APAH UNIT 3 PIECES

Adam and Eve. ALbrecht Durer. 1504 C.E. Engraving.

Albrecht Durer: Born in 1471 in the Franconian city of Nuremberg One of the strongest artistic and commercial centers in Europe during the 15th-16th centuries His greatest artistic impact was in the medium of printmaking His father was a goldsmith and his uncle was a painter = inspiration He apprenticed with local painter Michael Wolgemut Workshop produced woodcut illustrations Revolutionized printmaking Elevated it to the level of an independent art form Expanded its dramatic range and provided imagery with a new conceptual foundation A german enthralled with classical tradition Expressed his personal and cultural concerns within his works Proud of his German identity Loved Italian and Classical tradition He visited Italy twice absorbing firsthand some of the great works from the Italian Renaissance He wrote Four Books of Human Proportion (only one was published during his lifetime) Also... introductory manual of geometric theory, including the first scientific treatment of perspective by a Northern European artist A Scientific Mind: Similar to Leonardo da Vinci Curious intellect and scientific mind in addition to being an artists Skill and inspiration made him a leading artist in the Renaissance Embraced the ideals of the Renaissance first hand while continuing to celebrate his german heritage Surpassed all others in printmaking (relief and intaglio) Relied on his prints for profit and recognition Gothic to Renaissance = Agent of Change Engravings: Specialized in woodcuts and intaglio prints Mechanically reproducible media Made in multiples = ideas and designs could be known in other regions and countries by large numbers of people German artists could learn about classical art without traveling to Italy Each image was handmade More kinds of people could afford more artworks Prints are easier to produce and less expensive Traditional, direct contract between artist and patron: Adam and Eve The woodcut tells us primarily about the Renaissance and Germany rather than the text of Genesis The poses of the two human figures show the Germans knowledge of classical proportions Vitruvius: the proportions of the face (distance from forehead to chin) Sacrifices naturalism to showcase his mastery of Vitruvian ideals Preparatory drawings show that Dürer originally conceived the figures of Adam and Eve, as two separate engravings of the "perfect male" and "perfect female Dürer experimented with incorporating the two figures in a single composition, without compromising his attention to ideal form The religious--as opposed to secular--presentation, moreover, rendered the nude figures more acceptable to his German public Body Nude Frontal bodies standing in contrapposto (where the weight of the body is shifted onto one foot) Shift in hips and shoulders creating a convincing illusion of a body capable of movement but temporarily at rest Naturalism Head are turned to gaze at one another Distinct configuration of head and body is artificial Italian Renaissance = perfect physical proportions of the body The nearly symmetrical frontal poses of Adam and Eve in The Fall of Man were carefully calculated to demonstrate idealized, canonical proportions of the nude to a Northern audience unfamiliar with classical norms of beauty Both the proportions and the graceful contrapposto attitude of the figures were inspired by such famous Greek statues as the Apollo Belvedere and the Medici Venus Humors = Human Personality The four animals in lower right are representations of the four humors: Phlegmatic Sanguine Melancholic Choleric This ancient theory, existed into Dürer's time, which was that each human possessed all four humors A person's personality was determined by his or her predominant humor Complex notion about how humankind was linked to the natural world The medieval doctrine formulated in the 12th century, the perfect equilibrium of these humors in the human body was upset after the Fall, causing one or the other to predominate and make man mortal (durer represented this through animals) Animals = symbolic meanings Melancholic: elk (black bile)-despondent, sleepless, irritable Phlegmatic: ox (phlegm)-calm, unemotional Sanguine: rabbit (blood)-sensual, courageous, hopeful Choleric: cat (yellow bile)-cruel, easily angered, feminine Background The figures are set off before a dense woodland filled with a wealth of plants and animals Forest = German influence (durer's intention) Erwin Panofsky was the first to decipher the complex and inventive symbolic program contained in Dürer's engraving Adam grasps a mountain ash, signifying the tree of life Contrasted with the tree of knowledge represented by the fig tree at the center of the composition Tree becomes distinctly odd... Eve plucks an apple from a tree with fig leaves Seductive serpent deposits the forbidden fruit in Eve's hand Opposed by the parrot = wisdom, discernment, and virgin birth of christ Six other animals: elk, ox, cat, rabbit, mouse, goat Small sign (cartellino) hangs from a branch that adam grasps Identifies the artist as a citizen of the Franconian city of Nuremberg (Noricus) but does so in Latin Symbols Colorful tropical parrots were collectors items in Germany and symbols of art Call of the parrot: "Eva-Ave" Eve and Ave Maria ("Hail Mary"-the name of a prayer in honor of the Virgin Mary) Word play underpins the Christian interpretation of the story of Fall of Humanity by characterizing the Virgin Mary as the antidote for Eve's sin in the Garden of Eden Only Adam and Eve are in perfect balance internally Durer's placid animals signify that in this moment of perfection in the garden, the figures are still in a state of equilibrium Mouse: male weakness Mountain goat: lust and damnation Serpent: evil Parrot: salvation, the antidote to the serpent

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

Function: Medici family paid for this artto show pietyto show wealth (this guy is a very famous artist)Decorativeto be reminded of Christ's storywanted a humanist image to be able to relate to Mary and Christ humanity / realisticArtist painted it this way to show how human they areContent:very simple halos (unlike Giotto or Cimabue) thin white / yellow circle -- no gold or bright lights etc. Mary is youthful and beautiful sculpted facefairblond haircoiffured hairsmall mouthbowed nose delicate her ear is shown through the translucent part of her headpiece has her hands clasped in prayerMary is leaning forward in prayer, facing down almost her eyes seem to be on the smiling angel not ChristMary and Christ seem lost in thoughtwearing a headpiece that is both translucent and made of clothgreen dress with ruffles and buttons thin jeweled "crown" body had bulk and solidity of her body careful folds of drapery around her lapsits on an ornate piece of furnitureThe angels look playfulangel in the foreground is smiling at the audience one hand under christ and one on his backangel in the backgroundhas half of his face covered by christboth angels are holding Christ up as he kneels on themtheir wings seem wooden (brown) rather than feathery and white golden curly hair (like christ) wearing loose white tunics careful folds of drapery around the waist healthy, cherub-like Christ small "chubby" fair blond eyes looking up (in thought?)arms stretching out towards Mary head facing towards herfacial expression (?) a cloth around his midsection and lower torso kneeling on angels Frame of the window is partly the frame of the painting a landscape is seen through a windowby both christ and mary and the audience cultivated fields, soaring rocks, a distant cityContext:Lots of money in Florence during this time growing middle and upper class of merchants and bankerslots of money means more indulgences "Florence saw itself as the ideal city state, a place where the freedom of the individual was guaranteed, and where many citizens had the right to participate in the government"This freedom was threatened several times all times it was avoided or they won"Florentine citizens interpreted these military "victories" as signs of God's favor and protection. They imagined themselves as the "New Rome" -- in other words, as the heirs to the Ancient Roman Republic, prepared to sacrifice for the cause of freedom and liberty."Florentine citizens very proud of their government because it valued/respected the opinions of individuals this played a huge part in Humanism He most likely trained as a painter in a convent visual experience of Masaccio and Masolino"It is said that Fra Filippo was so lustful that he would give anything to enjoy a woman he wanted if he thought he could have his way, and if he couldn't buy what he wanted, then he would cool his passion by painting her portrait and reasoning with himself. His lust was so violent that when it took hold of him he could never concentrate on his work." https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/painting-in-florence/a/lippi-madonna-and-child-with-two-angels"In 1456 he abducted a nun, Lucrezia Buti, from the convent in Prato where he was chaplain. He was finally permitted to marry her. Their son Filippino was later taught in Lippi's workshop, as was Botticelli."http://www.nationalgallery.org.uk/artists/fra-filippo-lippiIt is said that Mary in this painting (as well as a few of his other paintings) is based on this womanhttps://www.theguardian.com/culture/2004/feb/14/artFlorence by 1437, Lippi painted a Madonna and Child for Corneto Tarquinia (now in the Galleria Nazionale, Rome),shows the influence of Donatello's sculpturealso that of contemporary Flemish painting in its interest in the effects of light and the portrayal of illusionistic details. round 1445 Santa Croce the Virgin and Child with Four Saints, now in the Uffizi;a Madonna and Child still in Palazzo Medici;"The devout air and gentle naturalism of the artist's last works are exemplified by two Adorations in the Uffizi (one from the convent of the Annalena, the other from the hermitage of Camaldoli), while the search for a more complex compositional balance is evident in the half-length Virgin and Child with Angels in the Uffizi, similarly datable in the 1460s."The Medici's were his main patrons Form:"playful" no gold not solemn and not traditional medieval meant to make godly people seem relatable Madonna is brought forward "Her shadow is on the frame, she is in front of it, like an actor at the front of a stage"humanist realistic mary looks like a woman one could find the angels look like children naturalism angel in the background has half of his face covered by slightly somber (not to the extreme of others) in that Mary has the foreknowledge of the fate of her sonlandscape in background hasatmospheric perspectiveearthly which reflects renaissance humanismnatural idea of sensuality Madonna Child and Angels but also this love of the beauty of what one can see importance to decorative components i.e. translucent drapery on Mary's headalso important to Lippi's student - Botticelli

David. Donatello. C. 1440-1460 C.E. Bronze.

