most sacred plaza/highest point. Right over the sun during the spring/fall equinoxes. Served as an axis mundi and was a focal point for the Incan religion. Spanish destroyed them because they thought that they were altars of sacrifice.

Chartres Cathedral/ Great Portal of the West Facade/ Notre Dame de la Belle Verrierre

Chartres, France. Gothic Europe. Original construction 1144-1155; reconstructed 1194-122-. Limestone, stained glass. Dedicated to Mary (once was a pagan shrine to a virgin goddess). Has the tunic she wore at Christ's birth. Burned down in 1194, but since Mary's tunic survived, it was reconstructed. Elaborate exterior (horror vaccui) lots of stain glass with lancets, large rose window (evolved from Romanesque oculi). Pointed arches and rib vault provide more structural support than barrel vaults and round arches. Directs attention to heaven. Jambs depict kings and queens of the Old Testament (connection between rulers of Israel and France's rulers: Divinely appointed kings, they were crowned here int eh 100 years war). From left to right, it shows Christ's ascension, the Last Judgment (Christ is a severe judge and there is a man-ox-eagle representing the gospel writers. Voissors shows the 24 elders, rulers of ancient Israel. Last is Mary enthroned with baby Jesus. Vertical character of figures shows the verticality of jambs and cathedral. Gothic smile, project away from structure toward viewer, emphasis on salvation, not damnation (opposite of Romanesque). AKA the Lady of the Beautiful Window. Craftsmen made glass, masones cut and shaped stone into frames, glazers set glass into frames, artists painted the scenes. Mary is depicted of queen of Heaven. Light is a symbol of the divine. Blue= purity. Christ is a man-child and holds a book that says: "Every valley shall be filled" (reference to Isaiah's prophecy of the incarnation) gothic Sway and dehumanized figures.

Yaxchilan

Chiapas, Mexico. Maya. 725. Limestone (architectural complex). LADY XOOC AND THE VISION SERPENT: high relief and originally painted. Lady XOOC holds a bowl with bloodletting ceremonial items (stingray spine and bloodstained paper. Idealized figure and royal clothes. Tálalos (god of rain, water, and fertility) is in one corner and King Shield Jaguar (or Xooc in another form) is in the other. Made to commemorate her husband's rise to the throne. Communicated power and authority to Maya elites because she was pious and self-sacrificial. STRUCTURE 33: Built by King Bird Jaguar to celebrate his coronation and legitimize his claim to the throne. Overlooks the city's main plaza and oriented toward the Usumacinta. Has a large roof comb that makes it look taller than it is. Elevated and has three doors that lead to central room decorated with reliefs of Bird Jaguar's son and him playing Mesoamerican ballgame against their enemies. Has a Corbel vault interior. STRUCTURE 40: Has reliefs of King Bird Jaguar with war captives, so it reflects the Mayan practice of waging warfare in order to capture sacrificial victims. The eventually led to the demise of the Mayans.

Screen with the Siege of Belgrade and hunting scene

Circle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlay. Made in Mexico and commissioned by the Viceroy of New Spain, Jose Sarmiento de Valladares. It's a Japanese (black lacquer) influenced biombo. He was able to afford it because of lots of trading with Mexico made him wealthy. The main feature of the battle scene is depth. Originally located in the viceroy's palace and the message was to show the global P & A of the Hapsburgs because it shows the Austrian's victory over the Turks. The Hunting Scene si much more peaceful and calm. This would have been seen by the viceroy's wife and friends (wife was a descendent of Montezuma).

Winged Victory of Samothrace

Hellenistic Greek. c. 190 B.C.E. Marble. Found in a sanctuary in a harbor on the island of Samothrace. The winged sculpture was on the front of a stone ship located inside the shrine. She was facing out toward the sea possible greeting or symbolizing victory. Made to honor Nike or to commemorate a naval victory by Rhodes in 190. 9 feet tall and very dramatic, so representative of Hellenistic art.

Church of Saints Foy/ Last Judgment Tympanum

Conques, France. Romanesque Europe. Church c. 1050-1130; Reliquary of Saint Foy: 9th century with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood. St Foy- martyr of the Roman Empire. Located along the pilgrimage route to St. James of Santiago de Compotela. Typical of Romanesque churches- series of repeating bays: 1st floor= arch, 2nd floor= triforium with smaller arches, 3rd floor= clerestory (Basilica Ulpia). Has a barrel vaults, transverse arch, and piers to support stone ceiling. Has a wide transept to accommodate lots of pilgrims. Radiating chapels (apsidal Chapels) had devotional statues and relics to allow pilgrims to experience the relics without disturbing mass. Last Judgment Tympanum: "O sinners, change your morals before you might face a cruel judgment". Reminds pilgrims to repent. There are 124 figures crammed into the tympanum. christ is saving souls from the damned. Archangel Michael is weighing the souls. Paradise (bottom left) vs. Devil (bottom right). Figural style (chubby, short, big heads) and shows the medieval concern for death and damnation. Reliquary of Sainte-Foy: one of the earliest large-scale sculptures of the Middle Ages. There are jewels, gems, and a crown added over the years from donations from faithful pilgrims. Blank stare= spiritual transcendence, lambs of throne= comparison to Christ, martyrdom, Reflective materials= spirituality. Head may have been reused from Roman sculpture of a child (spoliation). Connection to Roman power and authority.

Hagia Sophia

Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer. Also known as the Church of the Holy Wisdom. Emperor Justinian and Theodora paid for it. Isidorus and Anthemius were specialists in math and geometry, but managed to finish the architecture in only 5 years. Replaced a church destroyed after the Nike Revolt that almost overthrew Justinian in 532. Combines elements from central plan and basilica plan churches. The dome is the focal point and is on pendentives and conches. There are 40 windows that make the illusion that the dome is suspended from heaven and that a halo is over the congregation. The dome collapsed in 558, but they rebuilt it. There is a lot of interior design, but no exterior. A bunch of gold mosaics are gone because the iconoclast controversy got rid of a bunch of icons and mosaics. Some exterior minarets were added after the Ottomans captured Constantinople in the 15th century. It is now a mosque.

Ecstasy of St. Theresa

Cornaro Chapel, Church of Santa María Victoria. Rome, Italy. Gain Lorenzo Bernini. It's an un bel composto because there is architecture, sculpting, gilding, painting with marble, and frescoes on the roof. The purpose is to inspire and involve the viewer. Theresa was a recently canonized saint (1622) so people could relate to her. She described her theophany as a high-ranking angel with a spear with fire on the tip plunging into her heart several time. Spiritual pain. Bernini uses this as a sexual metaphor. Contrasts: Angel's clothes are light and Theresa's are heavy-> He is of heaven and she is of earth. Very Catholic work and not Protestant because involves pomp and circumstances to connect with God. The light in the back looks like the Holy Spirit and Heaven and the relief involves us. It's about the union of our world and the spiritual world as conveyed through Bernini's depiction of St. Theresa's theophany.

