AP Art History Exam Artworks - 2020

Adam and Eve

Adam and Eve. Albrecht Durer. 1504 C.E. Engraving. * 9 7/8" X 7 3/8" size * First northern artist to travel to Italy expressly to study Italian art and its underlying theories, andwas first northern artist who fully understood the basic aims of Southern Ren. Fascinated with Classical ideas as transmitted through Italian Ren. artists Before Durer, woodcuts were primitive studies of black and white contrasts. First to use printmaking as major medium for art, selling prints in single sheets, affordable to common man, Durer became known as "people's artist" Life-long interest in idealization, naturalization here - 1 of 3 master Engravings made between1513-1514. He is known for his mastery in woodcuts and engraving. This is an engraving: process of incising a design in hard material, often a metal plate (usually copper); print or impression made from such a plate. With this technique it's possible to create multiple original prints. This Adam and Eve print is the only print to which Dürer signed his name in full, indicating the importance he placed on this work. It is in the sign above Adam's shoulder. Clear reference to foreground, background details, chiaroscuro, use of perspective modeledforms, printing on paper **** Southern (Renaissance) characteristics: Shows knowledge of classical sculpture -Apollo Belvedere and Medici Venus-two Hellenistic statues known to him, final print represents his 1504 concept of the "perfect" male, female figures. Idealized, canonical proportions of the nude - this is new to the Northern audience who was unfamiliar with classical norms of beauty. They show the Vitruvian theory of human proportions - based on ratios. Correct, perspective of depth, and curvatures of body & muscles for Renaissance. Contrapposto pose copied in Italy from the classical era. **** Northern Characteristics (Flemish) : Commitment to observation-foliage, animals. The detailed naturalism of the plant and animal forms in background are reminiscent of works of Jan van Eyck. Eve remains a German matron - stocky with a slightly poochy belly. Use of symbolism (this is one of the key characteristics of the northern area): ***** Symbolism:With his right hand, Adam grasps a mountain ash, signifying the Tree of Life; this is contrasted with the Tree of Knowledge, represented by the fig tree at the center of the composition. the diabolical and seductive serpent depositing the forbidden fruit in Eve's hand is opposed by the parrot, which symbolizes both wisdom and discernment, and the virgin birth of Christ. The cat and mouse in the foreground--predator and innocent prey--summarize therelationship between Adam and eve at the moment of the fall. Perched on a distant cliff at the upper right is an ibex, or goat, a traditional symbol for theunbelieving, and an apt metaphor for the first humans to break a divine commandment. **** Depicts "Four humors" symbolically (people's temperaments & associated with illnesses)

Allegory of Law and Grace

Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress. ** 10 5/8" x 1' ¾" size Allegory definition - giving narratives, images, or figures symbolic meaning to convey moralprinciples or philosophical ideas. The image must first be recognized culturally. This was produced after the start of the Reformation. IMPORTANT: Protestants used prints as devotional aids. They were low key and not flashy. Many people could own them and use them as they were easily printed, permitted widecirculation, along with the ability to sell many copies. This was a Woodcut which is the least expensive of all art form. Shows difference between Catholicism and Protestantism beliefs. Two images separated by centrally placed tree Left - Catholicism Judgment Day. Christ appears at top of scene encircled by a cloud halo and angels and saints. His Left hand raised in gesture of damnation. A skeleton drives a terrifiedperson into Hell which is the flames on the far left. Despite this person's efforts to live a good life, they fell short. Moses, next to the tree, holds the 10 Commandments. Catholics emphasized good works and clean living, thus the focus on God judging our actions. ** Right: Protestants emphasize grace, thus the focus on the cross and then Christ's rising from the dead and leaving the tomb (bottom right). This shows a promise of salvation to all who believe. Cranach was a friend and follower of Martin Luther. Called "Painter of the Reformation" as Luther influenced his imagery. This painting is almost like the tip of the iceberg when it comes to the friction between the Catholic and Protestant churches. The Reformation inflames society & causes wars - art picks up the two themes and in the next time period - Baroque - we will see a huge change in how the two sides see art. This piece almost foreshadows it. Catholicism is highly emotional & very busy, while the Protestant side is calm and orderly, and almost seems barren in comparison to the Catholic side

Bushel with ibex motifs

Artist/culture : Neolithic Date: 4,200-4,500 BCE Materials: Painted Terra cotta- clay Location: Iran (called susa) Artist: unknown Subject: vessel decorated with animal and geometric patterns. mountain goat (ibex), greyhound-like animal running, birds encircle the top of the vessel. Diamonds, squares, circles, linear patterns. Function: Found among funerary objects in a cemetery at the foot of the Susa acropolis. Used in secondary burial rituals in which remains were moved to another burial area after the flesh was removed. Symbol/Theme: Not sure why they were buried or what the animals and geometric shapes represent. Maybe water or fertility? What other artworks can you make a connection to this with?

Running horned woman

Artist/culture/period: Neolithic Date: 6,000-4,000 BCE Location: Algeria, Africa Materials: Pigment (minerals and liquid) on rock Artist: unknown Subject: featureless profile of a woman represented- wearing body paint, a raffia skirt, and horned headgear (which represents ceremonial attire). Other small female figures repeated in the background. Running position which creates the illusion of movement. Function: emphasizes the importance of survival. Relationship between human and animals. Maybe religious worship? Displays the role of women Symbol/Theme: The figure might represent a deity or a woman participating in ritual. What other artworks can you make a connection to this with?

Winged Victory of Samothrace

Artist/culture: (Nike)Hellenistic (Greek). Date: c. 190 B.C.E. Location: Samothrace, Greece Material: Marble. *19' 1" height of the full base and statue. *9 ft tall just the figure. *Found on the Aegean island of Samothrace. *This is the goddess Nike. Sometimes called Nike of Samothrace or Winged Victory. She was the messenger goddess that spread the news of victory. Found in a small temple on a hill overlooking the harbor facing the predominant wind. Looks like the wind was blowing her clothing and she is wet. She would have sat in the center of a fountain. She was crafted as if she was standing on the front of a boat- supporting the fact that she may have also represented a sea battle victory. *Hellenistic Period art characteristics consisted of movement, emotion, and energy. Protruding parts on sculptures. *This statue had a significant role in religious ceremonies, as did most Greek sculpture. *Her abdomen twists, her shoulders thrown back and torso lifted up, her wings are back. Textures cover the surface- feathers, fabric of garments. She wears chiton (tunic) and is beige color. The outside of the himation (Greek garment worn over left shoulder and below right shoulder) is light blue and inside is red. Color was probably different during this time period. *Although her right arm is missing, it looks like it was raised due to her shoulder being raised. Her head is now missing as well. *Viewed from three-quarters to the statue's right-hand side, evidenced because the other side is not as intricately carved *Looks like 5 pieces of marble was used in construction of Nike. 23 pieces for pedestal. They used an ingenious method of putting them together- The center of gravity is directly over the short back part which holds the front of the prow up in the air.

Peplos Kore from the Acropolis

Artist/culture: Archaic Date: 530 B.C.E. Location: Greece Material: Marble, painted details. *Named based on thinking she was wearing a peplos (ancient green costume) but in fact, she is not wearing a peplos. *It is a counterpart to the male kouros (nude) *Small in size *We used to think that it was used as an offering to the goddess Athena, the o brought usually by men. *But now, we think it might have been a goddess. This is the only one dressed this way. Historians argue what she is exactly wearing. There are connections between her costume and the coloring of it it might be a goddess, perhaps Artemis- goddess of the hunt (but she isn't holding it in the sculpture, but her "missing" left arm and right hand might have been holding it at some point). Maybe it is Athena? *There are hole around her head- probably a crown there (divinity). Red paint still survives but her face was probably fully painted. Body has the sense of movement which supports the Greek naturalism. *Archaic period smile (symbol of well being). Animals are on her clothing. She represents wealth with many of these features (clothing, coiffed hair, laden with precious metals)

Anavysos Kouros

Artist/culture: Archaic Greek. Date: 530 B.C.E. Location: Greece Material: Marble with remnants of paint. *A little larger than life like size *A male statue is called a Kouros (plural Kouroi), Greek for "young man". Greeks were one of the first cultures to have the goal of re-creating the human body in perfection. *Archaic Greek Period where figures were represented realistic but still had some geometric and stylistic characteristics. (Not as perfect as Classical and Hellenistic, but it is still the start of the Greeks striving towards perfection of human anatomy.) *The Archaic style can be compared to Egyptian art frequently but it is even more proportionate and detailed than Egyptian art was. *Early Kouros are very stiff, a little abstracted, using a form of symbols for body parts, not necessarily super realistic. But THIS is a later Archaic piece. It seems like Egyptian elements were combined still but with more natural proportions. This one in particular shows us during this period, they become more rounded, more lifelike and proportionate, less "blocky", more distinctive detail in body parts. The body parts are more integrated and flow nicely together. *Still using traditional braiding of the hair. Their left foot steps forward (contrapposto), *Supports the Greek Canon idealism in that it focuses on proportion, detail, realistic human depiction and the body specifically. *Kouros are used as grave markers, sanctuaries, or rarely, represented as a god. (Appollo) This particular one was commissioned by an Aristocrat family to be used as a grave marker for their son who died in war. *Inscription mentions Kroisos- who is the son who died. This is not a portrait of him, but it is a representation for this man.

Chartres Cathedral

Chartres Cathedral Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.Image 5 of 6

Chartres Cathedral

Chartres Cathedral Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.image 4 of 6 * This is the Great Portal of the West Facade in the Chartres Cathedral. * It includes Christian narratives. Before we found it depicting (left) Christ's life- ascension and (middle/largest) Second Coming of Christ, (right) combined with symbols of the holy trinity- life of Virgin Mary. But we now think it depicts something a little differently. (left)- Christ before he takes on physical form. (middle)- Second coming of Christ, when the dead rise from the grave (right)-devoted to the Virgin Mary and her story. Just given birth to Christ. The style of her depiction can be compared to her representation within the Byzantine period. * These narratives are a highlight and inspiration for those who visit and worship within the church.

Temple of Minerva

Temple of Minerva (Veii near Rome, Italy), sculpture of Apollo. Master sculptor Vulca. c. 510-500 B.C.E. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.This sculpture is called "Apollo of Veii". Large scale terracotta sculpture most likely a central figure in the rooftop narrative. Very Etruscan feature to use sculpture placed at the peak of a temple roof. * Portraying Apollo, the god of the Sun (and other things including oracles, knowledge, music, archery, dance, healing/disease & more). Idealized depiction of him.

The Arnolfini Portrait

The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood. * Here we see Arnolfini * Some say it is their wedding portrait. But it most likely is a double portrait- of this couple who is already married. It is a memorial portrait after the women passed away. * Italian merchant on the left. Very wealthy- clothing, fernishings, orange, carpet/rug, etc. *Lots of symbolism- shoes off their feet- sacred event, a dog on the floor- fidelity/loyalty, candle-god, and the figures dress on the floor. This supports the fact that this is a narrative portrait- probably depicting an important moment in their life. * There is a naturalistic approach here with the setting and object within the room. * Eyck's name was signed on the back wall of this painting. We also see his figure within the mirror. These are features of the Renaissance period where the artist shows his importance and role as an artist. It also shows a shift in perspective with including the artist within the painting (mirror). * The mirror helps us see more of the room. The mirror itself also has small roundels with scenes from the passion of the Christ. Shows the figures maybe greeting two guests (one being this artist) * NOT pregnant (the dress bulges out due to fashion). * The light comes in from the window- across the figures, faces, furnishing. - Northern Ren. The light here supports the naturalism and the intimacy between the figures in the room. * Figures are elongated, the base of the room/floor is cramped- the perspective isn't realistically accurate. We do see a lot of texture, detail, oil paint on the surface.