Content: 5 feet tall Material: bronze intimate, beautiful and vulnerable: warm tones of the bronze and small size: feel a closer connection sensuality which contradicts that this is an old testament subject/ not a biblical representation Gruesome head vs with beauty and sensuality of young David= Donatello depicted David's innocence (instead of more masculine and frightening) in such a gruesome event the bronze: smooth the seams and the surface and to cut in details (like the hair): just like Greeks/ Romans intimacy: the nudity, the expression of the face, and the stance of the body Contrapposto: natural stance very similar to ancient Greeks/ Romans Free-standing: detached from the architecture gives it the freedom to move in the world, show expression, and communicate with you + contraposto= humanistic Argument: Pride vs Thought: Thoughtful: unexpected representation of the story of David and Goliath (how the boy and scene was characterized in the story) Why? triumphal victorious figure (he just defeated the Giant, the whole Israelite army was afraid, and he had God's might on his side!) but we see a thoughtful, quiet, contemplative face downcast eyes + the lids are half closed= not an expression of victory subtle pride: the facial muscles are relaxed, the mouth is lightly closed + smile small the face of thought not boasting: David if reflecting on killing the Giant and the might of God, he understands it was God that made him victorious, has wisdom with Gods intervention Pride: Pride/ confidence= relaxed contrapposto + the placement of his left hand nonchalantly on his hip feels right-hand holds the sword that he used to cut off Goliath's head, resting on a victory wreath: shows his power and confidence with Gods help David has swagger in his stance onto of the beheaded Goliath= gives an unnerving feel Strange that he shows pride because God helped him: didn't do this by himself Context: David: Donatello: studying ancient Roman art: displays classical knowledge of contrapposto + large-scale bronze casting of the ancient world During the Middle Ages: had not seen human-scaled bronze figures until the David= first free-standing nude figure since classical antiquity (Ancient Greece/ Rome) Donatello displays ancient Greek and Roman art of the naked human body Middle ages: a period when the focus was on God and the soul and didn't create nude art first free-standing nude figure since classical antiquity Placement: Public structure= it was put in a niche high up in one of the buttresses of the Cathedral of Florence and commissioned by the Office of Works for the Cathedral courtyard of the Medici Palace in Florence (private and intimate setting) Background of what is represented (bible story): David and Goliath, from the Old Testament Israel is threatened by Goliath (giant) Goliath threatened the Israelites and demand someone come fight him: but the entire army feared him David (young shepherd boy challenges to fight the giants: father said was scared for son and try to convince him to not David knows that he can beat Goliath because he has killed many wild animals that tried to attack his flock= he believes since the Lord saved him from the animals that attacked his flock he will save and help him with Goliath David tells Goliath: you may come to me with all your swords and a big/strong body but I will take you down because the lord is on my side (paraphrase) Kills him with a stone throw with his sling and beheads him Function: represent the story of David and Goliath tell Christian follows that with challenges, Gods might will help you You will gain wisdom and strength from God People of Florence identified ed with David: believed that they defeated their enemy (the Duke of Milan) with the help of God

Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. C. 1541-1541 C.E. Ink and color on paper.

ontent: The Codex: great amount of information about the Aztec empire Frontispiece: Information about the organization, foundation, origins of the (Tenochtitlan) Aztec capital "place of the prickly pear cactus" schematic diagram of Tenochtitlan -city divided into four parts by intersecting blue/green smooth diagonals -represent: city divided into four quarters= mirror the organization of the universe, believed to be four parts aligned with the four cardinal directions (north, east, south, west). -city made of canals: depicts quadripartite division of the city and the canals running through it Aztec myth: Huitzilopochtli (Hummingbird Left) =patron deity told the Aztecs' ancestors to leave Aztlan (ancestral home) and find a place with "an eagle atop a cactus growing from a rock" → when they see this they should settle and build city there: saw this sign middle of Lake Texcoco therefore capital was on an island in the lake Center: an eagle on a cactus growing from the midst of a lake The eagle and the cactus symbolize the city founding + values Catus: The cactus (eagle sits on) symbolizes place name of Tenochtitlan is a nopal (prickly pear cactus) grows from a (tetl) stone Paired together: form te-noch → Tenochtitlan (place of the prickly pear cactus) Other figures: below the cactus + stone: is a war shield= symbolizes Mexica did not settle peacefully in the Valley of Mexico above the eagle: symbolizes a temple= maybe symbolizes Templo Mayor or the Aztec's main temple To the right of the eagle: skull rack (tzompantli)= structure found near the Templo Mayor Different types of plants: including maize (corn) huge food source → dot the city's four quadrants= agricultural fertility in the city Tenoch: Ten men depicted in four quadrants → wearing white garments + top knots in their hair men who led the Aztecs to this island location name glyphs attached to them pre-Conquest manuscripts manner= a thin black line connects to a symbol that indicates their name Priest: amongst the men distinct and differs: seated to the left of the eagle (closest to it), has gray skin, different hairstyle, red mark around his ear= identify him as a priest because he let blood from his ear as offerings to deities + ash covers his skin. His name glyph identities his as "Tenoch" speech scroll coming from his mouth (listen to his words of wisdom/god) + woven mat upon where he sit= convey his high status Surrounding the entire page: year glyphs total of fifty-one year glyphs One year is marked= the year 2-Reed → twenty-six years after Tenochtitlan's establishment this reed has a cord wound around it + fire drill appears above it symbolize year 2-Reed= first year of a new 52-year cycle → new fire was drilled to begin the new cycle and signal the completion of the previous 52-year cycle What is the New Fire Ceremony?: occurred every 52 years (a complete cycle of the solar calendar) and it assured that the sun would rise again. Just prior to the beginning of a new cycle → new fire was drilled in the body of a sacrificial victim and the fire was distributed to people to light their homes Below diagram city: 2 two scenes of military conquest emphasis of military power of Aztecs= shows two soldiers physically tower over the two men they defeat: a hierarchical scale that they are superior shield: identify them as Aztec warriors (identical to the one above that is associated with Tenochtitlan) obsidian-bladed weapons (called macana) What up with the war scene?: The defeated men (place glyphs as Colhuacan and Tenayuca) from different locations around Lake Texcoco → burning temples with hills: Colhuacan and Tenayuca were defeated Context: Codex (Codex Mendoza)= information about the lords of Tenochtitlan, the tribute paid to the Aztecs, daily life year to year, inner working of the empire 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story? Tenochtitlan ( former Aztec capital): established in the middle of Lake Texcoco in the Valley of Mexico (1325) Tenoch (ruler of the Mexicas during the fourteenth century) died in 1363, first Aztec tlatoani (speaker/the ruler) was elected in 1375 by a council of elders This scene of conquest: early Aztec military victories, which aided them in building their power even prior to their first official tlatoani came to power. Function: Show power/ greatness of their empire, to record history, worship and respect the Gods, and important stories of the founding of city 1541: Antonio de Mendoza (the first viceroy of New Spain) commissioned a codex= to record information about the Aztec empire for him to know artist(s) were indigenous: images annotated by Spanish priest that could speak Nahuatl (language of the Aztecs)→ sense of the control the story?