Las Meninas.

Diego Velasquez. 1656. Oil on canvas. Shows him painting a picture inside the picture. The mirror shows the king/queen of Spain in either a window or on the canvas. The main person is a princess surrounded by her maids of honor. A spontaneous moment, but also a portrait. It's meaning is evasive. Some possible meaning: honoring King Philip- displays his art collection, honors the art of painting- highly complex and very painterly, argues that painting is not just a mechanical art, honors Velazquez- self-portrait and highly complex. The cross means that he is a member of the Order of Santiago (honor). Could be evasive because the meaning of life is evasive. Common in Spanish works like Don Quixote.

David

Donatello. Italian Renaissance. c. 1440-1460 C.E. Bronze. Patron was Cosimo d-Medici. Depicts moment after David defeats Goliath. Goliath's severed head is at the base. Stance suggests nonchalance and his head is bowed in humility. Laurel on his hat identified him as a poet and symbolizes victory. Androgynous because Donatello wanted to do something other than just copy a Greek statue.

Virgin (Theotokos) and Child between Saints Theodore and George

Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood. It is located in a monastery in Mt. Sinai, Egypt. Encaustic- pigment mixed with heated wax. One of few icons that survived the iconoclast controversy because it was in Ravenna and not part of the Byzantine Empire anymore. Mary looks past us to the future and Jesus averts his gaze. Foreshadowing for Jesus' death. Early Christian artists didn't know how to depict God, so they just put a hand and the angels are looking at it. Jesus is homochulous- proportions of a man, and a full head of hair. The angels are looking up at God coming down from heaven.

Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page, St. Luke incipit page

Early medieval (Hiberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigments, and gold on vellum). Lindisfarne was a Church and monastery off the coast of northeast England. Eadrith made the painting and it was commissioned to glorify St. Cuthbert, the patron saint of northern England. The Vikings nearly destroyed it in 793. Influenced by Islamic art by was of Coptic Christian bibles from Egypt -> Islamic prayer rugs in form and purpose. Influenced by Germanic art -> animal motifs. Celtic art -> swirling design and interlace patterning. Typical of Hiberno- Saxon style (Hibero=Celtic, Saxon=German). St. Luke Portrait page conveys the idea that Luke was divinely inspired. Flying ox represents sacrifice. Figural style is very medieval. The forms lack volume and there is little to now perspective. The incipit page is the first few words of the text. It says "As many have taken it in hand to set forth in order". There is a lot of interlace patterning and animal motifs

Merovingian looped fibula

Early medieval Europe. France. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones. Merovingian= a ruling dynasty of the Francs. Fibula- a brooch used to hold a tunic. Typical of medieval art because small and portable. Many Germanic tribes were semi-nomadic. Status symbol that was buried with owner. Probably a gift from a chieftain to a warrior. Combines pagan, Roman, and Christian elements. Zoomorphic eagle- Roman standard, John, and important in Germanic Mythology. Made with the cloisonne technique- metal wires were soldered on a metal base and gems were inlaid between the wires. Then gold was gilded on top of the metal.

Palazzo Rucellai

Florence, Italy. Italian RenaissanceLeon Battista Alberti (architect). c. 1450 C.E. Stone, masonry. Giovanni Ruccelai was the patron and is the head of a rich merchant family. Three stories that get more complex as the rise (1st story= Doric where family conducted its business, 2nd story= Ionic where family received guests, 3rd= Corinthian, where family slept). Plasters and arches are purely decorative not supportive. Capped by a heavy cornice. Friezes contain Ruccelai family crest (billowing sails) communicates their P & A. Inspired by Colosseum.

Forum of Trajan

Forum of Trajan: Rome, Italy. Apollodorus of Damascus. Forum and markets. 106-112. Brick and concrete. Trajan was one of the 5 good emperors. It was a plaza at the center of a Roman city. Purpose was similar to stoas. Set within two of Rome's seven hills and paved with Carrera marble. It also proclaimed Trajan's power and authority. It was built using plunder from Dacia (Romania). Entrance was marked by a triumphal arch depicting Trajan on a chariot. Reflects permanent shift towards permanent celebrations of military victories (vs. triumphal parades). Basilica Ulpia: It's a court building named in Trajan's family's name. Nave in the middle, apse for judges, double colonnades in composite order. Coffered ceiling. Clerestory. Model for modern-day basilica churches, but was originally a court instead of church. Column of Trajan: Also by Apollodorus. 128ft high and has a 625 foot long narrative that tells the story of the win over the Dacian. There are 600 figures and 150 scenes. You could climb spiral stairs to the top and you could see the entire Forumn. It also functioned as a giant burial chamber (Trajan's ashes are in the base). It was flanked by libraries which symbolizes Trajan's correspondence during the war. Some scenes include a pontoon bridge with river god looking over them and a busy Roman camp where they're making base. Now the top figure is St. Peter instead of Trajan to honor the first Christians.

Madonna and Chid with Two Angels

Fra Filippo Lippi. Italian Renaissance. c. 1465 C.E. Tempera on wood. Lippi was inspired by Masaccio who was the artistic heir to Giotto. The Archbishop of Florence commissioned it for his palace. Revolutionary because it humanizes a sacred theme. Mary is for seeing Christ's death and there's symbolism (pearls= feminine purity, rocks in background= Church, city= heavenly Jerusalem). Setting is real and less dramatic. The angels are not concerned with Mary and are playing with Jesus. Made so real people could relate to it. There's foreshortening, 3-d modeling and a foreground, middle ground, and background.

Peplos Kore

From the Acropolis, Archaic Greek, c. 530 BCE. Marble, painted details. Kore- female counterpart to Kuoros. Wearing a Peplos (long robe). Goddess (probably Artemis). Had bored holes in head which means she probably was adorned with metal jewelry crown. Had animal imagery (Artemis). Left hand is up which could mean she was holding a bow in that hand and arrows in the right hand. Strong Archaic smile and rounded, naturalistic face. Went out of style, so the Athenians threw it out when they were rebuilding after the Persian war.

Helios, horses, and Dionysus

From the east pediment of the Parthenon. Shows the birth fo Athena from the head of Zeus. Idealized, calm and dignified, deep and irregular folds in clothes, contrapposto. Called Elgin marbles because the British took them back to England.

Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx

Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut limestone. Located in Giza which is on the West Bank of the Nile River. Spacing mimics the stars on Orion's Belt. Facing the East b/c of rising son. Funerary temples connected by causeways. 2,000+ workers made it out of obligation to the pharoah. Khufu was originally 481 X 750 ft. Shape refers to benben mound which Egyptians thought life first came from. Sides represent rays of sun that the pharaohs ascend to join Ra. 3 inner chambers: 1 with sarcophagus and grave goods. Other two uses are unknown. Faced with polished Tura limestone. Sphinx may be the face of Khafre and was carved "in situ." Body of lion, head of pharoah/god. Cat was a sacred animal. Pyramid and sphinx were both propaganda.

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées

Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript. Compares people and events from the Bible into contemporary worlds. Complex and expensive to make. Tell lessons that go along with the text. Queen Blanche gives this to Louis IX to make him a good king. Wears crown and scepter to signify his right to rule. Look like Mary an Jesus (P&A). Bottom shows the priest dictating the Bible to a scribe/illustrator on the right. The buildings from them in a contemporary setting (Paris?- center of late medieval manuscript by professional artists and dictated by scholars from University of Paris). Gold background and purple clothes- royalty. Apocalypse page- design from stain glass windows. Medallions frame each scene. Biblical passages/commentary (the gloss) written next to each medallions.

Pantheon

Imperial Roman, 118-125 CE. Concrete with stone facing. Dedicated to all of the gods. The inscription said Marcus Agrippa, son of Lucius, having been consul three times built it. Shows Hadrian's humility by praising Agrippa which at the same time compliments himself. Features two main pediments in Corinthian and Composite order. Has coffers in the ceiling. Coffers contrast the roundness of the walls and make the ceiling lighter and therefore more structurally sound. Large dome 142 feet high adn was the highest for 500 years. Has an oculus in the center 27 feet wide and acted as a spotlight for statues of the gods as the sun moved. The floor was sloped to help with drainage for rain that got in. It has 7 niches for statues of the gods.

Augustus of Prima Porta

Imperial Roman. Early first century C.E. Marble. Subject is Caesar Augustus and its purpose was to persuade the Roman people and Senate to support his as Rome's 1st emperor. Marks a shift away from Republican verism towards Imperial idealism. Named Prima Porta from his wife's favorite villa. Similar to Doryphoros. Propaganda to support the Republican tradition of ruling with persuasion instead of his empire on coercion. His armor shows his power as ruler. It has the sun god and sky god representing the lands he conquered. The dolphin signifies his great naval victory over Marc Antony at Actium that made him emperor. There is Cupid in the bottom which is subtly implying that he is of divine lineage. The message is that Augustus Caesar has piety and is from a god. He brought peace and prosperity to the empire (Pax Romana).

All- T'oqapu tunic

Inca. 1450-1540. Camelid fiber and cotton. A status symbol that could only be worn by the elite. Likely a royal tunic that was woven by Acllas. Women with a backstrap loom and warp and weft method. Made of Alpaca wool from the highlands and cochineal (red expensive dye made from insets on cacti). Communicates the owner's power and authority because of the price and rarity of the materials. Also, highly skilled people could make these. Variety of patterns show the King's claim to the empire (black and white checkerboard= military might).

Maize cobs

Inca. C. 1440-1533 CE. Sheet metal/repousse, metal alloys. Maize is a symbol of life and fertility and the principle source of food in the Andes. Main ingredient in Chicha (religion beer). Done in repousse (push back) and buried with the crops to ensure a healthful harvest. Symbolizes the Incan mastery of the natural world.

Entombment of Christ

Jacopo da Pontormo. 1525-1528 C.E. Oil on wood. His wild compositions and bizarre reflects his own paranoia and the conflict caused by the Reformation and the Wars of Religion. Distorts nature and typical of Mannerist art. No clear focal point, elongated and twisting bodies, clashing colors. No ground line. Impossible proportions.

Arnolfini Portriat

Jan van Eyck. c. 1434 C.E. Oil on wood. Northern Renaissance. Jan van Eyc, is the Father of Oil Painting. Shows the wealth and status of its middle class subjects. Purpose is either a wedding portrait, a betrothal, a memorial to his dead wife, or him giving his business over to his wife. The mirror in the background shows them making to portrait and could be a legal document with Eyck acting as a witness. Symbols: burning candle=wedding, extinguished candle=Mrs. Arnolfini is dead, Shoeless= on sacred ground, statue of St. Margaret + woman pulling dress= Desire for a child?, Dog= Fidelity. Shows gender roles in 15th century Flemish society because Mr. Arnolfini is in position of command and Mrs. Arnolfini is looking submissive. Mr. Arnolfini is near the door and outside world while Mrs. Arnolfini is near the bed.

Woman Holding a Balance

Johannas Vermeer. 1664. Oil on canvas. Nicknamed the "Sphinx of Delft" and are mainly intimate scenes set indoors. Typically Baroque because it captures a moment in time, but has a timeless quality. Warm light illuminates woman, pearls, gold, the painting, and their texture. Pearls and mirror are vainitas images and warn against self-indulgence. Empty and level balance symbolizes there needs to be a balanced life. Picture within the picture is the Last Judgment-> "to weigh is to judge" (eternal consequences of one's actions). The light suggests the presence of the divine among us -> she resembles Mary and Vermeer's wife Caterina. Highlights Mary's role as intercesor for our sins. There are implied lines (pinky+ balance). Also he used expensive paints (blue from lapis lazuli). He may have used a camera obscura in order to trace the scene.

Temple of Amun-Ra and Hypostle Hall

Karnak, near Luxor, Egypt. New kingdom, 18th and 19th dynasties. Temple. C. 1550 BC. Hall c. 1250 BC. Cut limestone and mud brick. Propaganda to give to the Pharoah if good or bad things happen. Mainly happened over Thutmose III. More elaborate than Old Kingdom temples (houses). Complex covers 60 acres. East bank of Nile. Somewhat remote. Axial plan. Processional path lined with sphinxes. Pylon, massive post and lintel gateway with tapering walls topped by horizontal decorated molding called a cornice. Peristyle court. 340 X 170 ft. Hypostyle hall. Central pillars= 66 ft. tall. Clerestory above roofline. Obelisks lead to inner sanctum. Sacred lake to the south of the temple.

Transformation mask

Kwakwaka'wakw. Northwest coast of Canada. Late 19th century CE. Wood, paint, and string. Owned and passed down for centuries within the tribe. Mask represents one of the four fearsome bird companions to a man-eating giant known as "people eating spirit of the north". They killed the giant and took his treasures to use in their rituals. It was used in a potlach (gift-giving ceremony) called the Winter Ceremony where initiates were inducted into one of the four secret societies called the "Hamatsa". Initiates were usually 25 year old males. The dance violently and there is chanting and singing to channel the ancestors and their power. Signifies the transformation to adulthood. They were said to consume human flesh to induce vomiting to alter their state of mind. Also gifts were exchanged. The facial parts (nose) were exaggerated and there are vivid colors and deep lines to communicate its effect in the ceremony.