Bayeux Tapestry

# Bayeux Tapestry ("Bye-Ah")Romanesque Europe (English or Norman). c. 1066-1080 C.E. Embroidery on linen.Image 1 of 2 * Embroidered (needle sewn linen) wool of linen 20" high (entire length of fabric is 229' 8") It contains 626 human forms, 731 animals, 376 boats, and 70 buildings and trees. * Functions as a historical document, eyewitness account, and an artfully constructed narrative. Depicts a contemporary, secular event in full detail shortly after it took place. It was commissioned to celebrate Williams conquest of England. * Events that led up to and including the Norman invasion of England in 1066 by William the Conqueror, uniting all of England and much of France under one rule. * Two very important depictions here is the battle and the feast. The figures don't show much emotion in their features. At the end of the battle Harold has an arrow in his eye and he then is slaughtered. * Great work to compare to Trajan's column. Also comparative to Byzantine and Romanesque in its narrative function- similar to their illuminated manuscripts of historical events.

Ludovisi Battle Sarcophagus

# Ludovisi Battle Sarcophagus. Late Imperial Roman. c. 250 C.E. Marble. * Burying dead bodies, instead of cremation, had become popular due to Christianity growth and belief. Sarcophagi for burial purposes became popular and a major industry. * Wealthy patron might commission an elegant stone or marble sarcophagus to be placed in a mausoleum. * This one is called Ludovisi Battle sarcophagus because it was found in 1621 & bought by Cardinal Ludovisi. * Questionable piece- the purpose (sarcophagus) might reflect Christian and Eastern religious beliefs (afterlife) * Decorated on front w/ chaotic scene (narrative) of battle between Romans & Goths (identified by heavy, twisted locks, scraggly beards- who lie fallen, dying, or beaten at bottom of panel). Highly emotional, contorted, twisted spread across entire relief ground. No illusion of space behind it. No attempt is made to create a realistic spatial environment. * This work shows the transition from Greek idealism (Classical Period) to a more expressive style with a lot of movement and emotion. * One figure stands out- young Roman commander, addressing his troops with outstretched arm in formal lung-like pose like that of lunging statue of Marcus Aurelius.

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

#17 Great Pyramids (Menkaura (men-kara), Khafre (calf-re), Khufu (koo-foo)) and Great Sphinx Location: Giza, Egypt Egyptian Culture Artist/culture: Old Kingdom, 4th Dynastyc. Date: 2550-2490 BCE Material: Cut limestone(2 images) plan on next **4 sloping triangular faces (isosceles) create the pyramid. This form was believed to be built emulating the shape of the ben-ben stone (top stone on the pyramid) which is the residence of the sun god , Ra. **The dead pharaoh, buried deep inside the pyramid was under direct protection of the solar deity. It was a place of regeneration for the deceased ruler. It contained everything the king would need for his journey to the afterlife. The figurines called "ushabtis" (ah-sha-des) - were placed to aid the kings during afterlife. **These 3 pyramids are only 8 miles away from Cairo, across the Nile river. These are the oldest of the Seven Wonders of the Ancient World. **Archaeologists have been able to reconstruct the entire funerary complex- the pyramid with the pharaoh's burial chamber, mortuary temple adjoining the pyramid on the east side (offerings to king, ceremonies performed, cloth, food and ceremonial vessels stored), the covered causeway, and the valley temple at the edge of the floodplain. **Khufu is the largest, Khafre is slightly smaller, Menkaure is considerable smaller than other two. They were oriented so one side faced exactly east, another exactly south, and so on (compass) This has a strong astronomical association with the sun, stars and sun-god, Ra. **These prove Egyptian builders' mastery of stone masonry and to their ability to mobilize, direct, house, and feed the huge workforce. Many questions remain regarding the construction of the massive monument. White, polished limestone was found in the rubble at the bottom of the pyramids. We think the pyramid surface was covered with this, giving it a smooth surface and quite bright and reflective. At the very top would have sat a capstone (pyramidion) that may have been of gold- making it visible for a great distance. **Sphinx on next slide!! #17Great Pyramids (Menkaura, Khafre, Khufu)and Great Sphinx(2nd image of plan) **The Great Sphinx Information: **It is next to the causeway and close to the funerary (valley) temple of Khafre. The Sphinx is carved from the bedrock of the Giza plateau. The lion was a royal symbol as well as being connected with the sun. The king's head is on a smaller scale than the body. This appears to have been due to a defect in the stone; a weakness recognized by the sculptors who compensated by elongating the body. Directly in front of the Sphinx is a separate temple dedicated to the worship of its cult, but very little is known about it since there are no Old Kingdom texts that refer to the Sphinx or its temple. **Restoration is still being done on this.

San Vitale. Ravenna

#51 San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.image 1 of 5 * Very old church still standing * Central plan and ambulatory. It's focus was on it's center (instead of a basilica plan). No long nave. There is an extension with a small apse (large mosaic above the apse- Christ sitting on an orb, with angles on either side). * Outside has 8 sides- octagon dome. Smaller octagon that raises higher. Lots of windows. The light hits the many mosaics inside- depicting Christian scenes. The whole eastern side is covered in mosaics. * Another church that was supported by wealthy patrons and commissioned artworks. * The columns are doubled- stacking. Early Christian column designs- (not classical-Ionic, Corinthian, or Doric). Almost the whole interior is covered with art. Mosaics, paintings, marble abstracts designs. * Can be compared to Dome of the Rock- domed octagon

Dedication Page with Blanche of Castile and King Louis IX of France from Bibles moralisees

#61 Dedication Page with Scenes from the Apocalypse from Bibles moralisees. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).image 2 of 2 * Eight circles, called roundels. They illustrate biblical scenes and commentary scenes. There are short snippets of text, either from the bible or commentary, that accompany each scene. * Persian court style figures with elongated proportions. * Images of the Apocalypse (John's vision of how there is a battle between God and Angels and Evil. God wins.

Arena aka scrovegni chapel, including lamentation

#Arena (Scrovegni) Chapel, including Lamentation Padua, Italy. Unknown architect; Giotto di Bondone (artist)Chapel: c. 1303 C.E.Fresco: c. 1305. Brick (architecture) and fresco.Image 2 fo 3This is the Lamentation fresco created in the Late Gothic period. We can see the transition of figures during this period being more naturally presented.

Arena aka scrovegni chapel, including lamentation

#Arena (Scrovegni) Chapel, including Lamentation Padua, Italy. Unknown architect; Giotto di Bondone (artist)Chapel: c. 1303 C.E.Fresco: c. 1305. Brick (architecture) and fresco.Image 3 of 3 The Last Judgement*This fresco was on the west wall (sun goes down). Standard layout of the Romanesque/Gothic Last Judgments. * Christ in Majesty is at the center, the 12 apostles sit to His left & right. The angels appear above this. People plunge into the maw of hell on the viewer's right. The saved are led by angels toward heaven on the viewer's left. * This is unlike the Romanesque version of judgment as they are not entering a doorway into heaven, as shown on Romanesque tympanums, but climbing or rising upwards to Paradise - to Heaven. * Christ does acknowledge the damned by His down turned hand in a gesture of rejection as well as the anger reflected on His brow, but the majority of his attention is concentrated on the Blessed - his body, head and glance as well as his right hand are directed toward them.o Mary is very central and important in this fresco. She is 2nd in size to Christ, surrounded by a mandorla. Her head is turned downward with an expression of compassion toward the kneeling figure (Scrovengi) whose arm she grasps. Thisemphasizes her close relationship to mankind and the intimate role that she plays in man's salvation at the Day of Judgment - according to the thought of the day. * They are at the base of the cross which is held up by two archangels - Michael and Raphael * It is shown in the Hell section of the Last Judgment on the far right side as usurers are hung from their money bags.

Augustus of Prima Porta

#Augustus of Prima Porta. Imperial Roman. Early first century C.E. Marble. * copy of bronze original of ca. 20 BC. Octavian named by Roman Senate "Augustus"- noble, honored, consecrated on, after his death he was declared a god. The cupid near his feet symbolizes and supports that Augustus is portrayed in the sculpture is a god. Due to this, this is an idealized representation of him. He represents power and success. * Augustus- first emperor of the Roman Empire. Great military victor and a staunch supporter of Roman religion. * The name is from a town in Italy where it was found in 1863 * contrapposto stance, youthful and flawless. He wears military regalia and his right arm is outstretched, demonstrating emperor is addressing his troops. **Symbolism- at his right leg we see cupid figure riding a dolphin. The dolphin became a symbol of Augustus's great naval victory over Mark Antony and Cleopatra at the Battle of Actium in 31 BCE. a conquest making Augustus the ruler of the Empire. It also represents that he is descended from the gods. Bare feet- hero, even a god.

Pazzi Chapel

(Early renaissance in italy) Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry

Chartres Cathedral

Chartres Cathedral Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.Image 2 of 6

Colosseum (Flavian Amphitheater)

#Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70-80 C.E. Stone and concrete. * Vespasian built it, it took over 10 years, dedicated to his son, Titus. Financed by the sale of jewels from Titus' sacking of Jerusalem. * It was built in order to channel the chaos and violence that was occurring due to the change in rulership, high unemployment, and lack of major military battles. Roman propaganda. Gladiators fought here and sometimes animals as well- all for entertainment. This building promoted the gladiator Roman culture * Height- 16 story building (161ft). Held 80,000 people. Steep rising rows of seats. The exterior wall had 76 openings. The floor was wood covered in sand to absorb the blood. * Concrete used for material- first to use this material and it enabled them to shape the interior and exterior space in a new way. Amphitheater means "Double theater"- two Greek theaters put together. Seating was assigned by rank (civic and military) but the building and entertainment was offered to all social classes. This was the start to inclusion of all people at events (in contrast to the previous elite events only). * It remained in use for 500 years. * During the Middle Ages, the material from this building was dismantled and used to build other buildings.

Forum of Trajan

#Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble column. * Trojan built the Forum, which was a sprawling public space, to alleviate the overcrowding of the then current downtown district. * Experimented with concrete, light, decoration, curvilinear architecture. * The facade is convex, elaborate entranceway (triumphal arch with gate) * Compare with the Athenian agora where debate occurred on the walkway of the stoas and they had their markets or with the Pergamon Acropolis which contained the palace, library and other public buildings on top of the hill.

Head of a Roman Patrician

#Head of a Roman Patrician Republican Roman. c. 75-50 B.C.E. Marble. * It came from Otricoli. Characteristics of this period and artwork support realism. Physical traits- seriousness of mind and the virtue of a public career by demonstrating the way the subject wears the marks of his endeavors. *Noble Republican ideals- age & experience. The Romans believed a head portrait could reveal a man's character. This was a transition period from the Republic to the Empire. *Male aristocrat's name is unknown- with a hooked nose and strong cheekbones. Frontal, without any hint of dynamism or emotion. He had deep wrinkles, a furrowed brow, and generally an appearance of sunken, saggy skin. The stylistic tendency is influenced by the tradition of ancestral images as well as a deep-seated respect for family, tradition, and ancestors. * Verism is a sort of hyperrealism in sculpture where naturally occurring features are exaggerated. * Objective- superrealism, not idealization of Greeks. They were more interested in the political and civic leaders and retaining individual features. It has Etruscan influence of expressionistic realism.