The Tete a Tete for Marriage a la Mode. William Hogarth. C. 1743 C.E. Oil on canvas.

ontext: The Tête à Tête is the second work in a set of six distinct (but interrelated) paintings that together, in a chronological order, form a coherent, meaningful (and silly!) narrative. Altogether this work is known as "Marriage à la Mode."The general plot revolves around the monetarily-motivated marriage of the daughter of a merchant (AKA the future Viscountess Squanderfield) to the son of a well-known family (AKA Viscount Squanderfield). It tells their tale from the day their marriage contract is drawn up to the day Viscountess Squanderfield dies. Ultimately, it aims to depict the (literally) fatal consequences of marriages not based on love.The six individual paintings are referred to as (& in summary depict)...1) The Marriage Contract Shows a meeting of "Lord" Squanderfield, his son, a wealthy merchant, his daughter, a lawyer, and a counselor. Makes it clear that this is a marriage built on the exchange of a title for money and vice-versa-- a true economic deal. A scene all about self-interest-- except in the case of the son & daughter (neither of whom want to marry the other).2) The Tête à TêteSee more below.3) The InspectionDepicts the newlywed Viscount Squanderfield and an unknown young woman (likely a prostiture or mistress) in a doctor's office (with a doctor and his assistant)-- they are likely there to get medicine to try and treat their apparent syphilis. A genuinely ghastly scene that includes many symbols of death.4) The ToiletteShows the newlywed Viscountess Squanderfield getting ready with friends in her crowded Toilette. Silvertongue (the counselor from The Marriage Contract) looks very comfortable-- a sign that the Viscountess is having an affair with him. In general, this painting is about breaking the societal norms of behavior.5) The Bagnio (The Brothel)Depicts Viscountess Squanderfield begging on her knees for forgiveness from the just-stabbed Viscount Squanderfield. Silvertongue crawls out the window. Insinuates that Viscount Sqaunderfield caught her sleeping with Silvertongue (and that Silvertongue then stabbed Lord Squanderfield and began to flee).6) The Lady's DeathShows the death of Viscountess Squanderfield and makes clear that she has poisoned herself (because Silvertongue was hung for sleeping with her). Focuses on greed (Lord Squanderfield steals her ring, the dog steals the pig's head off the table, etc.) and the irredeemable nature of marriages for wealth. Includes various symbols of changing times (namely, the Thames river and the built-up city outside the window). Set in the mid-18th century (at the beginning of the Industrial Revolution) as shown in the clothing throughout the work.At this time, a middle class that wanted to buy art emerged and art became more accessible (especially through prints!).Thus, the aristocracy lost some power to the merchant class. William Hogarth capitalized upon this truth and created Marriage à la Mode directly for the enjoyment and consumption of the new middle class. Form: Medium: Oil on canvas. Size: 69.9 x 90.8 cm. Composition:A few objects in the foreground, but overall fairly empty.All central figures in the middle ground (the obvious "focal ground" of the painting)The background consists mostly of a separate room, architectural features, and paintings. One clear area of emphasis is the cluttered mantlepiece, positioned strategically between (and a little above) the couple. Verticals lines are found the in the edges of the paintings and in the columns. Curved lines are seen most prominently in the arch between rooms. Content: The Tête à Tête translates to head to head or face to face -- also a heart-to-heart or one-on-one. This second painting of the set shows the young couple just after their forced marriage and things are not looking good.The scene is set in a lavishly decorated room with plenty of art pieces, a fancy carpet, gold-outlined architecture, and a chandelier.The husband, Viscount Squanderfield is seen slouching in a chair on the right.He looks out of it -- sort of staring into the carpet. He has his legs splayed out. Possibly drunk.He has a dot on his neck that would have been recognizable to the people of the day as the mark of syphilis.He looks exhausted.Has likely just returned from a night of womanizing.A dog (a sign of fidelity in the Renaissance) sniffs at a bonnet in his pocket, insinuating that he's been intimate with another woman.The wife, Viscountess Squanderfield, sits on the left looking quite ruffled.She smirks a little and looks relaxed and quite flirtatious.The top of her bodice is undone, insinuating that she's been intimate with another man.She holds a mirror in her right hand above her head.Her gaze points towards the bottom left portion of the canvas.She has a stain on her dress.She sits with her legs apart, a position that's not very ladylike nor dignified.The account stands perplexed on the middle ground of the left side of the painting.He looks completely fed up with the couple and their lack of care for their finances.His right hand is up in the air as if to say, "I'm done!" and his eyes are pointed upwards as well.He holds tons of receipts and bills in his hands and arms.He's depicted as a pious Methodist (has a book on Christian theology in his pocket).He appears to be exiting the room. In the room, there are several important items:the instrument on the floor that's fallen out of its case (the chair it was on has also fallen!)music was often associated with sensuality and sex and that connotation is definitely present herethe messy and chaotic state of the instrument mimics the chaotic state of the newlyweds' marriagethe paintings of saints in the room left background of the paintingprovides commentary on the immorality of the couple's actionsmeant to be contrasted with the tacky, newly-purchased knickknacks on the mantlepiece behind the couplemade to show the disparities between their lifestyle and the classical lifestyle they've been prepped to live bythe classical sculpture with a broken nose on the mantlepiecethe broken nature of the piece shows that's it's not valued as highly as other objectssymbolizes the couple's lack of interest in classical ideals and values as well as impotencethe painting of cupid in ruinsexpresses the idea that in strategic, money-based marriages, love itself is defeated and destroyedpainting in the back roompartly covered up by a curtainthe only thing visible is a barefooteludes to the fact that the painting is a nude Function: To provide a satirical commentary on the wealth-based marriage practices of the aristocrats at the time To appeal to the middle class (so that Hogarth could make $$$) (this is done by making fun of the wealthy) To draw distinctions between the inherited ideals of the aristocrats of the 18th century and the actual actions/lifestyles they lived by To criticize conspicuous consumption

The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); gardens. (Palace 2 images, Courtyard, Hall of mirrors, Gardens)

1. FUNCTION To emphasize and demonstrate Louis XIV's Importance To host parties and military agreements To compare Louis XIV's competence and wisdom with that of the ancient Greeks and Romans, especially Apollo, the Sun God. Residential palace for Louis XIV and successive French monarchs, from 1682-1789 (Revolution began) Demonstrated the shift in the French government's power from the Noble families (aristocracy) to the King, Louis XIV To embody and define the French Baroque style, and establish Louis XIV's dominance over the arts and architecture of the 1600s. To symbolize the power and prestige of Absolute Monarchy. 2. CONTEXT Begun in 1661, completed ~1682 Louis XIV's StaffLouis le Vau: chief architect to the KingBuilt the Grand Façade and the King and Queen's apartmentsBuilt the park's Orangerie and MenagerieAdopted the Italian-style 'invisible' roof hidden by a trophy-adorned balustradeBalustrade: a railing supported by ornamental parapetsAndré le Nôtre: landscape designer of the gardensCharles le Brun: interior decorator and painterJules Hardouin Mansart: favorite architect (toward the latter parts of the construction process)Jean-Baptiste Colbert: Principal advisor to the KingCollaborated with Louis XIV to organize art and architecture to serve the French state.Hyacinthe Rigaud: Painter to the French King Pierre Puget: Sculptor; his works are in the King's Gardens PortraitureOften portraits of Louis XIV, the Sun King, were collaborations by artists with specializations in fabric, architecture, landscape, armor, or fur.Most famous portrait is by Hyacinthe Rigaud, called "Louis XIV," done with Oil on Canvas in 1701.Larger than life portraitNow hangs in the LouvreShows Louis XIV in his finest robes and heels (he was only 5'4"!) Rigaud's portrait hung over his throne, and served in his place when he was absent; courtiers never turned their back to the portrait. Louis XIV Himself -- and his Plots to Control French CultureLouis XIV was most prominent patron of the arts in the 1600sFrance in 1600s was the largest, most powerful European nation, despite its semi-expansive economy.Louis XIV was a master of propaganda and political strategiesHe and Jean-Baptiste Colbert recognized the power of visual imagery and architecture in creating public personas. Louis XIV and Colbert tried to normalize artistic taste and define the dominance of the Classical Style How Louis XIV exercised his controlKept the Nobility's power in check, invited them to festivities at Versailles to remind them of his power Gave them benefits, but didn't let them rebelStated his Divine Right to rule Named himself "le Roi Soleil," the Sun King (Like Sun God Apollo) Louis XIV converted a royal hunting lodge into the palace of VersaillesJust south of Paris Louis XIV hired architects, decorators, sculptors, painters, landscapers under Charles le Brun's control 3. CONTENT Satellite city to the East of the Palace at Versailles Housed court and government officials, military and guard detachments, courtiers, servantsCity's 3 main avenues' axes converged on Louis XIV's bedchamberHe could keep an eye on all the highest-ranking officials in his regimeKing's bedroom was an informal audience chamber Extremely detailed, ornate interiorTop architects and decorators designed wall paintings, beds, doorknobs in French Baroque style Hall of Mirrors (Galerie des Glaces)Originally had furniture: gold and silver chairs, bedazzled treesWalls inlaid with mirrorsMirrors create illusion, the hallmark of the Baroque styleUsed for Louis XIV's many festivals GardensVisible from Hall of Mirrors: central axis lined with trees, terraces, pools, and lakesDesigned by André le Nôtre, who transformed a forest into the park/gardensFormal gardens serve as a transition from the ordered, man-made palace to the natural gardensManicured shrubs, highly designed spaceChanges depending on time of day, season, and location: it's an experienceGreat undertaking, both in size and complexity 4. FORM Stone, marble, glass, gold, silver, wood, gardens 700 rooms 2153 windows 67,000 m^2 of floor space 2000 acres of gardens