Ludovisi Battle Sarcophagus

Late Imperial Roman. c. 250 C.E. Marble. Depicts a battle between Romans and Goths from Germany. Dates from after the Pax Romana when Germanic invasions threatened the empire. Reflects the new tradition of burying the dead vs. cremation. The sarcophagus likely held the body of the emperor Hostilian whose brother and father died by the Goths, but he never fought. The sarcophagus serves as a metaphor because the victory over the Goths represents the triumph over life and death. He was a member of the cult of Mithras which featured an afterlife. We know this because he has an x on his forehead.

Fruit and Insects

Rachel Ruysch. 1711. Oil on wood. Specialized in still lifes. Appealed to the merchant class and middle class. Symbols: wheat and grapes= Eucharist. We see peaches, lizards, insects, plums, squash, and corn. She studied individual things and put them together. Color harmonies: red and green counterbalanced/ contemporary colors. She was influenced by her father who was an artist.

Allegory of Law and Grace

Lucas Cranach the Elder. c. 1530 C.E. Northern Renaissance. Woodcut and letterpress. Cranach was a friend of Martin Luther and was named the "Painter of the Reformation". Reflects Luther's belief that religious art is acceptable if it teaches the right lessons. Woodcut made it very easy to reproduce as propaganda. It's purpose was the convert people from Catholicism to Protestantism by their varying teachings on salvation. Shows Christ in judgment and Adam and Eve eating the apple. A skeletal figure chases a sinner into the fires of Hell with a spear (memento more). Suggests that people try to live a good life but fail because we follow the commandments to a letter without exceptions. Sinners bathe in Christ's blood via the Holy Spirit. Claims we are saved NOT by good works but by Faith alone.

Parthenon

Made by Iktinos and Kallikrates. Focal point of the Acropolis. Based on mathematical principle of x=2y+1. Ratio for width to length of exterior and interior is 9:4. Columns swell in the middle to make the top look parallel to the ground even though it isn't. Blew up in the 18th century under the Ottoman Empire. Outside is Doric but inside has some ionic capitals and a frieze. Housed a massive statue of Athena Perthnon made of gold and ivory over a wooden core.

Black-on-black ceramic vessel

Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic.Not made with a potter's wheel, but with coiling (long snake like rolls stacked on top of each other then put in a kiln). Slip (clay + water) used to paint decorative motifs on of patterns and forces of nature. Pueblan people would sell these in communities like Mesa Verde. This is different because it was not made entirely by women (Mr. Martinez did the painting). Also, the design is influenced by the Art Deco movement of the 1920's/30's which focuses on rectilinear designs and geometric patterns instead of geometric patterns. This work sparked a revival of pueblo techniques and the 20th century renewal of interest in Native American art.

Angel with Arquebus, Asiel Timor Dei

Master of Calamarca (La Paz School). c. 17th century C.E. Oil on canvas. Reflects the militant assertion of Catholic strength during the counter-reformation. Blends the Old and New Worlds. Old- rich, Spanish-style of dress, Latin inscription, androgynous angel (consistent with scripture), shows an early musket, baroque style. Council of Trent only allowed depiction so fMichael, Gabriel, and Raphael, but they did Asiel because they are far from Rome and the pope. Native- angel looks like the Incan creator god and his warriors called huamincas, he's got a plumed hat like Incan royalty, patterns on dress resemble those on All-toqapu tunics.

Isenheim Altarpiece

Matthias Grunewald C. 1512-1516 CE. Northern Renaissance. Oil on wood. Placed in a monastery that treated ergotism or "St. Anthony''s Fire". That's a disease caused by eating fungus on rye flour that caused hallucinations. The outer panel shows St. Sebastian on the let who protects people from the plague and St. Anthony on the right. The center panel shows Mary dressed as a nun who worked at a hospital. The lamb refers to Christ's sacrifice. John the Baptist points to Christ as a witness to his salvific power. Very gruesome representation of Jesus. The base (perderla) shows Christ as an amputee when opened like an ergot victim. When open the left panel shows the Annunciation, the center panel shows the Nativity, and the right panel shows the drama and glory of Christ's resurrection. The resurrection would have resounded with ergot patients because it's very vibrant and dramatic like the hallucinations that they have. Its message to the sick is that Christ suffered as they did and gives them hope because they will one day be reborn as Christ was.

The Virgin of Guadalupe

Miguel González. c. 1698 C.E. Based on original Virgin of Gaudalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl. A repica of the original miraculous image in the Cathedral of Guadalupe (most-visited Christian pilgrimage site). There are 4 medallions in the corners that tell the story of Judah Diego- poor Native American saw Mary on Tepeyac Hill where an Aztec shrine once stood. She spoke to him in Nahuatl and told him to go build a church at the site. There were rare hilltop flowers and images of Mary on his tunic as proof. Mary is perched atop an angle and moon and radiation light (Rev. 12:1). Below Mary is the eagle on a cactus. Japanese influences: enconchados make up Mary's robes. Borders are made of black lacquer.

Ruler's feather headdress (Moctezuma II)

Moctezuma II commissioned it. Mexica (Aztec). 1428-1520. Feathers (quatzal and contigo) and gold. This headdress was made from 400 quatzal feathers which were very hard to obtain. The amanteca made them. Given from Moctezuma II to Cortes to King Charles V. Status symbol and extremely valuable. Also showed Montezuma's power and authority because he was able to give such an expensive gift. The quatzal feathers were later used in Christian paintings following the demise of the Aztecs.

Mesa Verde cliff dwellings

Montezuma County, Colorado. Ancestral Puebloan (Anasazi). 450-1300 C.E. Sandstone. Anasazi means ancient ones in Navajo. These towns only held about 250 people. It was very difficult to access (rope, rock climbing). Some pueblos were 5-6 stories high. They were built in protection. Features kivas (circular, partially underground rooms for rituals). Farming was done on the plateau above, and it had a top-ledge storage place. Very impractical and getting the necessities was very difficult, so they were abandoned.

Treasury and Great Temple

Nabatean, Ptolemaic, and Roman. 400-100 BC. Cut Rock. Petra was the capital of the Nabatean kingdom and was absorbed by Trajan into the Roman Empire. They controlled the luxury trade in incense and they were an important trade nexus along the Silk Road (art reflects the diverse influences, especially from Ptolemaic Egypt). The city contains over 3,000 rock monuments. One of 31 tomb structures. There is Isis-Tyche on the top (mix between Egyptian goddess + Greek goddess of good fortune). Specially because most don't have figural art from the Muslim culture. Greek architectural elements (Corinthian columns, pediments, Tholos). Example of Hellenistic architecture.