Pantheon

#Pantheon. Imperial Roman. 118-125 C.E. Concrete with stone facing. * This was used as a temple. The name means "all the gods" (7 planetary gods)- relating to the heavens. The oculus above represents as the sun. The round, open space supports its use as a temple. * The architecture was probably built by emperor Hadrian or possibly Apollodorus. * The original building was destroyed by fire then rebuilt in 128 CE. Hadrian used the bricks from Agrippa's earlier temple to create the rotunda portion. * Rectangular cells containing a statue of the god, the inside of the rotunda was empty of columns represented a vast internal space. Arch, vault, dome- are devices Romans adopted from earlier builders but by combining these forms with refined concrete & engineering knowledge they acquired flexibility in shaping space and increasing structural strength. *The dome (cella- inner chamber of temple) has 140 coffers (sunken panels in the shape of a square). It is 142 ft in height and diameter which means a perfect sphere would fit in this dome. It includes an oculus, which is a circular opening at the center of the dome.

Tomb of the Triclinium

#Tomb of the Triclinium. Tarquinia, Italy. Etruscan culture c. 480-470 B.C.E. Tufa and fresco * During this time, Greek buried their dead while Etruscans built elaborate chamber tombs cut out of subterranean rock. Their polychrome relief and frescoes inside of the tomb hint that the Etruscans used color to great advantage. The chamber tombs were most likely influenced by the Egyptians and their afterlife beliefs. * Tarquinians adorned most of the tombs with murals, a few from Greek legends, most of the scenes of banquets and reveling. Only the aristocratic families could afford the tomb frescoes. * Used vivid colors and usually depicted everyday activities of the Etruscans. They decorated tombs because they thought they should reflect activities from life. * This tomb- is a single chamber with frescoes on all 4 walls. The rear wall carries the main scenes, one banqueters enjoying a dinner party. (similar imagery from 5th century BCE Attic pottery that Etruscan imported from Greece. We see 3 couches, hosting a pair of reclining diners (6 people total), There are also 2 attendants. Cat, rooster, and a bird are below the couch. * Scenes of dancers on the right and left walls. Musician playing stringed instrument. * Etruscan funeral rites were festive, with aim of sharing a final meal with the deceased. Portions of the mean, dishes and utensils would be deposited into the tomb.

white temple and ziggurat

(Ancient Near East & Egypt work) Artist/culture: sumerlan Location: Uruk (ur-rook) (modern Warka, Iraq) Date: 3500-3000 BCE Material: mudbricks **Part of the Mesopotamian city-state under protection of the god of that city- probably Anu (god of sky). **This cella (temple) sat on top of the ziggurat (zig-er-ot) 40ft above street level, 61 ft wide x 16 ft tall temple. Painted with a white-wash on brick, had 3 entrances. Function: religious and government. Rituals, sacrifices (animal bones found) and altar. The ceremonies were not public, but rituals allowed a select few to act as intermediaries to the gods. Home of 5th king of Uruk & demi-god hero Gilgamesh. Temple was private, not for public to go into. Gods would speak to priest here. This was the only place where gods would be seen. Ziggurat (mountain of god) is a built raised platform with four sloping sides—like a chopped-off pyramid. Ziggurats are made of mud-bricks—as stone is rare in Uruk (Iraq). It was flat at the top and had a steep staircase leading to the temple. Ziggurats were not only a visual focal point of the city, symbolic/theme: heart of the theocratic political system. Reached upward into the heavens to be closer to the gods. So, seeing the ziggurat towering above the city, one made a visual connection to the god or goddess honored there, but also recognized that deity's political authority. It is speculated that slaves were used to complete the majority of this structure.

Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript

(Byzabtine work)

Temple of Minerva, rooftop sculpture of Apollo

(Etruscan culture) Artist/culture: Vulca(Master sculptor) Etruscan Date: c. 510-500 B.C.E. Location: Veii (town near Rome, Italy), Material: Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture. Sculpture of Apollo * Early Etruscan's worship took place in nature. Ritual spaces in groves and enclosures open to the sky with sacred boundaries carefully marked through ritual ceremony. * After Greek influence around 600 BCE- they desired monumental structures for their gods. Since Etruscans used mostly ephemeral materials- they have largely vanished by today so we can no longer enjoy them. * We have evidence regarding Etruscan temples due to an ancient Roman architect named Vitruvius. We can also make assumptions due to their architectures specific characteristics. * Also referred to as- "Portonaccio Temple". It was dedicated to the goddess Minerva (Athena in Greek). It is divided into two parts- a deep front porch with widely-spaced Tuscan columns and a back portion divided into three separate rooms. This is known as the triple cella. Divine triad associated with the temple- Minerva, Tinia (Jupiter/Zeus) and Uni (Juno/Hera). Showing Greek and Etruscan culture characteristics. * Many terracotta sculptures that remained here. Including "Apollo of Veii" sculpture. * The purpose of the temple was to be a sanctuary dedicated to Minerva. We see an emphasis on creating an entire city for the dead. It stood as a central location for the public in Veii and used for worship. * The temple had a small alter, a portico and stairs from the road were built in about 530 BC in her honor. Adjacent to the temple was in honor of the god Apollo in his prophetic oracle aspect inspired after the Delphi model to which purification ceremonies were tied. * The city where it was located was on a plateau. Thousands of burial sites.

Arena aka scrovegni chapel, including lamentation

(Gothic art in Italy work) #Arena (Scrovegni) Chapel, including Lamentation Padua, Italy. Unknown architect; Giotto di Bondone (artist)Chapel: c. 1303 C.E.Fresco: c. 1305. Brick (architecture) and fresco.Image 1 of 3 * It was named due to being built on land where a Roman Arena stood. It was commissioned by Enrico Degli Scrovengni. He was the sun of a money lender (usurer). At this time, it was a sin within the Catholic religion to lend money for profit. Enrico constructed this to expatiate (get rid of) his father's sin. This chapel was dedicated to the Virgin Mary. * It used to be located next to the palace Enrico also built (the palace is no longer there). * It has a plain exterior with a rich interior- very similar to Early Christian and Byzantine buildings. The interior has frescoes by Giotto Di Bondone. * Simple barrel vaulted room with only 6 windows. 38 framed picture murals, arranged on 3 levels. 3 registers that tells a continuous story. * Paintings and sculptures were helpful in telling stories since most people couldn't read. * Mankind was drawn into and became a part of the Biblical story. Giotto tried to break the barrier between religious and everyday life. Depictions of Virgin and her parents-Christ's grandparents (top), life and mission of Christ/ Mary and her marriage (middle), and Christ's passion, crucifixion, resurrection (bottom). The very bottom shows personifications of the Virtues and Vices. * Ceiling is painted blue for heaven

Chartres Cathedral

(Gothic works) Chartres Cathedral ("Sh-art")Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.image 1 of 6 * This church was a huge pilgrimage site for Christian worshipers- dedicated to the Virgin Mary. It was important and drew visitors because it had the tunic that the Virgin Mary wore- when she gave birth to Christ. * Originally this area around the church had a school, palace for bishop, hospital. Pursuit of knowledge was a pathway to the divine. * Stone vaulting of limestone- huge ceilings. Tower on the left and right, with a central area. The top has figure sculptures, rose window in the center. 3 large lancets below, then 3 portals with sculptures that tell stories. 3 doorways. * This architecture includes flying buttresses which are thick support walls on the outside. The buttress stands up straight and the flyer is an arch joining the buttress to the exterior of the wall of the church. It's function was to give extra support for the inside of the church which had a really tall interior arch or vault at the same point. Weight pushes outward while the flying buttress holds it in. With the support from the flying buttresses, it meant they could build thinner walls and less columns inside. Which- allowed for more windows in-between each buttress. Many windows were used for stained glass. This was the very first church that was planned to have flying buttresses from the start. * Round Rose window- (See later slide for more info.) * Reconstruction of the church occurred between 1194-1220 CE. The plan's major change was to enlarge the space to hold more people. The ambulatory became much larger. * Great comparison work to Amiens Cathedral.

Mosque of Selim II

(Islamic sinan (architect)) Mosque of Selim II. Edirne, Turkey. Mimar Sinan (architect) (Sinan the Great) 1568-1575 C.E. Brick and stone. * Ottoman Empire was founded around 1300 AD. This was built for Sultan Suleyman the Magnificent's son, Selim II. - the reason for it's name.*Many Turkish elements seen here- semi domes, pillars, ambulatory space and a mihrab. * Ottoman mosque characteristics- Centralized stacked domes, reach to the heavens, towering/slender pencil minarets (200ft high). * Byzantine feature- domes. But, Sinan used a octagon dome that sits on a square base. * This building outshined Hagia Sophia for several reasons. After Mimar Sinan converted to the religion of Islam, he wanted to build and have the largest and most impressive place of worship of God in the world. * Complex is composed of a mosque, 2 symmetrical square madrasas (college), manuscript library, and covered bazaar. It measures 623ft X 425ft (which is more than the length of 2 football fields). It was an impressive organized religious space that held many people. * The use of buttresses for height, more windows and more light inside. The Mihrab is visible from almost all points- deeply recessed and has windows on all 3 sides.

King Menkaura and Queen

(Khamerernebty) Gizeh, Egypt Egyptian Culture Artist/culture: Old Kingdom Date: 2490- 2472 BCE (4th dynasty) Material: Greywacke 4 ft 6.5 in tall **This statue is where the Ka would live if the mummy were destroyed. Grey wacke is a permanent and durable material meant to last eternity. **figure- athletic, youthful, nude to waist, arms at side, hand(s) closed in fist, rigidly upright, false beard, royal linen headdress, Frontal, rigid (Egyptian stance), balance pose with one foot in front of other, curvy body. few projecting breakable parts. **body proportion used grid system 1:8

Catacomb of Priscilla

(Late Antique work) Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco.Image 1 of 3Video:https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/catacomb-priscilla * A catacomb is a burial tomb. Many catacombs in Rome. Christians and Jewish burials. This one is Christian. * There is now a park above this catacomb in Rome. A very wealthy women named Priscilla donated the land as a place where her family would be buried- and eventually other Christians. 40,000 tombs have been found near here. * Great number of martyrs (people killed for being Christians) and popes buried within the catacomb- called the queen of the catacombs. * Early Christians strongly disapproved Roman practice of cremation. The Romans did not allow burial within the walls of the city, so Christians and Jews began the practice of using underground vaults or tufa stone caves on property outside the city walls to bury their dead. * The niche/openings in the walls are where the bodies were placed- called the Loculi. * Inscriptions were written in Greek or Latin on the tomb, or they placed small objects near them to help identify graves with no inscriptions. * Stories from the Bible were common themes painted within catacombs. Some depictions include: the banquet of the Holy Eucharist, The Good Shepherd, (the story of Jonah), The Cubiculum of the Veiled Woman, Old Testament, New Testament, Teachings of Christ. etc. (See video above) * There are a lot of controversies with the painting depictions. * The tombs today are all emptied- most likely from grave robbers.