School of Athens. Raphael. 1509-1511 C.E. Fresco.

CONTEXT This work was created during the High Renaissance in the Stanza della Sengatura in the Vatican in Rome. While Raphael was painting these frescoes, Michelangelo was a few blocks away painting the Sistine Chapel's ceiling. Rome and Italy as a whole were still experiencing much cultural growth and prosperity, just years before the Protestant Reformation would shake the vitality of the Italian Renaissance and its artists. The Reformation brought about an uncertainty about salvation, and the means by which to reach it, which was reflected most notably in Michelangelo's Sistine Chapel alter wall painting in the 1530s. However, Raphael's School of Athens were created just before the Reformation struck, and testify to greatness of pagan wisdom as well as the "vastness and variety" of the papal library. "The School of Athens" was originally titled "Philosophy" because the bookshelves under it were to hold Julius II's collection of philosophy books. The four walls in the Stanza della Segnatura showcase the four branches of human knowledge: Philosophy, Theology, Poetry, and Justice. On the ceiling, four allegorical figures represent these four branches. Raphael's ceiling, which is modeled after Michelangelo's Sistine Chapel ceiling, contains four allegorical figures representing the four branches of knowledge. Religion, or theology, was seen as an [philosophy's equal at this time, which is important to remember with the Protestant Reformation just around the corner. Raphael drew his inspiration for the impressive architecture in his School of Athens from the surrounding Roman ruins, such as the Baths of Caracalla, and the Basilica of Manutius and Constantine. Furthermore, he executed many preliminary sketches on a smaller scale to perfect the details of his fresco. He first created a large drawing, called a cartoon, which was almost the size of the final work and was used as a wall mural. Next small pinholes were punched along the lines of the cartoon, which was hung on the wall where Raphael painted the work, and powdered charcoal was pushed through the holes to create an impression of the drawing. The charcoal lines helped Raphael to accurately execute the final fresco, especially because he had to paint such detail in such a short amount of time before the fresco dried. Raphael's frescoes were rediscovered, in a sense, when they were cleaned and restored in 1995. CONTENT All of the great thinkers and philosophers of antiquity are gathered here in this classical space, surrounded by Roman architecture. Plato and Aristotle are the central figures. The central vanishing point is the space just between them at hip level, and the viewer's eye is drawn to them as they engage in discussion and stride forward towards the us. Plato was actually Aristotle's teacher; we can identify him by his book the Timaeus in his hand. Plato focused on the ethereal and theoretical, so he points upwards to the sky, and wears red and purple robes, which symbolize fire and air. On the other hand, Aristotle focused on the physical and observable, so he gestures towards the ground, and wears blue and brown robes, which symbolize water and earth. On Plato's side, the left side, there are the philosophers who focused on the theoretical, ethereal issues of philosophy. This includes Pythagoras, who believed in a reality that transcended reality. On the right side, Aristotle's side, there are the philosophers, such as Euclid, who focused on the physical and concrete. Euclid is modeled on Raphael's friend Bramante, the architect who Pope Julius II commissioned to create a model for the new Saint Peter's. Appropriately enough, Bramante's design for the new Saint Peter's was based on perfect geometry of squares and circles. The same is true of the architecture painted by Raphael; as we can see, he used coffered barrel vaults, pilasters. On Plato's side, there are classical sculptures of Apollo, god of Sun, Music, and poetry. On Aristotle's home, we can see Athena, god of war and wisdom, the more human and practical affairs. Raphael's work opposed the Medieval idea of an authority passing down knowledge. He glorified the history and sharing of knowledge, and emphasized his subjects' grace and wisdom. The patrons of the day would've understood and recognized all the figures in the work without their being labeled. The coffered ceiling, which uses the rules of perspective, is a tribute to man's dominance over nature. On the stairs is Diogenes, and writing on the tilted marble block is Heraclitus, writing quietly to himself. Heraclitus has Michelangelo's features, who was known for his lonely and impersonable affect...so Raphael has appropriated the personas of some of these philosophers to include some aspects of his current surroundings. Heraclitus was added after Raphael had completed the frescoe. Raphael stands to the right in a black cap, with some of the most important philosophers of antiquity, including Ptolemy and Zoroaster. Having departed from the Medieval perception of artists as mere craftsmen, Raphael includes himself as a skilled and capable intellectual. FORM The figure in the foreground of School of Athens is writing on a marble block that's tilted at an angle towards the viewer. Because of this angle, it can't depend on the central vanishing point, which was determined using one-point perspective. Therefore, Raphael added a left vanishing point and a right vanishing point, both on the same Horizon line with the central point (which follows the rules of perspective.) The writing block is the only object in the composition that uses these two vanishing points, because the viewer is not perpendicular or parallel to it. All of the other figures and objects rely on one of the two perspective points. Also, Raphael groups people on the left and right, leaving the middle space relatively empty. This serves to balance the linear perspective at the bottom of the painting to balance the sharp orthogonals at the top of the painting. Just as in da Vinci's The Last Supper, Raphael divided the figures into groups, but they are individual, and move fluidly amongst one another. The architecture uses linear perspective, most visibly in the orthogonals in the pavement and in the receding cornices (moulding around the wall of a room just below the ceiling.) Lastly, Raphael used Greek models for calculating the proportions, which were later adopted by the Romans and then Renaissance humanists. FUNCTION The four frescoes Raphael created for Pope Julius's Stanza della Segnatura, or library, were arranged to represent the classical topic of the books on the shelves below. Raphael demonstrated Renaissance perfection on a massive scale, and his work reminds us of the harmonious proportions and idealized figures of antiquity. His School of Athens is also a tribute to the wisdom of the ancient philosophers, and a prayer that their knowledge will pass onto the holy Pope, and the artists and citizens of Italy.

Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodriguez Juarez. C. 1715 C.E. Oil on canvas.