Mortuary temple of Hatshepsut.

Near Luxor, Egypt. New Kingdom, 18th Dynasty. C. 1473-1458 BC. Sandstone, partially carved into a rock cliff, and red granite. 1st monumental structure to honor a woman in history. Regent for Thutmose III. Oriented towards Temple of Amun- Ra at Karnak. Axial plan. Causeway lined with sphinxes. Pylon leads to peristyle court #1, ramp #1, peristyle court #2 with reliefs and paintings, ramp #2 with royal statues of Hatshepsut giving offerings. Hypostyle hall with chapels to Hatshepsut, her father, and shrines to Hathor and Anubis. Innermost sanctuary with a shrine to Amun. Sculpture of Hatshepsut is very masculine. She is giving offerings to Amun when his statue was moved from Thebes to the Temple once a year. Shows her piety. Thutmose III tried to erase her presence by vandalizing the statue.

Lammasu from citadel of Sargon II, Dur Sharrukin (modern Korsabad, Iraq)

Neo-Assyrian. 720-205 BC. Assyrians used terror to govern and the Lammasu shows their might. Guarded the entrance to Sargon II palace at Dur Shurrukin. Bore the weight of the arches above. Promotes power and authority of king, so typical of Assyrian art. King's dominion over fantastic beast= dominion over kingdom and nature. Conveys dignity, strength, and stability. Has 5 legs. Similar to the Sphinx's purpose (propaganda for the king).

Akhenaton, Nefertiti, and three daughters

New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone. Amarna was name of new capital Akhenaton made. Sparked civil strife by the creation of Aton (power grab). New style in art makes them look different than Old Kingdom Art. Akhenaton and Nefertiti are playing with their children. Nefertiti is almost equal to Akhenaton. Aton is represented by sun disk which point ankhs at Nefertiti and Akhenaton (symbol of life meaning that they are the chosen ones). Very different than traditional Egyptian art because ideal has changed and women are more equal to men (similar height and nobody's in middle).

Tutankhamen's Tomb, innermost coffin

New Kingdom, 18th Dynasty, c. 1323 BC. Gold with inlay of enamel and semiprecious stones. Tomb was cut in rock in the Valley of the Kings. His death was sudden and couldn't afford an elaborate tomb. Howard Carter discovered it in 1922 with 143 other objects. Mask was made out of hammered gold, lapis lazuli from Aghanistan. Coffin glows like the reincarnation of Aton. Has a spell from the Book fo the Dead inscribed on the back. Cobra headdress, false beard, crook, flail.

Last Judgmeent of Hu-Nefer

New Kingdom, 19th Dynasty. 1275 BC. Painted papyrus scroll. Hu-Nefer is led by Anubis to the balance. His heart is lighter than the eagle feather. Amut would eat his heart if it was too heavy. Thoth keeps the record. Hu-Nefer is presented to Osiris by Horus. There is a lotus flower in front of his throne. He has the pharoah hat and flail and crook. There are some servants behind him as well. At the top register, he is kneeling before the gods of the underworld, some with ankhs.

Chavin da Huantar

Northern Highlands, Peru. 900-200 C.E. Stone (building), granite (Landon & relief), hammered gold alloy (jewelry) PLAN: U-shaped plan with main temple. Over 100 feet tall and adorned with a jaguar sculpture because it's a symbol of American art. Sculpture is made of granite black limestone carried without the use of wheels. Has canals beneath that sounds like a roar in the rainy season. There was a stepped platform used by priests to perform ceremonies and there was a large plaza around it for people to watch. LANZON: relief sculpture shaped like a blade in the middle of the underground maze system of hallways. Image of an oracle that attract pilgrims to Chavin. Looks like a cactus because preists (shamans) ingested mind-altering liquid from the San Pedro cactus to access the gods. Axis mundi linking heaven and earth. NOSE ORNAMENT: Has snakes on either ends and resembles a jaguar when they put it on because it transforms them into their chief deity. Worn by males and females.

King Menkaura & Queen

Old Kingdom, Fourth Dynasty. c. 2490-2472 B.C.E. Greywacke. Originally at Great Pyramid Complex in a temple. Idealized with kilt, headdress, ceremonial rags, and rigid posture. Affectionate gesture from queen. Paint intentionally wore off to symbolize eternal life (dark colors connects him them to Osiris and the banks of the Nile). No cobra because it was stolen

Standard of Ur from Royal Toms at Ur

Sumerian. 2600-2400. Wood inlaid with shell, lapis lazuli, and red limestone. One side shows peace and the bottom two registers show goods and animals being collected for kings as taxes or for a banquet. The top shows a king with seated figures from cup. Reflects the birth of civilization. Shows economic specialization because there are kings, priests, artisans. The repetition of figures represents large numbers. The other side shows war and shows enemies being trampled by donkey chariots. The middle shows foot soldiers in battle (helmets were found in the tomb). Also, the medium reflects the king's status because there were shells from Persian Gulf, lapis lazuli from Afghanistan, and Red limestone from India.

City of Cusco

PLAN:Central highlands, Peru Inca c. 1440. Patron was King Pachacuti who made it the symbolic and politcal capital of the Incas. Urban planning- built through a labor tax. Promoted the king's power and authority. The axis mundi was at the center of the empire which was in the shape of a puma. The head was a fortress and the heart was a central square. Important people lived towards the head and poorer people lived down the puma. It's divided into 4 quarters, which corresponds to the 4 regions of the empire. Connected to the empire by 23,000 miles of road. Leaders of conquered people resided as captive to stop insurrections. Acclas (chosen artist women)lived there. QORIKANCHA: Temple dedicated to the sun god. At the center of the empire and made imaginary lines called cheques that radiated from the Qorikancha to other temples. Done in Ashalar masonry and are better in earthquakes. Acted as an observatory for priests to chart the skies. WALLS AT SAQSA WAMAN: at the head of the jaguar-shaped city of Cusco. Rough ashlar masonry in jigsaw fashion. The stones are as heavy as 70 tons and brought from a quarry 2 miles away.

Arena (Scrovegni) Chapel

Padua, Italy. Giotto di Bondone (artist). 1303 CE, Fresco and 1305 brick architecture. Italian RenaissancePrivate chapel next to family's palace. Commissioned by Enrico Scrovegni, a wealthy landowner. Built it over a Roman arena. Built to atone for his sin of usury. Giotto's Lamentation is a scene of mourning. The main figure is Jesus and Mary holding Jesus. St. John with his arms wide and Mary Magdalene is at Jesus' feet. Highly symbolic (dead tree- Dead Christ). More realistic than Byzantine art. Figures are individualized and there is heavy sadness and despair. Not isocephalic and the figures occupy real space. There is a clear foreground and background. Angels are foreshortened. Single light source and the focal point is off center, but there is negative space around him and the hill leads to Jesus.