Annunciation Triptych (Merode Altarpiece)

(Renaissance in Northern Europe work) Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427-1432 C.E. Oil on wood. * Triptych is a 3 panel painting. * Fascination with the natural world. *Process was laying down thin layers of translucent oil pigment one on top of the other. The result was luminous. An enamel-like surface achieves apparent depth, rich gradations of light, a broad distribution of color intensities, and expresses fine details. * Domestic interior (not a church or portal). Strong naturalism style. Devotional focus for the donors shown in the left wing who would have understood the sacred event as taking place in a home similar to theirs. *Subject of the Annunciation- is the moment of Jesus' conception. * central panel- depicts the moment just before the Annunciation —Mary humbly sits on the floor, immersed in reading, not perceiving the presence of the archangel Gabriel. Realistic objects and actions fill the room as possible focuses of meditation for viewers. Some, such as the lily andlaver for washing, symbolize Mary's purity. ** The flight through a closed round window of a tiny Christ Child, bearing a crossand descending on seven rays of light—standing for the seven gifts of the Holy Spirit—indicates that the primary subject is theIncarnation, since light passing through glass often symbolized the divine insemination of Mary in medieval literature. ** Flame of candle- presence of the Holy Spirit. ** Left panel is an enclosed garden- symbol of Mary as a virgin. Birds play a big role in symbolism as well. ** Right panel is Joseph, Mary's husband. He made two types of mouse traps whose underlying meaning is made clear by Augustine of Hippo in his popular sermon on the Ascension of Christ.

House of the Vettii

(Roman work) #House of the Vettii. Pompeii, Italy. Imperial Roman. c. Second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco. * This house was excavated between 1894-1896. The artifacts recovered allowed for original owners- Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus. The were identified as former slaves- freedmen (it was hard to be freed) * After a big earthquake, the old rich left town. The brothers took over the large house the rich left. 12,000 square feet- mansion. *This house shows evidence of important changes in the design of Roman houses during the third quarter of the first century CE. * Variation of a Pompeii house: combined indoor/outdoor living arrangement in a Mediterranean climate that has mild winters and hot summers. Small atrium to the right- maybe for servants. No tablinum (office) (ex-slaves wouldn't have clients). Walls painted in the 4th style * 4th style (Intricate Style): complex combinations- faux marble, architectural frames, open vistas, smaller picture framed view of subjects on predominantly monochrome background. House of the Vettii. Pompeii, Italy. Imperial Roman. c. Second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco. * In 62 CE a major earthquake caused destruction to the building which caused debate on research here. * Many rooms in this house contain wall paintings. Some researchers think the paintings were represented in the third and fourth styles of Pompeian wall painting. Most scholars believe the fourth style was used in majority. * There were many narratives painting- many included Greek gods. * The interior wall painting suggest an attempt at forward-looking interior decor on the part of the owners.

Church of Sainte-Foy and Reliquary

(Romanesque Europe) Church of Sainte-Foy and Reliquary. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary).Image 1 of 4Article:https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/a/church-and-reliquary-of-saintefoy-france * Pilgrimage church site for Christians to view the reliquary. It has a basilica plan that held many visitors. * This church was larger than others prior. Since it was a pilgrimage site, the large naves and aisles held many people. People from all over would worship in this church and have their spirit renewed. The purpose of this church is to worship and pay respect to the martyr, Saint Foy. It also had many sculpture elements on the outside that depicted biblical scenes. * This Romanesque church has barrel-vaulted naves lined with arches on the interior. It has a similar cruciform plan (symbolic to the cross) to many other churches. The apse contained smaller chapels, known as radiating chapels. * There are a few main parts to this church. It offers the Last Judgement tympanum as well as The Reliquary. Read more on the next few slides.

Lindisfarne Gospels

(early medieval) Lindisfarne Gospels, St. Matthew, cross-carpet page; St. Luke incipit page. Early medieval (Hilberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigments, and gold on vellum).image 1 of 3 * The Lindisfarne Gospels, one of the most magnificent manuscripts of the early MiddleAges, was written and decorated at the end of the 7 th c. by the monk Eadfrith, who became Bishop of Lindisfarne in 698 and died in 721. * There are 516 pages total. It contains 4 gospels, a full page portrait of each evangelist and highly ornamental cross-carpet pages. * Within many of these pages we can see patterns and iconography similar to Roman cultural influence- specifically the interlace patterns. * The manuscript symbolized hope and a foretaste of a more beautiful life to come. In Anglo Saxon times people liked and expected symbolism in art. Luke sits with a scroll and quill. His feet hover above a tray supported by red legs. He wears a purple robe streaked with red. The gold halo behind Luke's head indicates his Christ in us. Above his halo flies a blue-winged calf, its two eyes turned toward the viewer with itsbody in profile. The bovine clasps a green parallelogram between two forelegs, areference to the Gospel. Medieval artist did not use the natural form of human models, but a prototype- anotherimage, a statute, or a picture in a book common juxtaposition (side by side) in medieval art - closed Old Testament bookalongside open New Testament book Regional style - Northern artist based compositions on classical pictures (seatedphilosopher, curtained setting, angled seat), but does not have modeling (volume), shading, perspective (pictorial illusionism). Some state it is LINEAR art. People are flat, like in a coloring book. Use outlines.Drapery - not soft but a series of sharp regularly spaced curving lines

Merovingian looped fibulae

(early medieval) Merovingian looped fibulae. Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.Article:https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/a/fibulae * Merovingian is also called migratory art. Their art was confined to decoration of small, portable status symbols - weapons, lavish personal items (bracelets, pendants, belt buckles, fibula) due to their migratory nature. Original art was abstract, decorative, geometric; ignored world of organic art Ornate fibulae became all the rage in the early middle ages - made popular by Romanmilitary campaigns. Fibula is a decorative pin/brooch that would be used as a fastener on their garment - generally at the shoulders and could be emblems of their office or a sign of prestige. They could be made of bronze, silver, or gold and would sometimes have inlaid preciousand semi-precious stones.(The Byzantine mosaic of Justinian showed a large ornate fibulae on his shoulder) They are the most commonly found objects in "barbarian" grave sites which provide themost concrete cultural information about them, due to the sparse amount of written information about them.

Palette of King Narmer

(egyptian) Artist/culture: Predynastic Egyptc. Date: 3000-2920 BCE. Material: Greywacke It was found in a temple of Horus - god that gave the throne to the first pharaoh slate, 25" high Function: object on which eye/face makeup was prepared to protect eye against irritation, infection, and from glare of sun (its function or purpose) both men, women used **direct overall message is simple and clear: a king named Narmer rules over the unified land of Egypt with a strong hand Historical document that records unification of Upper, Lower Egypt and beginning of Dynastic period - Political unification by conquest **Carved in bas relief (figures are raised slightly from background to give 3-D effect) Most important is the concentration on the king as a deified figure, isolated from all ordinary men and solely responsible for his triumph of unification; not the historical narrative Images are arranged in registers- difficult to know which direction to read it as it might be read horizontally or vertically Hierarchy of Scale - size of figure denotes importance of position. Twisted Perspective (AKA Composite View) -Head and feet in profile, but eye and torso is frontal. Persons of lesser social rank tended to be represented more naturally. Narmer, who has been identified with Menes, first king of the first Egyptian dynasty, appears three times. Symbolism- waistband hangs ceremonial bull's tail for strength, royal beard on king and kilt associated with Goddess Bat. Barefoot- hero's preordained victory, Falcon- god Horus divinity of the pharaoh. Sandal bearer hold a jar of perfume to protect skin, bull horns at top are Goddess Hathor- sky mother. dead enemies represented power and efficient government.

Great Mosque, Córdoba

(islamic caliphate spain) Great Mosque, Córdoba, Spain. Umayyad. Begun c. 785-786 C.E. Stone masonry.image 1 of 5 * This is an Islamic Mosque but was a place of worship for many faiths over the years. It originally was a temple for a Roman god. Then became a church in 572. Then, the Umayyads converted it into a Mosque. * This mosque has a large hypostyle prayer hall with columns, a courtyard, an orange grove, a covered walkway circling the courtyard, and a minaret. * The horseshoe arched mihrab or prayer niche resembles Visigoth architecture. There is gold tesserae that forms intricate calligraphic bands and vegetal motifs that adorn the arch which frames the mihrab. The dome has crisscrossing ribs covered with gold mosaic in a radial pattern.

Code of Hammurabi

(modern Iran) Artist/culture: Susian Date: 1792-1750 BCE Material: Basalt (volcanic rock) 7 ft 4 in high This is a "stele"- carved stone slab or pillar used as a marker. It is inscribed with Law Code of Hammurabi at the bottom with the artwork at the top giving Hammurabi the legitimacy to set forth the new laws. **Hard basalt material shows importance of this piece and its permanence. **Law portion (writing below figures): long cuneiform inscription where Hammurabi declared that with this code of law he intended "to cause justice to prevail in land & to destroy wicked & evil, that strong might not oppress the weak nor weak the strong". Simplified text for all to understand, 300 relate to commercial & property matters, 68 relate to domestic problems, 20 deal with physical assault. Punishment depended on gender, social standing of offender. **Showed glorification of ruler, here the sun-god Shamash (seated) gives Hammurabi the divine (god-given) right to rule. Shamash is larger representing hierarchy of scale. Shamash wears four-tiered, horned headdress along with flames radiating from him shoulders that marks him as a god. Right hand hold measuring rod & coiled rope ring, symbols of justice and power. Builder's tools which indicate ruler's capacity to build the social order and to measure people's lives. (enforce law) Composite view/twisted perspective (front and side views) **The King Hammurabi on the left side, stands with his right hand raised as a sign of respect. Bearded, wears a bracelet and a rigid torque with a pearl necklace. His position along the sun-god shows he has a personal relationship with him while mere mortals do not.

Standard of Ur

(modern Tell el-Muqayyar, Iraq) Artist/Culture: Sumerian Date: 2600- 2400 BCE Location: Royal tombs at Ur (Modern Iraq) Material: Wood inlaid with shell, lapis lazuli, and red limestone 8 in X 1 ft 7 in This tomb shows the interactions with other cultures - such as long distance trade- shell from the coastline south of Iraq, blue lapis lazuli ((lap-is laz-a-lee) deep blue metamorphic rock/semi precious stone) from Afghanistan and red stone from india. Ur was the biblical home of Abraham. Found at one of the largest graves (#779) in the Royal Cemetery at Ur. Function is not yet understood. **It is called a Standard due to archaeologist who found it thought it would be carried on a pole (but probably not a Standard due to how large it is). Another theory says it was a sound box of musical instruments. **It was crushed when we found it so we are not positive this is truly the way it originally looked. **Registers- strips to achieve a continuous narrative effect: each figure carefully spaced, repeated figures represents large numbers, **Figures- large eyes, torso in front view **Main Panels are known as War and Peace: War story shows Sumerian Army. (Chariots trample enemies (bottom), infantry with cloaks carry spears; enemy soldiers are killed, soldiers present bound captive (naked-degrading) to king (middle and top). Peace story shows possibly aftermath of victorious battle, servants bringing in booty- animals, fish, and other goods to a banquet. King relaxing (hierarchy of scale and larger size) drinking with his nobles, listening to a harp & song.

Apollo 11 stones

(prehistoric) Artist/culture : African homo sapien/ paleolithic Period: Middle Stone Age Date: 25,500-25,300 B.C.E. Location: Apollo 11 Cave in Namibia (southwest coast of Africa) Materials: charcoal painted on stone (quartzite) Subject: Animal profile images- unidentified feline but with human hind legs. Curved horns on the head- likely an antelope Function: The cave was not only shelter for humans, but also a site of ritual significance used for thousands of years. Symbol/Theme: African man was a hunter-gatherer, moving in search of food and shelter. They drew animals how they were seen which gives evidence to believe they were anatomically modern as well as behaviorally modern.