Content: -simple composition (arrangement of visual elements in a picture) -Spanish father and Indigenous mother with their son -mother and father surrounding two children: a young boy is carrying the couples baby *NOTE THE YOUNG BOY (NOT BABY) IS NOT THEIR CHILD -Modeled off the Holy Family: Virgin Mary, Saint Joseph, and Christ as a child (interpretation) -The indigenous mother: dressed in huipil (traditional woman's garment worn by indigenous women from central Mexico and Central America), lace sleeves, and expensive jewelry -turns and looks at husbands as she gesture towards child -husband (Spaniard father): -wears French-style European clothing, powdered wig -gazes down at the children, hand resting on the child's back or wife's arm -the young servant looks upwards to the father (not his father): allude to his greatness -The family appears calm, harmonious, loving Context: -mestizo: (a person of a European and indigenous parent) a Spanish man and an elite Indigenous woman -This painting (the first of the series as many like this were= indigenous mother + Spaniard father)belongs to a larger series of works that document the intermix racing of the Spaniards, indigenous, Africans, and mixed population (e.i. mestizo) -Casta paintings: focus on bad living conditions for families that become more and more racially mixed, 2nd half of 18th century -As the series progresses in casta paintings (different races mixing, as families become more racially mixed) = displayed in tattered, torn, and unglamorous surroundings/ bad family dynamic after the Spaniard and indigenous family: race mixing is bad, seen as lower if you do not have European descent -also appear darker as they become more mixed, less attractive and dirty: race mixing in bad Function: -Discourage race mixing -influences that if mixed with European blood one is superior, the family will live in harmony, and "perfection" as seen in the work -casta paintings: reflect increasing social anxieties about inter-ethnic mixing -it is possible that elites (pure blood) found the dilution of pure-bloodedness alarming (they were the ones that commissioned the paintings) -My interpretation: as many European (Spaniard men) voyaged to South America, they did not bring European wives and had to mix with the women there. They still didn't agree with racial mixing and discouraged it (contradictory) therefore disliked when people keep mixing more because it "dirtied" European blood ------------------------------------------------------------------------------------------------------------------------------------------------- More in-depth background and information! Casta Painting, 18th century, oil on canvas, 148 x 104 cm -produced in sets of 16 -The Mestizo: made in New Spain (Spanish colonial Mexico) during the second half of the eighteenth century -caste paintings (pinturas de castas): a misleading idea of what families were like due to depictions (made families with European blood seem happy, harmonious than those without, looked dirty and unhappy) -casta paintings: a mother, father, and a child (sometimes two) "Enlightenment": people can be categorized + hierarchy by racial makeup and appearance -Racially labeling people and where they are on on the "racial hierarchy": costumes, accouterments, activities, setting, and flora and fauna influenced this in composition -Indigenous peoples who lived outside of "civilized" social norms + Christian= mecos (barbarians) -Spaniards distinguished from others in the casta paintings= depicted as best dressed and most "civilized" -the more European you are, the closer to the top of the social and racial hierarchy you belong -The first painting in the series/ those on top where European (Spanish man and an elite Indigenous woman, accompanied by their offspring: a mestizo) showing that they were higher -As the casta series progresses + the mixing increases: names in casta paintings to label people are more derogatory/negative and racial mixing is seen as disproved/bad

Merovingian looped fibulae. Early medieval Europe. Mid-sixth century C.E. Silver gilt worked in filigree, with inlays of garnets and other stones.

Content: General of Fibulae: -consist of a body, a pin, and a catch -Usually with elaborate designs Specific (Merovingian): -Material: silver gilt-worked in filigree with inlaid garnet and other stones -decorated with garnets, amethyst, and colored glass -a great example of barbarian metalwork and cloisonné -cloisonné: technique is inlaid semi-precious stones (popular in barbarian art) -Ends of fibulae: the shape of Eagle heads -Garnets: used to decorate the eyes of the eagles -the main body of the brooch: little fish -Gems and semi-precious stones: used to decorate the rest of the fibulae -Pendants could have been hung from the small loops on the bottom on each fibulae Context: General of Fibulae: -Fibulae: are brooches (safety pins) that were made popular by Roman military campaigns -Cultural exchanges occurred after antiquity and both groups (barbarians and Romans) copied and shared similar works -Barbarian: non-Roman, nomadic, and illiterate groups traveling throughout Europe during the middle ages -Became very popular in the early Middle Ages and commonly found in barbarian grave sites -Gives the cultural information about barbarians (little-written documents) -Found through many different ethnics groups and with trade/ expose had influences of the styles of one another -All serve the same function purpose: because of different cultures/ time periods decorated differently -Similar cultures tend to have similar artist designs while diverse cultures didn't -Shows that distinct cultures living within larger empires and kingdoms (very common during the Middle Ages) Specific (Merovingian): - a popular motif in barbarian art of the middle ages: EAGLES (found on the work) -Eagles (originally pagan symbol of the sun) used by Imperial Rome and an emblem to Saint John -the way these were made: solder wires onto a metal base and fill the areas those wires created with stone Function: -a brooch or a pin for fastening clothing (safety pin) -expensive objects to the commission: the owners wanted these objects to resonate with their identity -buried with the dead: showed their status and who they were as people

Catacomb of Priscilla. Rome, Italy. Late Antique Europe. C. 200-400 C.E. Excavated tufa and frescos. (Geek Chapel, Orant Fresco, Good Shepherd Fresco)

Content: 10 km or more than 5 miles wide At least 40,000 tombs Multiple sarcophagi for family membersConcept originated in ancient Egypt Small table Scenes from Old and New Testaments (on the walls)Depiction of figures suffering on account of their faithBook of DanielDivine intervention - young Jewish men told to worship a Pagan golden idol, they refused, were sentenced to be burned alive but then saved Originated under the papacy of Pope Zephyrin (199-217) Location where most important pontiffs of the 3rd century Context: 5th century Underground, in the north of Rome The oldest part of the catacombsClosest to the entrance of Priscilla's villa Place where the earliest Christians were buries Some Christians would come here to practice their faith covertly Form: "Cubiculum" Passageways are stacked on top of each other (general) Roman first style* painting Building up of plaster on the wall to look like marbleWanted the tomb to look rich and valuable Function: Burial location for the actual members of Priscilla's family NOT a place of worship or prayer (to God), not really a chapel Content: Scenes from a Christian woman's lifeMarriage, childbirth, death (orant position)(Left) Being married by a 'seedless bishop' (Right) Seated in a chair nursing her newborn baby, reference to motherhood(Center) Pose of prayer (orant) to represent her soul in the afterlife as it rises up to heaven; she is resurrected Her eyes look upward to heaven, referring to her salvation Directly underneath a Good Shepherd fresco Context: "Cubiculum of the Veil" (Title) Woman is in a veil for each scene of her life Establishment of positions of worshipOrant Particularly important in Early Christian art (c. 2nd - 6th) Woman represents hope of the family that she would be well received and happy in the afterlife Was painted in dim light of oil lanterns (viewed now through fluorescent lighting) Form: Arms outstretched as if reaching upwards towards god (orant); popular prayer position Minimalistic use of perspective and bodily proportionsLong, amorphous body of clothing instead of curves of the human formAlways facing the frontHierarchy of scale used to depict the scenes small to large, middle to sides in order of the importance of each event Not in very good condition; only preserved because it was underground, and not exposed to wear and tear of natural elements on the surface Shadow placed under her chin to create illusionism Hands are too large for her body, but face is represented naturalistically Function: Abstract representation of soul of the deceased Educational and instructiveShowing Christians what a good Christian life was likeDemonstrated important aspects of life Christians must experience, road to salvation Enclosed with a lunette at the back of the cubiculum Content: Different scenes of the Old and New TestamentsAbraham in the centerIsaac off to the right carrying wood Sacrifice of IsaacAbraham's wrists stayed by an angelBreaking of the Bread Long table, 7 men behind it NOT 12 apostles and Christ7 blankets (3 on one side, 4 on the other) filled with bread Christ as the Good ShepherdSurrounded by 3 goats, one over his shoulder Represented young, has no beard (alludes to earliness of art) Doves with olive branches Context: Christ represented as the Good Shepherd Central figure of shallow domed ceiling (Later) Christian art Isaac about to be killed by Abraham (hence "Sacrifice") Abraham's willingness to sacrifice his own son foreshadowed God's willingness to sacrifice Christ References to miracles Christ performed throughout his life and liturgy Typical of Christian iconography Practice of the EucharistBread and wine as the body and blood of Christ Not set scenes, invention of iconography Christ will care for his followers as a shepherd tends his flock Form: Simplistic style, straightforward Nothing exists in it without educational value Multiple curved and angular lines Diminished hierarchy of scale To indicate the significance of religious figures Foreshortening of dishes on table Stance (GS) is representative of contrapposto Represented center frontal with goats and bushes with doves on either sideVery symmetrical Symbols that surround the roundel (balance of earth and heaven)Peacocks - symbol of eternal lifeQuail - symbol of the earth Function: Martyrdom/inspirational scenes Divine revelation, worship, and devotionEmbodiment and reinforcement of Christian faith