Apadana of Darius and Xerxes.

Persepolis, Iran. Persian 520-465 BC. Limestone. Persepolis was the grand empire's new capital and treasury. Centralized for receptions and festivals. Persepolis borrowed from a lot of different cultures. Apadana was an audience hall where the king was. Borrowed for the Sumerians with the artificial terrace and mud-brick medium (ziggurats). Lammasu guarded its entrance from Assyrians. Column supports from Egypt (Hypostyle Hall from Karnak). Defensive crenellations along walls (Babylonians)

Henri IV Receives the Portrait of Marie de'Medici

Peter Paul Rubens. 1621-1625. Oil on canvas. Rubens liked to paint flashy and painterly. Also, he liked voluptuous women. Shows love at first sight. Incorporates classical and allegorical figures (Cupid-god of love, Hymen-god of marriage). The helmed personification fo France supports Henry and approves of Marie. There is battle in the background, so Henry chooses love and not war. There is a floured lie on his leg which is a symbol of the bourbon family.

Hunters in the Snow

Pieter Bruegel the Elder. 1565 C.E. Northern Renaissance. Oil on wood. Example of a genre painting which is common in northern Renaissance. 1st of a series of 6 set during different times of year. Part of a tradition of illuminated manuscripts depicting man's labors. Different because there's a foreground and background. The kids skate and play hockey on frozen ponds. There's a rich, detailed landscape with atmospheric perspective. The foreground shows 3 hunters trudging home after killing only a gaunt fox and the hunting dogs are skinny and tired. Painted during the War of Religion and expresses a yearning for things to return to who they once were.

Doryphoros (Spear Bearere)

Polykleitos. Original 450-440 BCE. Roman copy is made out of marble instead of bronze. Quintessential work of Classical Greek sculpture. In contrapposto stance. Based on Polykleitos's canon of harmonious proportions (broad shoulders, thick torso, muscular body, head=1/7 size of the body). No eye contact. Found in Pompeii in a training facility. Romans adorned the Greeks

House of the Vettii

Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco. Vacation city and preserved in ashes. Owned by two brothers who were wealthy freedmen meaning that they were freed slaves. Typical of patrician homes in the city. The purpose was a private retreat and a place of business. The house entrances was narrow and led directly to th atrium. The atrium showcased the family's wealth with paintings. It featured an Impluvium for draining in the center of the atrium. It had a peristyle garden in the back. There were no windows looking out upon the city so walls were decorated to bring the outside world in thus enriching the private, insular world of the patrician women.

Alexander Mosaic from the House of Faun

Pompeii. Copy of Greek original. Republican Roman. C. 100 BC. Depicts the Battle of Issus and the Turning point when Darius is retreating from the Greeks and Alexander the Great. That battle allowed him to conquer Persia. Alexander is portrayed confidently, while Darius is fearful. Mosaic (over 1.5 million pieces). Philoxnos might have painted it because of his history of portraying battles between Alexander and Darius. Shows how the Romans admired the Ancient Greeks and wanted to have Greek art. 16X8ft. Realistic sense of dramatic action. There's lots of diagonals (movement), crowded forms, overlapping, and foreshortening along with contrast of light and shadow. This shows the patron's wealth and status through the medium, artist's skill, and Greek subject matter (shows he is cultured).

School of Athens

Raphael. 1509-1511 c.e. Fresco. Raphael is the youngest and most prolific of the Big Three. Reflects Pope Julius II's "vision of a new, worldwide Church based on humanistic ideas". On wall of Vatican's papal library. Depicts great thinkers from classical antiquity with Plato and Aristotle in the center. Plato is gesturing towards the sky which symbolizes his interest in the eternal and spiritual, but Aristotle looks towards the Earth and symbolizes his interest in the temporal and physical. Pythagoras is on Plato's side and Euclid is on Aristotle's side. Strong linear perspective, classicism, individualized and graceful figures. Architecture is inspired by Bramante's plans for the new St. Peter's Basilica and the figures are influenced by Michelangelo's Sistine Chapel. It was located opposite of the Adoration of the Sacrament, which proclaims the unity of classical learning and the church.

San Vitale, Justinian Panel, and Theodora Panel

Ravenna, Italy. Early Byzantine Europe. C. 536-547 CE. Brick, marble, and stone veneer; mosaic. Ravenna was the provincial capital of Italy after it was conquered by Emperor Justinian. Bishop Ecclesisas was the patron and a rich banker paid for it. It had a central plan with octagonal shell and a plain exterior. Large windows, thin columns, open arches space, veined marble, and mosaics with gold tesserae gives a mystical sense to "dematerialze" the structure's mass in order to transport the worshipper to heaven. Shows Justinian's power and authority by him being in the middle and wearing a purple robe (royalty). Also he has a crown on his head and a nimbus surrounding it. He's holding bread, so he's saying he's Christ's loyal servant. It is typical of Byzantine Art because the figures aren't individualized, there is lack of detail in non-important figures, not much depth or background, and Isocephalic. Theodora Panel shows Theodora off to the side because she's not an equal to Justinian and she was a shady figure: dancer and commoner (stripper). The 3 wisemen are on the border of her gown. She's holding the wine to convey that she is Christ's loyal servant, too.

Self-Portrait with Saskia.

Rembrandt van Rijn. 1636. Etching. Famous for his 89 psychologically revealing self-portraits. Served as a wedding portrait and self-portrait. Spontaneous and reflects the middle-class quest for status because he is actively drawing/making an etching. Etching: copper plate coated with wax, image "drawn" with needle, plate dipped in acid which cuts into the "drawn" image but not the remaining wax, remove wax, pour ink into recessed image, wipe surface, and stamp onto paper.

Head of a Roman Patrician

Republican Roman. 75-50 BCE. Marble. Patricians were Roman aristocrats who could serve in the Senate and run for office. It's purpose was the persuade the vomiting public that the candidate was worth their vote. Made with high verism (realism). Arose from a tradition of making death masks for familial ancestor worship in household shrines. From the Otricolum and was propaganda for people to vote for him. Had deep wrinkles and a stoic expression. People respected the elderly and this sculpture depicted him as wise. Conveys the qualities that Romans respected in public servants: seriousness (gravitas), virtue (virtues), and wisdom (sapiencia).