Anthropomorphic stele

(something that represents human form) Stele (vertical stone monument) Period: prehistoric Artist/culture: Neolithic Date: 4,000 BCE Materials: Sandstone Location: Arabian Peninsula (Ha'il of north Asia (northwest of Saudi-Arabia) Artist: unknown Subject: human figure- abstract facial image with a double bladed sword, necklace hangs two cords diagonally crossing the body with a small pointed tool. A belt carved into the front. 3 feet tall Function: Found in tombs that are carved into surrounding sandstone cliffs- likely connected with religious or burial practices. Grave marker, Symbol/Theme: human figure What other artworks can you make a connection to this with?

Niobides Krater

Artist/culture: Classical Greece known as the Niobid Painter.(Anonymous vase painter) Date: c. 460-450 B.C.E. Location: Greece Material: Clay, red-figured technique (white highlights). Photo: Right side of AP photo *The Niobid Painter decorated this krater which is used to mix water and wine. *Contains 2 scenes in which many figures rise in tiers on lines of ground that evoke an undulating landscape reflecting the composition of some panel paintings. *This side of the krater illustrates a legend that is rarely represented, and gave the painter is name (Niobid Painter) *Apollo and Artemis are shown massacring the children of Niobe with their arrows. Niobe is the mother of 7 girls and 7 boys. She bragged that she was superior to the goddess Leto, who only had 2 children- The Greeks disliked her pride and arrogance. *Apollo and Artemis (mother was Leto) avenge the honor of their mom by killing all children. *For the first time, a new concept was used in vases- real people moving in 3D space- "3 Quarter Profile" *black attic and red figures- painted with a slip (coating) that turned black during fire. *See NEXT slide for other side of krater vase. *A Mysterious Gathering *Heracles is surrounded by Athena and heroes in arms, in a composition whose serenity is already classical, and whose meaning is still uncertain. *11 figures placed a different levels, 2 are recognizable - Heracles in the center holding his club and bow, lion skin over left arm. And Athena on his left.

Sarcophagus of the Spouses

Artist/culture: Etruscan Date: c. 520 B.C.E. Location: Cerverteri, Italy Material: Terra Cotta. * Etruscan stone coffin featuring the deceased tenderly entwined, reclining on a bed in the attitde of banqueters, in accordance with style that originated in Asia Minor. * The make a gesture of offering perfume, a ritual that, along with the sharing of wine, was part of the funeral ceremony. * It's function remains uncertain because burial and cremation were both practiced by the Etruscans. It might have been an urn. Only 1 other example similar to this work. * The couple is reclining on cushions in the form of wineskins, a reference to a ceremony of sharing wine that was part of a funerary ritual. The woman is pouring perfume into her husbands hand (another funerary ritual). In her left hand, she is holding a small, round object, possibly a pomegranate, a symbol of immortality. * This work shows the transition from Greek idealism (Classical Period) to a more expressive style with a lot of movement and emotion.

Great Altar of Zeus and Athena at Pergamon

Artist/culture: Hellenistic Greek. Date: c. 175 B.C.E. Location: Asia Minor (present-day Turkey). Material: Marble (architecture and sculpture). * When Alexander the Great died in 323 BCE, Pergamon was a little more than a hilltop fortress with a settlement on its southern side. In 282 BCE, Pergamon then became part of the Greek Seleucid Empire and grown tremendously. In 190 BCE they became independent- the alter was then built. * in 138 BCE it became Roman territory. Their acropolis set high on a hill and was their culture was prosperous due to its location near land and sea trade routes. * In contrast to the acropolis in Athens, its function built palaces, temples, and other building on top of the hill. (Athens acropolis was just temples for religious purposes). In Pergamon, they focused on social, cultural activities and daily life things. This led to more public use of the buildings. * Its planning of the acropolis was a masterpiece. Built over 150 yrs- focus was to impress those who viewed it down in the valley. (they did not use the Hippodamus- grid planning, that most places did)ALTER OF ZEUS * The base remains in original location but the rest of it is in a museum of Berlin. *It was constructed on a terrace of the acropolis overlooking the ancient city of Pergamon. Patron: Errected by the son of Attalos to commemorate his father's victory over the Gauls (Celtic tribe that entered and raided Asia Minor & Greek city-states) * Hellenistic- so it showed a lot of movement, theatrical elements of surprise, great scale, excitement, and strong feeling. * It is 119.5 ft wide x 114 ft deep. The stairs, columns, and sculptured sides once stood 40ft high. The sculpture depicted mythical battle between the Greek gods and rebellious giants (sons of mother earth). It really celebrates the series of Pergamene victories over the Celts and other barbarian invaders. We see Athena battling a winged monster. * The total frieze is 400 ft long and 9' high. Contained about 100 life-size figures. * The images were carved in such high relief they almost look like they could come off the background. Art no longer served worship of gods or embellishment of city-states, now it could glorify exploits of a political leader & act to capture public support. * The relief sculpture here appears very three-dimensional allowing it to reach out towards the viewer. This, along with many other characteristics, symbolizes the strength of the deities within the piece.

Seated Boxer

Artist/culture: Hellenistic Greek. Date: c. 100 B.C.E. Location: Pompeii, Italy Material: Bronze. * 4' 2 1/2 height, *A rare Greek- original bronze (not very many bronze pieces made). It also has some copper to portray as the blood on his body. It is in the Late Hellenistic- after absorption of Greece into Roman Empire. * Huge physique, smashed face, broken nose, cauliflower ears, deep scars, and blood dripping from cuts in his forehead tell his story of an aged, defeated veteran boxer. Neatly arranged hair. Beard derived from classical tradition. * This is the first sculpture where the person's age is depicted and it is of a person within the lower social order. * Realistic- intense emotionalism, strong diagonal lines, straining muscles, spiral twist. Proportion and intricate detail was a focus here. Pretty much mastering perfection. Much different from the stylistic Archaic Period and those before. * Patrons commissioned sculptures like this due to interest in many types of people's bodies and emotion. Hellenistic took on unorthodox subjects, such as grotesques, children, elderly people. Sculptures were made to be observed. But, they still primarily were created to honor gods, goddesses as worship. * Greek statues were the Greek cultural form of ceremonial worship. Comparison artwork: Rottgen Piet (Late medieval Europe)

Athenian Agora Plan

Artist/culture: Hellenistic, Greek. Date: 600 B.C.E.-150 C.E. Location: Greece Material: -- *Agora is Greek for "open place of assembly". It took 100s of year to complete this. More buildings were added to accommodate the Athenian democracy at its height. It has a grid like plan. *It was designed as the place where free-born citizens could gather to hear civic announcements, muster for military campaigns or discuss politics. *Agora was the heart of ancient Athens, the focus of political, commercial, administrative, and social activity, the religious and cultural center, and seat of justice. (law courts, library, concert hall, shrines, temples, marketplace, offices) *It was destroyed 2 times. The Romans besieged the city in 86 BCE. It was also dismantled as people quarried the marble for other building projects. *Debate occurred on the walkway of thestoas and they had their markets

Acropolis.

Artist/culture: Iktinos and Kallikrates (Callicrates) Location: Athens, Greeze. Date: c. 447-410 B.C.E. Material: Marble. Phidias was the sculptor. *An ` acropolis ' is any citadel or complex built on a high hill. This is the most famous. *The Acropolis rises 490 feet (150 metres) into the sky above the city of Athens and has asurface area of approximately 7 acres. An acre is about the size of the playing area of afootball field. *The Classical era started in 480 BC when the Persians destroyed the existing temple & statue on the Acropolis (sacred hill above Athens) They decided to build a new temple. *Original Plan consisted of: Propylain (ornate entrance-way into the temple complex), Parthenon (central attraction), Erechtheion, and the Temple of Athena Nike. All of these were featured among the Acropolis and their central location and placement added emphasis to their importance in the culture and it's religion. *100s of artisans, metal workers, craftspeople, painters, woodcarvers, and 1000 of unskilled laborers worked on the acropolis. *During the Panathenaic festival, celebrants would carry a new rob to the smaller ancient wooden cult statue of Athena (Housed in Erechtheion). *The Parthenon, as well as many other Greek architecture, features balance, symmetry, harmony, pillars, a base structure. Many of these qualities combined create the optical illusion it has. It's main purpose was a place of worship to the god Athena. *The site was a natural choice for a fortification. It is here that the Panathenaic festival ended.

Birth of Venus

Birth of Venus. Sandro Botticelli. c. 1484-1486 C.E. Tempera on canvas. * We don't know a lot about this painting. But we see a full length female which is pretty rare during this time (for the figure to be female-nude) * Almost life-size painting. Fully pagan in it's subject matter- Goddess of Love. She was just born. * Here, Venus remains Venus. She is completely nude. She is mythological. She covers her body with her hair. She floats on a sea shell- blown by the west wind Zephr and we see his body entwined with the body of Chloris. * On the right we see the attendant who is ready to wrap the new born goddess. * Pattern-flowers in many areas of the composition. The little v's also create a sense of 2-D. The flatness about this is also supported with the figures side by side- not overlapping anyone. They don't stand firmly on the ground.

Grave Stele of Hegeso

Artist/culture: Kallimachos. Date: c. 410 B.C.E. Location: Greece Material: Marble and Paint. *5' 2" high slab used as a grave or site marker. By this time, vases are no longer used. *It has an "everyday life" type of scene that represents the Greek culture. Domestic setting where women stayed most of the time. Women's lives were defined by their father or husband. Women were not "citizens" in Greece and Athens. They had very limited property and legal rights. *The style and relief both reflect the denial to women of an active role in social or political life. In the imagery, we see a woman- youthful, sitting in a chair holding jewelry handed from her slave. The jewelry and salve would have been her (Hegeso's) possessions and would have been her dowry (property brought by a bride to her husband) upon her marriage. *We can't see melancholy through the faces but we see it within the bowed head. Architectural features frame the women- reinforcing the idea that women stayed home (domestic setting). Hegeso sits in the chair, foot on the footrest, garment hangs over chair.

Stonehenge

Artist/culture: Neolithic Europe Date: 2,500-1,600 BCE Materials: Sandstone, (Limestone) Location: Great Britain (South of England) Artist: unknown- many people Subject: Complex circles built with stone pillars 4-5 meters high (13ft) and weigh 30 tons (60,000 lbs) each. Built over almost 1000 years. Circular ditch measures 100 meters diameter ( 328 ft). "Heal Stone' lies in the center and it is in line with the summer solstice during sunrise. Opposite occurs during the winter solstice. Hole was found with as many as 57 skeletons. Function: unknown, possibly ritual, burial. Ritual would start at wood henge representing life and move to stone henge for death and burial. Symbol/Theme: Death and burial. Wood- world of living, stone- world of dead. Ancient astronomical observation center or a temple where sun worshipers had rituals. What other artworks can you make a connection to this with? -Various similar circular layouts made from wood are throughout the area.

Jade Cong

Artist/culture: Neolithic china Date: 3000-2500 BCE Materials: Carved/true Jade (nephrite) Location: China (Jiangsu Province) Artist: Most likely many Liangzhu people Subject: facial figures carved into the sides possibly representing spirits or deities. Function: ritual purpose due to being found in burial sites and in tombs Symbol/Theme: earth, heavens and sun, power/importance due to expensive and rare material and very difficult to carve.