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

Content: The mosque, with two madrasas on its southeast and southwest, is located within a courtyard (190 m x 130 m) Mosque:measures 190 x 130 meterstwo symmetrical square madrasas (served as a college for studying traditions of Muhammad)Square prayer hall: approached through porticoed courtyardApproach to north facade of mosque is overwhelming— aligned gates of outer precinct wall, focus eye towards dome which can be seen from a distanceThe ethereal dome: weightless and floating in prayer hall, architectural features are inferior to the grand domeThe grand dome rests on eight muqarnas-corbelled squinches supported by eight large piersMuquarnas are faceted decorative forms, protrude and recess- they bridge a point of transitionThey allow the round base of the dome to join the octagon formed by the piers.Buttresses support the east and west piers— hold up the weight of the massive domeButtresses are artfully hidden among exterior porticos and galleries (those that fill the spaces in between walls and piers)The Qibla: wall that faces Mecca, projects outward emphasizing openness of interior spaceMuzzin's platform (leader of prayers to chant congregation): placement under the center of the dome is not traditional— reflects Sinan's interest in surpassing Christian architecture— position of platform also creates a vertical alignment of octagon, square, circleInterior decoration: repainted, polychrome, Iznik tiles, Ottoman decoration, motifs iconography saz leaves and Chinese cloudsMuquarnas: ornamented vaulting, geometric subdivision of a squinch.Squinches: Construction filling in upper angles of a square room, to form a base to receive an octagonal or spherical dome.Pier: upright support for a structure or superstructure such as an arch, sections of structural walls between openings can function as piers. Additions: Shops (arasta) and recitation school to the west of courtyard— added by David Aga Summarized Information: Thin soaring minarets Abundant window space for well lit interior Decorative display of mosaic and tile work Centrally planned building Open airy interior contrasts with conventional mosques Includes a hospital, school, library Sinan was chief court architect for Suleyman the Magnificent Transitions from square ground plan to round dome achieved by inserting smaller domes in corners Huge piers support the dome Context: Completed in Edirne, rather than capital Istanbul Edirne was where Selim was stationed as a prince when his father campaigned in Persia in 1548 Edirne located in the Balkans, had historical and geographical significant for its history as a capital of the Ottoman Empire before Istanbul and was the second city of the Empire Edirne was first major city that traveling Europeans would pass in the Ottoman Empire. Selim built this mosque there to exemplify Ottoman Empire's greatness. Mosque also was able to dominate the domestic landscape of Edirne, making it the defining place of the city. Son of Suleyman the Magnificent Form: Stone, brick, marble Function: An example of Ottoman Empire's wealth and greatness, along with its power and vastness (along a popular tourist passing through place, showed tourists of its dominance) Mosque— displays differences between Islam and Christianity The mosque represents Islam's triumph. It also was an attempt to surpass the Hagia Sophia and the Byzantine Basilica in Istanbul.

Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. C. 1647-1652 C.E. Marble (sculpture); stucco and gilt bronze (chapel). (Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria)

Content:Media - White marble, carved out with a chiselGenre - Kinetic art Golden arrow pointing "at her heart", tilting downwards"Rays of sun" behind them; holy light of God St. Teresa herselfAccompanied by a "high ranking" angel floating with wings on his backHer body is contorted as though she is about to moan (textually accurate), twisting feet and handsRays of sunlight in the background (gold)Rocks surrounding the base of the sculpture, supporting it and allowing it to buffer the main partExpressive folds of clothing, which were not uncommon for his style (see below)A "fabulous illusion of architecture—a coffered barrel vault, doorway and columns"The Veiled Virgin Context:Artist - Gian Lorenzo Bernini Location - Cornaro Chapel, Santa Maria della Vittoria, RomeTime period - Baroque, 1647 - 52Subject matter is religious and distortedNo central hierarchy or pyramid, center is a voidUnseen source of light ("rays of sun" in the background) Weapons (arrow) and chaotic discord represented instead of religious order and structureDramatic, theatrical; not realisticNo real background/backdrop Forcefully involves the viewer--made relatable to a wider audience by depicting her revelation as sexual and physical in order to make it seem more realistic; no frame or limitation placed on it (because it relates to the human experience)Subject - Teresa of ÁvilaCanonized (aka made a saint by the church)Lived in 16th century Spain at the height of the ReformationSt. Teresa is having a vision of an angel telling her to come worship godCornaro Chapel Grouping of the patrons aka Cornaro family sculpture displayed to the left of St. Teresa's central sculptureFederico Cornaro, Cardinal of VeniceDepicted as though they are watching her moment of revelation (see below)Similar to his past works, but fully clothed and dignifiedMakes her display of sexuality even more admirable (difficult to do without having clothes off)Shares religious/mythological figures and sense of movement and transformation (e.g. Greek god Apollo chasing the mortal Daphne as she begins the transformation into a tree, the first dryad) Form:Dynamic, realistic, but not naturalistic figuresFlowing, rippling robes showing the outline of her body while simultaneously covering itMovement in their clothing, facial expressions, and body languageSt. Teresa's writhing body beneath the heavy clothShe appears to have just recently collapsed, mouth open in awe, eyes half-lidded in wordless pleasureAngel's clothing being whipped up by a perpetual wind Expressive and emotional, not passive or calm; bears resemblance to Constanza bust and his David (see below)Bernini's DavidConstanza bust Function:Serve as a visual representation of the moment St. Teresa was awakened and brought to godPhysically, the central sculptural group in the chapel (see below)Bernini was deeply religious and wanted to help people understand divine ecstasy through a depiction of physical pleasure, attempting to embody her writings on the subject

Birth of Venus. Sandro Botticelli. C. 1484-1486 C.E. Tempera on Canvas.

Content:Venus (Roman goddess of love and romance) Standing atop a white shellGolden hair, pale skin, entirely nude (but covering her lower body to incite modesty)Accompanied by an attendant with a cloth to cover her (far right)Zephyr and Aura, wind sprites, blowing wind from the far left Context:The painting depicts Venus, the Roman goddess of loveImages of nude women were only tolerated in two contexts: educational or mythological This was the latterPainting her naked was a "radical statement" Not in a Christian context, heading straight into the Renaissance movement Form: She stands almost casually (not contrapposto)Flexible, skeletal structure (her body)Lots of folds and lines that intersect with one another (waves, seashell, clothing) Indicative of movement --> sourced at the two air spirits creating wind on the far left Function: Served a dual purposeMythological and educationalArtist reveled in his own creation

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

Context: Commissioned by the Pazzi family Part of the Basilica di Santa Croce Almost a centrally-planned space (it does have some barrel vaulted halls/aisles on both sides so it's a little rectangular)reminisent of the Pantheon's floorplan Based on the models of ancient Roman temples = a revival of Greek & Roman idealsa piece that's representative of the Early Renaissance Form: Makes use of Pietra Serena Stone -- used to create spacial divisions A space with perfect geometry shapes all over (look at the floorplan and you'll be able to see this very clearly!) Content: Corinthian columns Fluted pilasters Pendentives with roundelseach roundel is made of clay and is glazed (glazing had just been discovered!) and represents the four Evangelists Small barrel vaults A dome with a halo of windows (Hagio Sophia vibes!) and an oculus (Pantheon vibes!)dominates the space-- the center of the chapelthe windows + oculus allow for divine light to enter the space The space feels very constructed, ordered, designed, and rational. Function: Created to be a "chapter house" = a meeting place for monks this is why a bench lines the wall Also... a burial site for Pazzi family members a physical representation of the Pazzi family's power, wealth, piety, generosity, and status

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

Context: Constructed as part of the "building boom" after the Medici family built their own palace At the time, palaces were viewed as if they were created for the city's good and thus, brought Florence much civic pride. The Palazzo was never actually finished -- only 3/4ths of the original plan was constructed Partly based on the Medici Palace (and it's three facade design)The Medici Palace was much heavier though and more fortress-esque Form: Created in an effort to emphasize measure & harmony Filled with "geometric grace" -- intellectual & delicate All about horizontality The higher the floor = the more intricate & fancy it became (+ smaller stones were used as you moved up) The building has four floors: 4th floor: the servant quarters (it was designed to be hidden)3rd floor: the family's apartment2nd floor: the guest rooms and area1st floor: the Rucellai family's center of business Content: Includes the Rucellai family seal (a diamond ring with three feathers coming out of it) several times Nearly every piece of the Palazzo's design is pulled from ancient Greek & Roman architectural idealsPilastersCapitols CorinthianIonicTuscanRounded ArchesEntablature with friezes (this was different than the Medici's Palace which only had a string course with dentils) Included several features for design rather than actual support 1st Floor = grounds the buildingHEAVYSurrounded by benchesHas:Cross-hatchingLarge blocks of stonePost-&-Lintel portalsRectangular windows All straight lines + The Loggia Caddy-cornered to the Palazzo Rucellai A large open space, with rounded arches, corinthian capitals, collonades, pilasters = VERY much based on the ancient Greek & Roman traditions Represents the joining of the Medici & Rucellai familiesCould have been created to be used as a "wedding" building (Now a shoe store!) Function: Most basically, the Palazzo Rucellai was created to house the Rucellai family (duh)In reality, it was a created as a physical representation of the family's wealth, status, power, and importance. Vocabulary: Pilaster = a shallow rectangular column that projects slightly beyond the wall into which it is built and conforms precisely to the order or style of the adjacent columns Entablature = a horizontal part in classical architecture that rests on the columns and consists of architrave, frieze, and cornice Trabeated = designed or constructed with horizontal beams or lintels

Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century C.E, Encaustic on wood.