Bayeux Tapestry

Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen. Jusitifies Norman's invasion fo England. Used with 8 different colored wool threads. Fabric is 20 inches tall and 230 feet long. Told from the perspective of William I in 1066. Made in England but destined to by in Bayeux Cathedral in France. Patron was probably Bishop Odo, William's half brother. Showed had medieval warfare was fougth: English on foot with double-handed axes and formed a shield wall. Normans on horseback. Edward was about to die and Harold of England, William, and Harold (Norway) are all vying for the throne. Harold of England broke his oath on two reliquaries. Norway attacks from north and William attacks from South. Wins at the Battle of Hastings. Odo represents the Church and is propoganda for how God supported William's invasion of England. Pope excommunicated William from England. First meal is similar to Last Supper. Propoganda for English for why the Normans conqeured them.

San Carlo allá Quattro Fontaine

Rome, Italy. Francesco Borromini. Stone and stucco. Dedicated to St. Charles Borromeo who founded the seminary system. There's a cartouche held by angles leaning over the facade. In an irregular space, so it has alternating concave and convex patterns on facade and within the nave-> strong contrast between light and shadow and emphasis and reason. Commissioned by the Holy Order of the Trinity to raise money to ransom Christian POW's. Shows simplicity (shades of white and stucco), but also decorative elements: undulating features, oval dome with hidden windows, octagonal and cross coffers. There's a triangle near the coffered which is a symbol of the Holy Spirit. The coffers make is look like the Holy Spirit is floating.

Statues of votive figures from the Square Temple at Eshnunna

Sumerian. c. 2700 B.C.E. Gypsum inlaid with shell and black limestone. Represents people in prayer. Eshnunna was the goddess of life and rain. Huge eyes represent their awe and some have inscriptions like "it offers prayers". Mesopotamians have a darker view of the afterlife and the votive figures are fearful of Eshnunna. Mesopotamian floods weren't as predictable, so they had to fear their gods in order to not get wiped out by them.

Il Gesu including Triumph in the Name of Jesus ceiling fresco

Rome, Italy. Giacomo da Vignola, plan (architect). Giacomo Della Porta facade (architect). Giovanni Batista Gauli, ceiling fresco (artist). Church: 16th century. Facade: 1568-1584; fresco and stucco figures: 1676-1679. Brick, marble, fresco, and stucco. Mother church of the Society of Jesus (a religious order known as the vanguard of the Catholic Reformation. Focus on education, missionary activity, and loyalty to the pop.e design reflects Trent's call for direct and emotionally compelling art. Reinterpretion of classical architecture (architectural sculptures, columns, pediments. Scroll buttresses unite 1st and 2nd stories. Cartouches of Patron Cardinal Farnese's (patron) family coat of arms. Similar to Renaissance churches, but more dramatic and light and shadow from the columns. Plan: Inspired by new St. Peter's Basilica, but adds a dome. Brilliant bursts of light, rich materials (jasper marble), and spolia proclaim the Church as a continuous tradition. Worshippers converge in central space due to no narthex, small transept, and overwhelming. The focus is on the altar and the troupe l'oiel frescoes. Triumph in the Name of Jesus: continuation of Renaissance's love for troupe l'oeil and di sotto en su (from the bottom up). Combines paint, architecture, and sculpture to create an un bel composto (a beautiful composition). Dramatic and theatrical. Sky opens up to an infinite light with Christ's name in the middle. Some go to heaven and some go to hell and darkness. Allegory for Jesuit's mission (light= truth and Catholicism, Dark= ignorance and Protestantism). Earned Gauli the title "Bernini in paint".

Catacomb of Priscilla

Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco. Christian art before Edict of Milan in. 313 by Constantine. Named for a Christina martyr who donated the land. Priscilla was a Patrician. Brings back the idea of burials instead of cremations because the belief in the Final Judgment allows our souls to reunite with our bodies. One of several cubicle where wealthy people were buried. There are frescoes with the 3 youths in the fiery furnace from the Book of Daniel and the Resurrection of Lazarus. These frescoes brought hope for the Christians who were persecuted. Typology- biblical interpretation whereby things in the Old Testament prefigure things in the New Testament. Abraham's willingness to sacrifice Isaac= God's willingness to sacrifice Jesus. Christ is usually depicted as the Good Shepherd in Early Christian Art. He is surrounded by goats, bushes, and doves, and peacocks which symbolize eternal life. There are quails and doves that show Christ as this world and the next. Syncretism= Christians borrowed from pagan art. Orant Fresco shows Priscilla getting married. Also, one of the earliest depictions of Mary and Baby Jesus were in the Catacombs of Priscilla.

Santa Sabina

Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof. One of the best preserved early Christian Churches. Built shortly after the Edict of Milan. Plain exterior with elaborate interior. Narthex shows transition from profane to sacred space. Focal point is the altar and the columns and arches direct attention to the altar. Has clerestory with the interplay of light and original mosaics that created a spiritual atmosphere. There is narrative art such as the ascension of Elijah which prefigures Jesus ascending into Heaven. Replaced an old temple to Juno and used Spolia (recycled and repurposed art). Symbolic end of the Roman faith and start of Christianity.

Birth of Venus

Sandro Botticelli. Italian Renaissance. c. 1484-1486 C.E. Tempera on canvas. Botticelli is Medici's favorite artist. One of the first female nudes but is Justin field because she is a goddess and is trying to over up. Venus emerges from sea foam and is blown in by Zephyr (west wind) and Chloris (nymph). Distinctly Botticelli because its very linear and there's an emphasis on graceful beauty and decoration. The landscape is flat and unrealistic (waves). Figural style is influenced by Neo-Platonism (the contemplation of physical beauty leads to an understanding of divine beauty. His teacher was Lippi.

Seated Scribe

Saqqara, Egypt. Old Kingdom, Fourth Dynasty. c. 2620-2500 B.C.E. Painted limestone. Housed at Djoser's necropolis (Djoser was buried at a step pyramid). Might be a figure named Kai. Ka statue- statues that help the people get to the afterlife. More realistic, so less important person. Limestone isn't as nice as greywacke. Eyes are off centered to bring it to life.

Tomb of the Triclinium

Tarquinius, Italy. Etruscan, c. 480-470 BCE. Tufa (a soft volcanic rock) and fresco. Triclinium is a dining table with couches on three sides for reclining during meals. It was made out of fresco, which is plaster and pigment. It depicts a funeral banquet on the walls. Males are depicted with darker skin, while women are depicted with white skin. Servants attend the people reclining on klinai (couches). The people are wearing expensive robes to show their social status. Also, there are animals beneath the klinai. On the side walls, people are dancing to musicians playing a lyre. Other scenes show different games played at the funeral ceremony. The checkerboard ceilings mimics the tents that the Etruscans set up for these festivals. Overall, the mood is happy because they are celebrating the transition to the afterlife. It also reinforces the high social status of individual Figúarlo style. Etruscans celebrated death through these festivals and women were more accepted in society because they are part of the party with the men.