Tutankhamun's Tomb, innermost coffin

Artist/culture: New Kingdom Location: Egypt Date: 1323 BEC (18th Dynasty) Material: Gold with inlay of enamel and semiprecious stones **Most tombs had been found and sacked. Carter was amazed that this tomb was miraculously intact. Just behind the blocking (doors) of the burial chamber entrance, Howard Carter and assistants were met by what appeared to be a wall of gilded wood inlaid with dazzling blue faience. What they were actually seeing was the outermost of a group of nested shrines that protected the king's sarcophagus. 9 shrines, sarcophagus and coffins total: the Egyptian number which symbolized infinity. King Tut's tomb room was only 9ft high by 16 ft long. **There were 3 layers of coffins, then a funerary mask. The AP Framework focuses on the innermost layer coffin: **This coffin nested within the previous one is covered once again by a fine red linen from neck to feet with the face left bare and a floral (dead flowers) collar. This anthropoid (resembling a human being in form) coffin was made of pure solid gold, inlaid with glass and semi-precious stones. But the gold did not gleam like the first coffin. When it was discovered, this coffin originally was covered in a sticky black residue,made from a perfume. Howard Carter estimated that up to two bucketfuls of this liquid had been poured over the coffin, filling in the whole space between it and the base of the second coffin and making them solid and causing them to stick firmly together. The coffin is just over six feet tall and weighs nearly 243 pounds. The scrap value of the gold alone in this sarcophagus is in excess of $1.7 million. Gold handles. The image of the pharaoh is that of a god. The gods were thought to have skin of gold, bones of silver, and hair of lapislazuli ((lap-is laz-a-lee) deep blue metamorphic rock/semi precious stone) —so the king is shown here in his divine form in the afterlife. He holds the crook and flail, symbols of the king's right to rule. Depicted wearing the striped nemes headdress, softness of contour, but general effect is one of grandeur and richness - Egyptian power and pride. There are several gods depicted on it as well as the hieroglyphic for the word "infinity". The image of King Tut has a beard which connects him, again, of a god. He wears a necklace of disc beads (high importance)

Akhenaten, Nefertiti, and Three Daughters

Artist/culture: New Kingdom (Amarna) Date: 1353-1335 BCE (18th Dynasty) Egyptian Culture. Location: Egypt Material: Limestone 1 ft 1/2 in tall **A mixture of naturalism and stylization presents royal family informally. Akhenaton on the L, Nefertiti (R) is Akhenaton's queen who was important in politics - sometimes portrayed with pharaonic headdress. Nefertiti means "the beautiful one has come" Show sunken relief (cut into) portrait, more relaxed, anti-geometric. Composite view - profile and frontal blended. Undulating, curvilinear lines stress softness (Serpentine Line), Prominent bellies, thin neck & elongated skullo Life giving rays of Aton - sun god near the top.

Last judgment of Hunefer from his tomb (page from the Book of the Dead)

Artist/culture: New Kingdom, Egyptian Date: 1275 BCE (19th Dynasty) Location: Egypt Material: Painted papyrus scroll **Book of the Dead is a modern term for a collection of magical spells and prayers that the Egyptians used to help them get into the afterlife. The pharaoh had an additional book so that he could take his place with the gods. They imagined the afterlife as a journey through the underworld (called Duat) that they had to undertake to get to paradise - but it was quite a hazardous journey so they'd need magical help along the way. They only had to take this journey once. If they failed, the ba was denied the chance to enter the cycle of daily rebirth. If successful, they would be able to go through the daily cycle of rebirth. The Book of the Dead is usually a roll of papyrus with spells in hieroglyphics with colored illustrations. They would have been quite expensive so only wealthy, high-status people would have had them. During the Middle Kingdom, they started to have ready-made Books of the Dead which would have blank spaces for your name to be written in, or you could spend a bit more and choose which spells you wanted. **192 spells are known, but no manuscript has all 192. *THIS PAGE- LAST JUDGMENT OF HU-NEFRER ** Represents the Weighing of the Heart ritual- which is the final judgment of the deceased. Reads left to right and is a continuous narrative (the same person pictured during several events) **Left top- he is before several deities professing the good life he lived. Then below this register we see Anubis, god of embalming, leads Hu-Nefer into the hall of judgment. Here, the dead Hu-Nefer swore that he had not committed any sin from a list of 42 sins , reciting a text known as the "Negative Confession" Next: his heart is weighed on a scale against Maat's (mah-at) feather. Maat is the protectress of truth & right The Book of the Dead contained a spell that allowed the scales to balance perfectly. Ammit - monster under the scales - awaits decision of the scales - if out of balance, he devours the heart and they have no afterlife. Judged favorably, therefore, Hu-Nefer receives award of eternal life in the Field of Reeds which is pleasant and plentiful, Far right, Hu-Nefer is being introduced to Osiris, Lord of the Underworld.

Alexander Mosaic from the House of Faun, Pompeii

Artist/culture: Republican Roman. Date: c. 100 B.C.E. Location: Pompeii, Italy Material: Mosaic. * 8' 10" x 16' 9" size *Classical Greek golden age * This mosaic was found in the largest house in Pompeiii, the House of the Faun. Shows the wealth of owner. Floor mosaic. Traditionally represents the turning-point at Issus when the Persian King Darius III fled the battle * This was a copy of a Hellenistic Greek original painting. Here, Alexander the Great classes with Darius (two battles- Battle at the Granicus 334 BC and Battle at Guagamela, 331BC. * Left- Alexander's head is uncovered, rushes forward on his horse ahead of his troops. Holds a spear that he used to skewer a Persian soldier, who rushed to defend Darius. Darius's horse collapses beneath him. * Right side- Darius wears a Persian cap, defeated and shocked, stretches his hand out to his wounded defender. Persians soldiers in background with faces of fear.

Statue of Votive Figures

Artist/culture: Sumerian Date: 2700 BCE Location: Eshnunna (modern Tell Asmar, Iraq) Material: Gypsum inlaid with shell and black limestone Function: **Votive Statues were made as an act of worship to gods. Purpose was to offer constant prayers to gods on behalf of their donors. Open-eyed stares may symbolize eternal wakefulness necessary to fulfill duty. Hands tightly clasped across chest in attitude of prayer, disproportionately large eye in characteristic of this whole group of figures from Tell Asmar- not sure what it means. Head tilted up- possibly to await the return of the Sumerian god. Bodies and faces are simplified and schematic to avoid distracting attention from eyes. **Male- bare-chested, fringed sheepskin skirt, stocky & muscular, w/ heavy legs and large feet, big shoulders, cylindrical bodies, bearded, hair, Female- long robes, right shoulder bare, lighter figure but square shouldered like males. (these are standing but some figures are seated) Subtractive method of sculpting- cuts forms out of large solid bricks. Size varies (2" to 30"), could relate to the importance of the person in the community who commissioned it.

Doryphoros (Spear Bearer)

Artist/culture: classical Polykleitos roman copy(marble) for Greek bronze(original) Date(Original): 450-440 B.C.E. Location: Greece Material: Marble(original was in bronze) *According to the Greeks, the ideal man possessed not only a perfect body, but a perfect mind. *Sculptors of High Classical period studied human appearances closely - facial features,smooth skin, particular body proportions, combining them into single ideal of physical perfection. Polykleitos made these rules become his Canon (rule) of ideal proportions. Much more sense of balance here compared to earlier styles. This reflects his knowledge of Egyptian proportion of the human body. *This sculpture combines the naturalism of the human body, at rest and in motion, with an idealization, based on this theoretical perfection contained in the Canon. This, similarly to Seated Boxer, shows a stylistic shift from Archaic Period (geometric) to the Classical Period (realistic anatomy detail and balance)

Catacomb of Priscilla

Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco.Image 2 of 3The center image is "Good Shepherd and Jonah Narrative". Here we see Christ looking over his sheep. This is a symmetrical composition, with trees on either side of him, holding birds. His contrapposto stance can be assumed as an influence from Roman/Greek sculpture.

Chartres Cathedral

Chartres Cathedral Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass. Image 3 of 6

Chartres Cathedral

Chartres CathedralChartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass.Image 6 of 6Basic technique for making colored glass known since ancient Egypt; used on small scale in Early Christian, Carolingian, Ottonian churches, even Romanesque times. But reached height of sophistication, popularity during Gothic era Period of 1200 to 1250 is the Golden age of stained glass. Red, blue& purple predominant colors in stained Glass - more subdued than gold of Byzantine mosaics. * This feature was inspired by the lux nova. Lux nova "new light" transmits rather than reflects light. * Light is a physical manifestation of God on earth and the colors reinforce its sacredness. Blue is the color of the northern sky, of heavens, of the mantle of Mary, of the blue coat of the Kings of France and this particular blue has never been reproduced - masters of glass making have never been able to come up with the formula for this blue. It depicts the Virgin Mary and child, Jesus, and angels (Notre Dame de la Belle Verriere- "Our Lady of the Beautiful Window") . She is represented with a crown, a halo, and a dove above her head. She is holding Christ as a baby on her lap. The composition looks flat, which can be compared the Byzantine figural elements.

Church of Sainte-Foy and Reliquary

Church of Sainte-Foy and Reliquary. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary). Image 2 of 4(left bottom)

Church of Sainte-Foy and Reliquary

Church of Sainte-Foy and Reliquary. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary). Image 4 of 4The church where this reliquary stands was a pilgrimage site where people would travel to in order to worship it and the figure it represents. This reliquary was located in the ambulatory area of the church, providing viewers to walk around it and view it from all angles. * It held the remains of Saint Foy- a young Christian convert living in Roman-occupied France. At age 12, she was condemned to die for her refusal to sacrifice to pagan gods (which made her a martyr). * The gold and silver materials of this piece shows the importance of it and the connection to Christianity. The material and importance of it supports the Crusades (wars between Christians and Muslims) and reason for why pilgrims make their way to view the site. * Over time, many gemstones were given to the reliquary from the pilgrims who visited. It also contains gold leaft and gilt. Her face is thought to have originally been the head of a Roman statue of a child. The reuse of older materials in new forms of art is known as spolia. It made the object more important by associating it with the past riches of the Roman Empire. * Even today, every October there is a celebration and procession held for Saint Foy.

Church of Sainte-Foy and Reliquary

Church of Sainte-Foy and Reliquary. Conques, France. Romanesque Europe. Church: c. 1050-1130 C.E.; Reliquary of Saint Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary).Image 3 of 4 * This tympanum is a semi-circular relief carving above the central portal. As visitors walk inside, it is one of the first noticeable features. * There are registers depicting different events that are a reminder of heaven and hell. * In the center, Christ sits as Judge. He sits enthroned with his right hand pointing upward, his left hand points down- Heaven and Hell.