Context: a transitional piece Classical Antiquity →→→ the height of Byzantine Christianity An amalgam of the Greek/Roman aesthetic and the emerging Byzantine aestheticGreek/Roman Traits:Modeling (especially in the faces of each of the subjects!)Shadows (particularly in the shadow of the throne on the floor)Naturalistic features (drapery that falls as it would in real life, veins in the neck of the angels)MovementThe Virgin is turned slightly at her hipsa trace of dynamisma pose representative of a body that can move but is currently at restThe angel have their necks arched upwards Created in the era in which Constantinople was restoring and creating dozens of churches (AKA a time of artistic flourishment) As art become more of a part of daily life, icons and private devotional items became more popular and thus, pieces like Virgin (Theotokos) and Child between Saints Theodore and George were created.Byzantine Traits:Compressed planeVery flat (with little attempt to create depth)Simple body positions (limited realism)Emotionless facesFront-facing figures (the saints)Huge, gold halos (to indicate divinity) Form: Size: 2' 3" x 1' 7 3/8" An encaustic icon painting "icon" = image, painting (in Greek) encaustic = a painting technique that uses wax as a medium to carry the color (definition from Khan Academy) Uses gold leaf Content: Subjects = the Virgin, the Christ child, Saint Theodore, Saint George, two angels, God The Saints:St. Theodore = on the left & St. George = on the rightflank the Virgin on either sidepositioned at the front of the frame (closest to our world of all the subjects) they stare directly at the vieweremotionless and erecttheir feet are lifted slightly off the ground (this is their only mark of divinity)they're ready to receive veneration from a viewer The Virgin:in the center of the iconseated on a throne -- elevated (removed from our world)does not make eye contact with the viewerhighlighted by Heaven's light (connected to God) The Christ child:in the Virgin's laphard to tell exactly where he's looking (but he's not making eye contact with the viewer, like his mother) The Angels:above and between the Virgin and the soldier saints (one on either side)looking directly upwards to the hand of Goddressed in all white & have slightly transparent halos (both of these characteristics makes their holiness more tangible)highest in the frame and the furthest back (the most removed from our earthly realm) God:represented by the hand emerging from the center of the top of the iconhis power/guidance is seen through the light emanating from the handthis light mostly lands upon the Virgin "Hierarchy of Bodies"Saints → Virgin+Christ → Angels → Godthis organization leads us to move our eyes upwards (and inwards), from "zone" to "zone"altogether, the positioning of these figures represents the path of holiness between the humans and Godeach individual "zone" of subjects is symbolic of a different level of relative closeness to God The architecture at the top of the painting helps close off and protect the holy scene makes use of spatial ambiguity to make the piece feel otherworldly and divine Function: A private devotional object (used to inspire the pious and help them express their veneration for God and enhance their spirituality)

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

FORM Massive, spacious longitudinal nave Faces the altar Illuminated by natural light from windowsCreates a feeling of transcendence Light from the windows was manipulated by the architect to create a spiritual effectWould've illuminated the mosaics on the nave walls (that no longer exist)Light = Christ, heavenNave; looking at the side aisleImagine the walls glimmering with mosaicsOver the columns: wine cups and bread: first symbolization of Eucharist CONTENT Windows made of celenite, not glass Wooden coffered ceiling Recalls the (domed) coffered ceiling of the Pantheon in Rome, circa 125 CE. Original paneled, wooden doors are still on the churchDepict Biblical scenes, possibly the first Crucifixion depiction in the upper left panel Colonnade with a side aisle on each sideCorinthian columns Like the Pantheon: walls are broken up into entablaturesColumns and pilasters create verticals that tie the horizontal entablatures togetherVisualizes the building's weight and solidity Nave wall has little visual weight Simple architecture underlies a strong, empowered foundation Clerestory windows line the upper entablatures of the nave Walls don't have traditional classical orders Instead of organized columns and entablatures, they were covered in mosaicsWalls show a shift from a focus on Man's architecture to religious imagery FUNCTION Early Christian church To respect Sabina, who supposedly died on the locationRoman Emperor from the 300s and Christian convertMartyr for Christianity To impress the viewer and inspire them to follow Christianity

Las Meninas. Diego Velazquez. C. 1656 C.E. Oil on Canvas.

FORM: -1656 -Oil on canvas -125 1/4 x 108 5/8 in. (318 x 276 cm) - Located currently in Museo Nacional del Prado, Madrid -Used to be housed in the royal palace(Royal Alcazar of Madrid), the king's study -Extremely large painting, and inside the painting we can see a very large painting of the same size of the painting itself, being painted -Uses very loose brushstrokes, but still comes together compositionally to create a clear, detailed, realistic image that also has a sense of life -Utilizes scientific, but also aerial perspective - Multiplication of the light sources FUNCTION: - Velazquez gives us informal glimpse, something we, as commoners could never see -Made for the King and Queen to privately view -at a most basic level it demonstrates the art of painting by showing an artist at work, trying to give idea that artists were intellectuals -The characters stare beyond the frame, at us -a self portrait that shows status, he is seen in the same room with the royals, holds a paintbrush because his ability to render these figures gives him his on power, this interp. fits with his obsession at the end of his life to become a gentleman, wanted to be a knight a the order of Santiago CONTENT: -Paintings of Ovid's The Metamorphisis that hang in the background, both stories of gods wrestling with mortals, very applicable to the themes of Las Meninas -These paintings on the were done by Rubens who was his hero, and their choice in the painting is a reference to his own title of art installer -Utilizes Illusions of space, depth and perspective -Surface of his canvas is hidden to us, could be a portrait of the little princess, could be a portrait of the King and Queen, who are seen reflected in the mirror -The people in the center are the princess, maids of honor,palace official, chaperone, dog, dwarf (often hired to keep children company), and other attendants -The figures in the painting look at us in a very real way, the glances tell a story -The painting is set in his studio -he paints a pallet which is very mind-blowing because it is shown housing raw paint, the very stuff Velasquez actually created this work with - He was inducted into the Catholic organization the Order of Santiago posthumously by the king, so in the painting, after he died the insignia of the group was painted onto his figure, it is even rumored that the king painted it on himself -groups of two's all male/female pairs highlighting the princess, also use of groups of three on same horizontal plane CONTEXT: -To fight the unattractive qualities from the royal family's inbreeding he compensated by painting them in elaborate clothes, demonstrating wealth and distracting from flaws - Velazquez was the court artist, "the first painter to the king" he was responsible for art instillation in the palace, and he also was commissioned to do several portraits of the royal family -Not a typical portrait, which demonstrated ethereal perfection, wealth, and command, this scene is more chaotic/informal, making commentary on the false nature of portraiture of royalty -Combines genre scene with royal portrait - Specific names of figures: King Philip IV of Spain, princess- the Infanta Margaret Theresa, attendants-María Agustina Sarmiento de Sotomayor, doña Isabel de Velasco, dwarves- Maria Barbola and Nicolas Pertusato RE-INVENTION: -The image is a classic work of art that holds a bit of mystery in its purpose -Many artists, such as Picasso, Dali, and Botero painted the scene re-imagines, or painted the princess -It is important to recognize all of these artist were Latin in origin, and were culturally connected to Velázquez

Henri IV Receives the Portrait of Marie de' Medici Cycle. Peter Paul Rubens. 1621-1625 C.E. Oil on canvas.