Templo Mayor

Tenochtitlan (modern Mexico City, Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calendar Stone). TEMPLO MAYOR: Main temple of the Aztecs in Tenochtitlán who are the most aggressive of the Mesoamericans. It's an axis mundi because it is at the site where the sun god told them make the capital of the empire. It was at the center of a sacred precinct, or the center of the world. Borrowed elements from Mayans (stepped pyramid, 4 cardinal directions, snake heads at the bottom of the stairs). North shrine was dedicated to Tlaloc, the god of Fertility and the South shrine was dedicated to Huitzilopochtli, the god of sun and war. It is arranged sortie sun rises between the two shrines during the spring/fall equinoxes. Its construction started in 1375 and was rebuilt 6 times by different rulers to show their power & authority. The Spanish destroyed it in 1520, because it was the focal point of human sacrifices. CALENDAR STONE: made of basalt (associated with the gods). Commissioned by Montezuma II (Aztec's last emperor). Was the sacrificial altar top on Templo Mayor. The central image is the sun god with a sacrificial dagger as a tongue. Represents the need for human sacrifice. There are 4 glyphs which are the 4 ages when the sun was destroyed. The circular shape symbolizes the cyclical nature of time because the Aztecs thought that time continued in a circle. COYOLXAUHQUI (She of the Golden Bells): Depicts the Aztec moon goddess/sister of Huitzilopochtli decapitated and dismembered. It was originally painted and is relief. It was located at the base of Templo Mayor and sacrifices were thrown onto it just as she was thrown from the Mountain of Serpents by Huitzilopochtli. The shape suggests tumbling. OLMEC STYLE HEAD: Found in the ruins of Tenochtitlán buys created by the Olmecs (mother culture of Mesoamerica). Typical of Olmec art because it has the frown, heavy eyes, blackish form, and suggested headgear. This shows the Aztec's appreciation of prior civilizations and served as justification for Aztec rule.

Venus of Urbino

Titian, c. 1538. C.E. Oil of canvas. Commissioned by the Duke of Urbino to decorate a cassone. Not trying to cover up and placed in a modern setting. Removed from her mythological setting. Is an excuse to paint a woman as an object of male sexual interest. Roses symbolic of love and dog symbolizes loyalty. Asks his fiancée to be loyal to him and wants her to be his goddess of beauty and act like her. Ideal figure for 16th century people.

Merode Altarpiece of the Annunciation

Tryptich. Workshop of Robert Campin. Northern Renaissance. 1427-1432 CE. Oil on wood. Left panel is probably the patrons. Humanized themes because the background is Flanders not Center is Mary and Gabriel. Right is Joseph's work table. Lots of realism, symbolic, oil painting. Christian the empire. Lots of color, texture, light reflection (because of oil), and detailspace is inconsistent and the figures are not to scale. Little linear perspective. Enclosed garden, towels, water, and lillies reflect Mary's purity. Joseph's tools means Jesus's crucifixion and salvation. Joseph's mousetrap means that Jesus is the trap for the Devil. We see little baby Jesus zooming through the window which represents incarnation.

White temple and ziggurat

Uruk (modern Warka, Iraq). Sumerian 3500-3000 BC. Mud Brick. The heart of the theocratic political system. Symbolizes the political leaders' authority as well as the gods' authority. Would have taken 1500 laborers 5 years if they worked 10 hours a day. Decorative patterns along the slope gave great views. There was. A ramp that wrapped around the ziggurat. Top was flat and coated with bitumen and overplayed with brick. Brightness and altitude would have given the impression that a god lived there. Plan was a bent axis with a tri-partite plan (typical of Mesopotamian temples). Archeologists found 19 tablets of gypsum, bones, conduits, and a pit of fire.

Sistine Chapel: Delphic Sibyl, The Flood, Last Judgment

Vatican City, Italy. High Renaissance. Michelangelo. Ceiling Frescoes: c. 1508-1512 c.e. Altar frescoes: c. 1536-1541 c.e. Fresco. High Renaissance. Sistine Chapel is attached to the Papal palace in Vatican City and is where new popes get elected. New chapel was commissioned by Pope Julius II to honor his uncle (Pope Sixtus VI). Michelangelo didn't want to because he thought of himself as a sculptor. 5800 sq ft of painting in irregular space. Finished in under 4 years (less than Last Supper). Mixes Church themes of creation, fall, and redemption with Michelangelo's interests, especially the human form. Delphic Sibyl is on the ceiling and reflects the belief that even pagan prophets anticipated Christ's coming. Flood: 60 figures in a crowded composition. The human form is heavily idealized and muscled. The Last Judgment: behind altar of the Sistine Chapel. Commissioned 25 years after ceiling by Pope Paul II. Unlike the rest of the Sistine chapel because the Protestant Reformation has sprung and the Renaissance is technically over. Jesus is judging everyone. Borgia de Cesena among others criticized it for its nudity and pagan elements. He painted some of his critics in there. Daniela de Volterra painted over it. He made everybody nude to show that everyone is equal in death. Reflects chaos at the time because Rome was sacked in 1527.

Frontispiece of the Codex Mendoza

Viceroyalty of New Spain. 1542. Ink and color on paper. Commissioned and named after Don Antonia de Mendoza, 1st viceroy of Spain. The purpose was to record info about the dying Aztec empire. It was intended fro Charles V. It was illustrated by native artists and written by priests who spoke Nahuatl (Aztec language). Shows the eagle on a cactus and 4 sections of the city which represents the 4 parts of the universe aligned with the cardinal directions. They are separated by canals (big part of Aztec culture). Also, it shows the Templo Mayor and a skull rack- ritual sacrifice. The robed men are the founders of the city and the one with black face is Tenoch. The maize plants represents they abundance of Tenochtitlán. The war shield below the eagle shows how the empire was formed by conquest. On the border, there are 51 year glyphs- the number of days until they had to perform special rituals and sacrifices to appease Huitzilopochtli.

Rebecca and Eliezer at the Well and Jacob Wrestling an Angel.

Vienna Genesis. Early Byzantine Europe. Early 6th century CE. Illuminated manuscript (pigments on vellum). Oldest surviving illuminated manuscript. Only about 120 pages remain. In codex (book) form and was a luxury good. Copied by hand and made from calf skin. Silver and gold in ink and pages were dyed purple. Rebecca is trying to find a wife for Isaac. Continuous narrative to tell a story in a small amount of space. Part classical style with the half-nude water nymphs but also medieval with little sense of depth and incorrect scale. Jacob wrestling with an angel is also continuous narrative and has more details with the servant looking over the bridge and an angel striking Jacob's hip.