David

David. Donatello. c. 1440-1460 C.E. Bronze. 5' 2 ¼" high Donatello's full name was Donato di Niccolo di Betto Bardi - you will sometimes see attribution to specific artists using their different names. By the age of 14 he was already a sculptor and by the age of 18 he was apprenticed to Lorenzo Ghiberti, a famous goldsmith. Donatello's works portrayed the soul and spirit of the figure, thus showing theircharacter, their temperament, not an exact representation of the human body. The Medicis were expelled from Florence (for political reasons). After returning to Florence, Cosimo de'Medici commissioned David from Donatello as he wanted a piece that symbolized triumph against the odds. This piece could have many meanings -o Contextually, David is a metaphor for Florence as it struggled to maintain its independence as a republican state modeled on that of the Athenian democracy. o This context projects the image the Medici's wanted - that despite their being the power behind the city, they were committed to civic humanism and opposed to authoritarian forms of government.o Another suggests that it celebrated the triumph of the Florentines over the Milanese in 1428 But could it be that it was a personal family triumph due to their return to Florence? First freestanding nude since classical times - this portrayal sprang from humanism With renewed interest in Roman art and literature the male nude became acceptablesubject - female nudes rare until end of century David is shown as a 12-13 year old youth, standing with one foot resting on the severedhead of Goliath, lying on the ground His expression is one of dreamy contemplation as he looks downward on the spoils andproof of conquest - but not at Goliath's head Another source states that his face expresses cold detachment, emphasized by the shadingof the hat. The victorious hero is nude, although he wears antique style sandals and a hat with abroad brim at the front crowned with a laurel. Set at the top of the hat is a hollow rod, probably designed to hold a plume. In his right hand he is holding Goliath's huge sword and in his left, the stone. The statue rests upon a circular bronze plate, girdled by a wreath of laurel. Laurel wreaths are allusions to the Medici family who paid for it There are traces of gilding on the hair, the hat, the sandals, and the ornamental parts at thetop and base of the statue. Though many call this classical, the only portion that is classical is the contrappostostance and the philosophies and values that were brought forth from classical times -David's lowered gaze could signify humility, which triumphs over the sinful pride of Goliath - equating the lowered gaze with modesty and virtue. David's figure is not idealized. It was designed to stand at the top of a column; hence the laurel wreath at the base of thestatue would have framed the column.

Dedication Page with Blanche of Castile and King Louis IX of France from Bibles moralisees

Dedication Page with Blanche of Castile and King Louis IX of France from Bibles moralisees. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).image 1 of 2 * In 1226 a French king died, leaving his queen, Blanche of Castile, to rule his kingdom until their son, Louis IX, came of age to rule. *Blanche commissioned this work to serve as a model of kingship and as a religious guide for her son. * Bibles moralisees (Moralised Bibles) were a source of instruction and status for the royalty of 13th century France. The most expensive medieval manuscripts because they have an unusually large number of illustrations. Commissioned by members of the royal families. * This demonstrates a new theme of non-religious rulers supporting church related artworks. * Instead of the geometric, vegetal, or narrative decor around the border we now see architectural features- like arched window frames, columns, towers, rooftops, etc. * Figures lack naturalism and emotion. Each figure is set against a ground of burnished gold, seated beneath a trefoil arch. Stylized and colorful buildings dance above their heads. The triple lobed arches & miniature cityscapes are comparable to the architectural canopies above the heads of French portal statues of the same time The upper register depicts an enthroned king and queen. They wear the traditional medieval open crown topped with fleur-de-lys—a stylized iris or lily symbolizing a French monarch's religious, political, and dynastic right to rule. The blue-eyed queen, left, is veiled in a white widow's wimple (head piece). An ermine-lined blue mantle drapes over her shoulders. Her pink T-shaped tunic spills over a thin blue edge of paint which visually supports these enthroned figures (appearance of a floor) A slender green column divides the queen's space from that of her son to whom shedeliberately gestures across the page, raising her left hand in his direction. Louis IX, wearing an open crown atop his head, returns his mother's glance. In his right hand he holds a scepter, indicating his kingly status.

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preperation for Passover). Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigments and gold leaf on vellum). Image 3 of 3

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preperation for Passover). Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigments and gold leaf on vellum).Image 2 of 3

San Vitale. Ravenna

San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.Image 3 of 5 ** Here we see the empress, Theodora. This mosaic mirrors the Justinian mosaic. This supports that she also co-ruled by his side. She was powerful- elaborate clothing and jewelry. Halo around her head. She is holding the chalice for the wine. Imperial court/military is next to her.

Santa Sabina

Santa Sabina. Rome, Italy. Late Antique Europe. c. 422-432 C.E. Brick and stone, wooden roof.

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preperation for Passover). Late medieval Spain. c. 1320 C.E. Illuminated manuscript (pigments and gold leaf on vellum).Unknown artists (probably 2)image 1 of 3 * The Golden Haggadah is one of the finest surviving Spanish Hebrew manuscripts. The Haggadah literally means "narration". It is the service-book used in Jewish household on Passover Eve to commemorate the Exodus from Egypt. * The text is preceded by a series of full-page minatures depicting scenes mainly from the Book of Exodus. These sumptuous illuminations set against-gold-tooled backgrounds earned the manuscript its name and were executed in the northern French Gothic Style. (some thing it is Medieval) * Seen in the pages- the head of the household is seen as handing out matzah and charoset to a women who has six children, reflecting the midrashic account of Israelite women who miraculously brought forth 6 children at each birthing. * Due to the preparation of lamb for dinner, we can assume this was during messianic times. (after destruction of the temple, lamb was forbidden to serve during Passover.) * With many images pertaining to women and children, we think that The Haggadah may have been created for women- specifically women who have lost a child.

Great Mosque, Córdoba

Great Mosque, Córdoba, Spain. Umayyad. Begun c. 785-786 C.E. Stone masonry.image 3 of 5

Hagia Sophia

Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer. image 1 of 3Video:https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/hagia-sophia-istanbul * The Emperor Justinian had his palace built nearby. The original church burned down. The second built church also burnt down (during riots). This third church still stands. * Justinian was a political leader but also was in charge of the church and religion. * Central plan and ambulatory. This building that was the spiritual heart of the Roman empire. *The scale is huge. The original church was huge as well. The churches before had wooden roofs and was a basilica plan (long nave). The newer built church had huge vaulted ceiling and was centrally planned. We have a really high dome on top of a square building frame. This is called a pendentive. They hid the dome piers that hold up the dome. There are also three more half domes just below the large dome. * If you look carefully you can see some columns now slanted from the huge force of the weight of the dome ceiling. 40 windows at the base of the dome. Light comes into the building. *Many mosaics inside depicting Christian scenes. The upper surfaces have gold mosaic design. Not many figures, mostly symbolic images. It might have been due to the creators wanting people to focus on the architecture itself. Beautiful marbles was also inlaid. The extensive design work supports the wealth and status of the Emperor Justinian and supports of the Christian religion. * Later, this building was made into a mosque. Islamic inscriptions can be found in the dome. The Ottoman Turks conquered the Byzantine empire. It functioned as a mosques until 1934. Then turned into a museum.

Hunters in the Snow

Hunters in the Snow. Pieter Bruegel the Elder. 1565 C.E. Oil on wood * His style, choice of subjects (once imitated Bosch's work) was in demand by local scholars,merchants, bankers who appreciated his beautifully painted, artfully composed works, which reflected contemporary social and political conditions * This piece was one of his earliest works, in which he had a different style than in his later works. It was most likely created in his workshop and commissioned by someone who had an interest in this subject matter we see. * Bruegel traveled to Rome where he studied Michelangelo's Sistine ceiling. But chose not to incorporate classical elements into his paintings. He did have an Impact of Italian experience shows in Italian or Alpine landscape features which were recorded in drawings during a trip. He purposely does not use any religious subject matter or symbolism here- to show a change and difference from prior popular Christian themed artwork. Here he has captures the damp, cold winter with its early nightfall. Develops smoothly from foreground to background, draws viewers diagonally into its depths. Viewer seems to hover with the hawks slightly above the ground, looking d down first on busy foreground scene then across valley to snow-covered village, frozen ponds Sharp diagonals, both on picture plan and as lines receding into space, are counted by pointed gables, roofs at lower right as well as jagged mountain peaks linking valley and skyline Scene represents relative calm before storm

Isenheim Altarpiece

Isenheim Altarpiece. Matthias Grunewald. c. 1512-1516 C.E. Oil on wood.

Isenheim Altarpiece

Isenheim Altarpiece. Matthias Grunewald. c. 1512-1516 C.E. Oil on wood.image 2 of 2

Lindisfarne Gospels

Lindisfarne Gospels, St. Matthew, cross-carpet page; St. Luke incipit page. Early medieval (Hilberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigments, and gold on vellum).

Lindisfarne Gospels

Lindisfarne Gospels, St. Matthew, cross-carpet page; St. Luke incipit page. Early medieval (Hilberno Saxon) Europe. c. 700 C.E. Illuminated manuscript (ink, pigments, and gold on vellum).image 2 of 3The Lindisfarne Gospels is the first to devote an entire page to the Cross. The pattern decor and calligraphy resembles the Islamic culture. The decorated pages at the beginning of each Gospel are known as Carpet Pages becausethey look like oriental rugs. They play a similar role, preparing the reader for the Gospel message. They also recall contemporary metalwork, symbolizing the jeweled cross which represented the Christ of the Second Coming. Each carpet page contains a different form of cross, stressing the different churchtraditions and their ecumenical relationship. Compositionally, Eadfrith stacked wine-glass shapes horizontally and vertically againsthis intricate weave of knots to form the cross. The sanctity of the cross, outlined in red with arms outstretched and pressing against the page edges, stabilizes the background's gyrating activity and turns the repetitive energy into a meditative force. The blending of the cross and the interlaced serpent-creatures on other pages mirrors the historical context of the time - Hiberno-Saxon culture becoming rooted in Christianity. Innovations: The artist planned his designs on the backs of the vellum used in the book (neverbeen done before). He drew on the back in reverse and back lit it to view the design from the correct side of the vellum - using something like a light table.o Added details freehand with a lead point rather than the usual hard point. It was like a pencil - 300 years ahead of its time.o An experimental chemist, Eadfrith was able to manufacture a palette of around 90 colors using only six local minerals and vegetable extracts: The monastic artists were not trained in the classical (Greco-Roman) tradition and hadlimited exposure to it.

Temple of Amun-Re and Hypostyle Hall

Location: Kamak, near Luxor, Egypt Artist/culture: New Kingdom 18th and 19th Dynasties Egyptian Culture Date for Temple: c 1550 BCE Date for hall: c 1250 BEC Cut sandstone and mud brick - hall is next, then plan **The pharaoh was not only the country's administrative and military leader, but he was also the official head of state religion. He was considered the link between the world of man and divine. This is the temple that is in the biggest section of the Temples of Karnak (city). Prior to the New Kingdom period the god Amun was pretty obscure, but became the chief god during the Middle Kingdom. His identity merged with the sun -god Re of Heliopolis in the north and he became a composite god, Amun-Re Function: This was considered to be god's abode on earth. The temple would have its own "estate" both around the temple and out in the country that supplied it with resources. They also had land that they could tax in order to bring in wealth to the temple. #20 Temple of Amun-Re and Hypostyle Hall Hall(image #2 of 3) Most Ancient Egyptian temples had a hypostyle hall. It is an ancient Greek word for a building that had rows of columns supporting its roof. The center columns were taller to support a higher roof in the central area. This one had two rows of seven columns about 78' tall made of limestone blocks that originally ran down the center. Twelve of these survive. The side aisles were lower, with 122 of the shorter columns. -This allows a clerestory - opening that lets light in in the vertical space between the two levels. The hypostyle itself was considered to be a temple and was called "Mansions of Millionsof Years." In this area, they also celebrated the deified pharaoh. **Walls and columns were decorated with relief and vivid colors. (scenes- kings offering tribute to their gods and receiving it from their vassals. Battles, captives). Hieroglyphs record events and names of pharaohs. #20 Temple of Amun-Re and Hypostyle Hall Temple of Amun-Re Plan(image #3 of 3)NOT A GOOD PHOTO. LOOK IT UP YOURSELF!!! (rectangular images don't fit here well) The Plan: **Access to the heart of the temple was through a principle entryway (colonnaded courtyard) into the hypo style hall a vast hall filled with columns (which support roof). Moving into the heart of the temple, one passes a series of tall stone obelisks (associated with the sun-god Ra as their top is like the ben-ben stone.) In the sanctuary (the central most part of the building) the statue of the god Amun-Ra would stand and the temple's "daily ritual" took place. The statue was daily provided with food, drink, and sweet smelling incense and oils. On special occasions/festivals, the statue would leave his or her "house" and travel to visit cult temples in other locations. in order to reach the back of the temple, you need to go through a hallway at the side of the sanctuary. **Bright light from open roofed courtyard ** Little light in hypo style hall with clerestory windows **dark inner chambers with just one small light shaft in the inner chapel to illuminate the god's statue. Only a few priests and Pharaoh could enter the holy of holies (sanctuary).

Mortuary Temple of Hatshepsut

Location: Near Luxor, Egypt, Artist/culture: New Kingdom Date: 1473-1458 BCE (18th Dynasty) Material: Sandstone, partially carved into a rock cliff and red granite - here is temple, next is statue of Hatshepsut **Female pharaoh Hatshepsut. 1st great tribute to a woman's achievement. She married her half-brother (custom of the times) - He ascended the throne as Tuthmosis II. He died and their 8 year old son was too young to rule, Hatshepsut was crowned King of Egypt. 20 yrs later her son (who was pushed aside) made himself head of army and demanded sole power. The queen's mummy was never found and tomb remained empty. **The son, Tuthmosis III, demolished the images of her. He did this because Egypt's "natural" world order was to have a male pharaoh. **When Hatshepsut first took over rule, she started building this architecture. Senmut may have been the architect?? Many traces of his name/portrait within the temple. **Function was to worship the king's patron deity during his lifetime and to worship the king himself after his death. It function as a mortuary temple for both Hatshepsut and her father reinforced her image as successor, and was dedicated to the gods Amun, Hathor, and Anubis. **positioned against cliffs, in a valley that was sacred to the principal feminine goddess. Partially free-standing, partially cut rock. **relief sculpture on front wall, behind pillars. Detailed record of a naval expedition sent to the African land of Punt. **Entrance, several courtyards, ramp to 2nd & 3rd levels, Anubis chapel, Royal cult chapel, Solar cult chapel, sanctuary of Amun and tomb of Senemut (showing his importance). Colonnades (row of evenly spaced columns), #21 Mortuary temple of Hatshepsut - Statue of Hatshepsut **This is Hatshepsut with offering jars (red granite) Within the mortuary temple there were some two hundred or more statues of Hathshepsut in varying guises. She had herself depicted, in accordance with dogma, in an emphatically masculine form,with a naked male upper torso, short kilt and royal beard. However, all the statues show female features, a tapering face, slightly full lips, and almond-shaped eyes. This statue was at the entrance to the Amun-Ra sanctuary with at least 7 other colossal kneeling statues that lined the entrance. In each hand she holds a round offering jar for part of a ritual to the gods in honor of the sun god Amun-Ra (A king only knelt before the gods, not anyone else.) Wears royal male nemes headdress (which had a cobra coming out of the front of it) &pharaoh's ceremonial beard. This statue shared the fate of all of her images: smashed; thrown in a dump. The pieces were put together by conservators.

Seated Scribe

Location: Saqqara, Egypt Egyptian Culture Artist/culture: Old Kingdom Date: 2620-2500 BCE (4th Dynastyc) Material: Painted limestone Close to 2 ft tall **The figure is less livelier than formal portraits. Alert expression on face, flabby body of man past middle age- very naturalistic. (presenting wealth with being overweight) Very individualize with thin lips and large ears. **office and rank was indicated by dress, hairstyle, and accessories like jewelry, etc. He was not high rank. **The plank-like skirt the figure wears creates a flat surface for him to write on (like a desk). A "scribe" was a literate person who wrote texts, and repaired valuable sacred and scientific texts. Only 1% of the population was literate- very important job.

Madonna and Child with Two Angels

Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood.

Mosque of Selim II

Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1568-1575 C.E. Brick and stone.image 2 of 2

Palazzo Rucellai

Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry.

Pazzi Chapel

Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 C.E. Masonry.Image 2 of 2

Röttgen Pietà

Röttgen Pietà. Late medieval Europe. c. 1300-1325 C.E. Painted wood * 1 foot 10.5 inches high. The troubles of the 14th century war, plague, famine, and social strife, appear in religious art. * Here we see the Virgin Mary holding her son Jesus Christ, son of God, who just died, sacrificing his life. This is the lamentation (she laments the death of her son). * Unlike many other lamentation representations in art, we only see Mary and Jesus. (many others we see other biblical figures standing around them). We can only focus on the two more important figures. * The sub-theme here is the cycles of life- we see this through Mary and her child. It emphasizes the traits of human suffering through powerful, expressive exaggeration of intense emotionalism as the Gothic goas was to create an emotional response in the viewers. This is just 1 cycle or stage of the life of the Virgin Mary. * Human subjects were often used in sculpture during this period because they enjoyed depictions of emotions they could relate to. They wanted to really "feel" their religion. * Christ is a stunted, distorted human wreck, stiff in death and covered with blood gushing from his wound. He is emaciated showing that he led a life of hunger and suffering. * Mary is the image of maternal anguish with her oversized face twisted in unbearable grief. Her face shows anger and confusion.

Tlatilco Female Figurine

Period: Early Preclassic period (1800-1200 BCE) Artist/culture: Neolithic Mexico Date: 1,200-900 BCE Materials: ceramic (clay by hand) Location: Central Mexico (Tlatilco, Mexico City) Artist: unknown Subject: female figure with one head but 3 eyes. Wide thighs and a pinched waist. No interest in the hands or feet. Elaborate hairstyle Function: hundreds of similar figures were found. They may have been used in fertility cult practices. Burial rituals, Symbol/Theme: supernatural characteristics, shamanic religion. Maybe idea of duality

Camelid sacrum in the shape of a canine

Period: Neolithic Artist/culture: Paleolithic Date: 14,000-7,000 BCE Materials: Bone (camelid sacrum) Location: Tequixquiac, Central Mexico Artist: unknown and not proven to be made by humans Subject: portion of a camelid (camel-like mammal) sacrum that was carved into an animal skull (dog-like) Circular spaces (holes) cut into the end of the bone to represent nostrils and engraved. Function: unknown, most likely for ritual purpose Symbol/Theme: Sacrum bone was considered sacred- represented as "portals" or doorways, permitting spirits or deities to enter the physical world. Also relates to resurrection and fire. What other artworks can you make a connection to this with?

Great Hall of the Bulls

Period: Neolithic Artist/culture: Paleolithic Date: 15,000-13,000 BCE Location: Lascaux, France (Europe) Materials: Rock painting (Limestone rock, charcoal and ochre pigmented earthen material) Artist: prehistoric homo sapiens Overlapping of paintings might show artists contribution over time Subject: 600 paintings and 1500 engravings of scenes depicting cows, bulls, horses, and deer. Some characteristics feature bear, cats, and rhinos. Profile views. One different stylistic scene tells a story: a hunt including man with the head of a bird throwing a spear at bison for the kill. Function: Symbol/Theme: overpower their prey by creating images during rituals, or it communicates narratives. Important hunts, bird-man might be one who can communicate with spirits. What other artworks can you make a connection to this with?

Ambum stone

Period: Neolithic Date: 1,500 BCE Materials: Greywacke stone (hard) Location: Papua New Guinea, Pacific Artist: unknown Subject: carved stone representing the embryo of a spiny anteater. Function: used in rituals? The curved neck and head of the stone suggests function as a pestle (tool used to crush/grind a substance). It is only 8 inches tall so it could be held in a hand and it's fat base could have been used to pound food/materials in it. Symbol/Theme: religious, importance due to material and tough to carve. Ward off danger and promote fertility of the tribe and land.

Terracotta Fragments

Period: Neolithic Date: 1000 BCE Materials: terra cotta (incised (red slip earthenware- mixed clay and sand) Location: south-east of Solomon Islands(Santa Cruz Islands) Artist: the Lapita people Subject: pottery shaped by hand, bowls (some with pedestal feet). Designs of stamped motifs of repeated patterns. Linear and curved patterns. White coral lime was applied to the carvings to make them stand out. Some had anthropomorphic (human like) face designs. Function: serving food or food storage Symbol/Theme: The fragments are found on many islands thousands of miles apart which tell us that the Lapita people traveled and imported the terracotta. Not all islands had clay and sand.

Pyxis of al-Mughira

Pyxis of al-Mughira. Umayyad. c. 968 C.E. Ivory. * This Pyxis was a gift to al-Mughira, the son of caliph. It is one of the best examples of the royal ivry carving tradition in Al-Andalus (Islamic Spain). * A Pyxis is a cylindrical box used for cosmetics. It usually held perfume to scent the room. *It has a lute player flanked by two figures. One holds the braided scepter and flask of the Umayyads (Caliph). The other holds a fan (Abassids). * Material is valuable ivory (from an elephant's tusk). Other Pyxis also contained inlaid jade and semi-precious stones. * Although religious Islamic art is aniconic (absence of human figures), non-religious Islamic art did contain figures. It played a vital part in iconography. Expresses political authority and legitimacy of Umayyad Caliphs. This Pyxis shows stylized figures. Another scene is of lions attacking two bulls- victory. The final scene shows men on horseback date-picking (date is a fruit plant). Roman and West Asian influence for the creation of this piece.

San Vitale. Ravenna

San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic.Image 2 of 5 * Two most important mosaics(glass with color infused) flank the apse- they show the wealthy emperor, Justinian, and empress, Theodora. They are "in" this church to reassert their control over the city. See Theodora on next slide. * Justinian is in the center wearing purple with halo over head. He holds bowl that would have held the bread. We also see his military and religious figures. Figures are more stylistic again- not realistic like the Classical period. The more important figures are more recognizable while others, like the military figures look the same. * The representation of those of status during the Byzantine and Christian periods were popular to display within the churches. They combined political figures with religious objects and subject. The gold background is a Byzantine characteristic.

Virgin (Theotokos) and Child between Saints Theodore and George

Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood. ** We see religious figures representing the cessation of aniconism here.

Lamassu

from the citadel of Sargon II, Location: Dur Sharrukin (modern Khorsbad, Iraq) Artist/culture: Neo-Assyrian Date: 720-205 BCE Material: Alabaster Very tall- legs are about 6ft tall **Assyrians came to power in Northern Mesopotamia around 900-612 BC and had dominant power for about 3 centuries. Assyrian palaces: themes were ritualistic, honorific, militaristic, or any subject that would impress the visitor with the unquestionable power Lamassu's: Man-headed bulls, wearing horned crowns, of the god-kings composite creatures of Mesopotamian art, served to ward off enemies, intimidate visitors before seeing the king, to guard kings whose features their faces probably reflect, placed in king's throne room. Also located at palace entrances, gates, or doors. Carved partly in round and in high relief. Rendered w/ realistic details - veins in legs, plumage of wings, patterns, fine detail of beard and wings stress massive scale. (bull and lion bodies, eagle wings) Symbolize strength and power. Combine front view at rest or standing still, w/ side view appearing in motion by addition of 5th leg. Appear to be standing firm when seen from the front, but striding forward when seen from the side. Ready to move at a moment's notice which could be equated to the kingdom and its ability to move.