FORMOil on canvas394 x 295 cm. Marie and cherub are the only 2 looking out at the viewer: establishes the central authority and future importance of Marie and her progeny for France.Strong vertical axis running through the work from Juno/Hera (top) through Marie de'Medici shows the maternal, fertile connection between ideal wives and mothers, as Rubens depicted it. CONTEXT: RUBENS' STYLEHis greatest inspiration was Titian, from the Venetian Renaissance.Enjoyed painting the body in dramatic or contorted positions (as seen in Henry IV's posture)How Rubens depicted historical figures: In the classical style of ancient Greece and RomeWith intense realism and occasional eroticismHe was interested in painting wild animals and exotic printsKnown for painting a uniquely wide range of subjects, including portraits, landscapes, religious and historical works, and hunting scenes. Popular for the rich Baroque style he created in his portraits; which favorably depicted his patron.Rubens' landscapes later had a large influence on the Romantic style; after he married, he gained a closer relationship to nature.He wanted viewers to ponder his works' emotional aspectsHis inclusion of iconography in his portraits of female patrons was meant to give them equal status with the males he depicted.All of his male portraits depicted males engaging in intense, even aggressive, physical action.His typical full-figured female portraits showed women as sensual, soft, beautiful, and desirable; Marie de'Medici's cycle was an anomale but Rubens was no stranger to depicting figures (usually male) as powerful and accomplished. Well-known for his nudes of biblical and mythological women. Uses layered allegory and symbolism in his portraits CONTENTWinged Gods of Marriage (Hymen, left) and of Love (Amor/Cupid, right) present a portrait of Marie de'Medici to the enamored King Henry IV of Navarre. Hymen holds a flaming torch in his left hand: symbolizes the passion of loveCupid gestures at Marie de'Medici and praises her beauty/worthSmitten Henry IV looks on in sheer adoration and delightJupiter and Juno (or Zeus and Hera) look down from above in approvalThey are a blissful, satisfied couple: their hands touch lovingly and they lean towards one anotherFlanked by their animal symbols: Eagle with a Thunderbolt (Jupiter) & Peacock (Juno)Even the King of all Gods succumbs to love; Henry IV should do so as wellPersonification of France stands behind Henry, encouraging him to marry for political reasonsShe looks on approvingly at his adoration of MarieLady France wears a plumed helmet, blue robe with an embroidered fleur-de-lysLady France whispers in King Henry's earTells him to ignore his battles and marry Marie as a smart political moveDomestic matters are equally as important as military ones to preserving the monarchyHenry obliges; his helmet and sword are being toyed with by 2 cherubs in the foreground (putti)The remains of Henry's battle -- a burning town -- are in the right background CONTEXTKing and Queen's faces, all hands, and several details in the cycle were painted by Rubens; the rest he designed, but had members of his workshop paint for him in his style.6th painting in a series of 24 works on the life of Marie de'Medici, the orphaned daughter of the Duke of Tuscany.King Henry (her husband) was assassinated in 1610, so Marie served as Regent to her son, Louis XIII, for 7 years. Divisions in the French court and her disrepute among nobles led Marie to be exiled in 1617.The 24-painting biographical series in 1622 marked a restored relationship with her son Louis XIII and marked her return to Paris. Marie commissioned the series in 1622 to decorate 1 of the 2 galleries in the Tuileries Palace.Series is unique and unprecedentedFocuses on the life and accomplishments of a QueenIncludes recent, embarrassing moments from Marie's lifeVery intimateMarie carefully manipulated and controlled the images Rubens producedArt used as propaganda; over-idealizes her actual life and accomplishmentsFor example, her marriage to Henry IV was riddled with infidelities, and the King didn't even show up to the wedding ceremony...Makes her life seem peaceful and prosperousPresentation of the Portrait is an idealized depiction of the agreement in April 1600 of marriage negotiations between Florence and Henry IV. A union overseen by the Gods, driven by Marie's beauty and virtue.Henry IV recognized the political and financial advantage of marrying a Medici.Henry was "pleased exceedingly" when shown the portrait of MarieReligious reasonsHenry IV was under attack by French Catholics for being Protestant; marrying the Catholic Marie de'Medici absolved this tension.Financial ReasonsHenry IV had a large debt to the Medicis (they funded his military campaigns)Marie's dowry lessened his debtHenry IV was also nearing 50 years, and needed to produce an heir.Marie had their 1st son one year after their wedding, then 5 more kids (4 survived to adulthood)Marie arranged successful marriages for her childrenLouis XIII married daughter of the Spanish kingDaughter Elisabeth married the future King Philip IV, heir to the throne of SpainDaughter Henrietta married King Charles of EnglandThe cycle was installed in Luxembourg Palace in 1625, in time for Henrietta's wedding festivitiesMarie could show off her life accomplishments to the many dignified guests Marie died in exile in 1631; her truce with her son Louis XIII was short-lived. FUNCTIONTo serve as propaganda, glorifying and justifying the life and accomplishments of Marie de'Medici, Queen and Regent of FranceTo depict Marie de'Medici's life in 24 defining paintingsTo compare Marie de'Medici's right to rule, wisdom, and beauty to the ancient mythological gods (ideals at the time of the Baroque era)To establish Marie's power and her lasting legacy in France.The Presentation of the PortraitTo depict Marie and Henry IV's marriage as divinely sanctioned, politically and financially intelligent, and an act of love and adoration.It's questionable whether or not all of the grandeur was realistic or appropriate, but Marie certainly articulated an idealized, harmonious image of herself and her life's events-- despite the fact they weren't as glamorous as Rubens was asked to make them seem.

Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050-130 C.E.; Reliquary of Sainte-Foy: ninth century C.E., with later additions. Stone (architecture); stone and paint (tympanum); gold silver, gemstones, and enamel over wood (reliquary). (Church of Sainte-Foy, The Last Judgment, Reliquary of Sainte-Foy)

FORMRomanesque pilgrimage churchCruciform planCross commemorates Christ's sacrificeHelped crowd-control of pilgrims Pilgrims traveled around the ambulatory and radiating chapels, paying homage to saints' shrines CONTEXTPilgrims went to receive a blessing; their visitation = demonstration of pietyLocated in Conques, France --> on the pilgrimage route to Santiago de Compostela in Northern SpainMany churches on the pilgrimage route had a similar or identical layout to manage throughputThe church was also an abbey: it was part of a monastery where monks lived, prayed, and worked...not all of the original monastery remains.A church had stood on the spot since the 600s; the Church of Sainte-Foy was built from 1050-1130. FUNCTIONTo host pilgrims on their journey to Santiago de Compostela in SpainTo bless its visitors, demonstrate their piety, and help them be saved on Judgment dayTo inspire (or scare) Christians into behaving in a holy manner that would ultimately lead them to HeavenReminder to both pilgrims and monks/clergymenThere was a lot of misuse of church offices at the time amongst clergymen (even though it was a sin)To venerate Christ, and commemorate his sacrifice on the cross as a second chance for mankind's salvationMain Portal (South entrance, with Tympanum over the doors)Interior shot, from apse area, looking towards South entrance and the nave. Arcade covered by a Pediment (detail of the Tympanum, South/Predominant portal)The House of Paradise, on the side of the SavedAbraham sits centrally, surrounded by SaintsGod gestures towards a kneeling Sainte Foy CONTENTBarrel-vaulted nave, with arches on the interiorNave, apse, 1 side aisle on each side 5 radiating chapels surround the apse (in a semi-circle)Prominent transept (cruciform church)Elaborately carved Tympanum on the South Portal of Christ and the Last JudgmentSemi-circular relief carving above the doors to the central portal Christ sits enthroned at the centerHis right hand gestures up, towards heaven, on the side of the saved His left hand gestures down, towards hell, on the side of the damnedOn Christ's right: Mary, Peter, the founder of the original monastery, and an entourage of saints Below the saints on Christ's Right: an arcade covered by a pediment, symbolizing the House of ParadiseHouses the blessed/saved; people who will live with Christ foreverAbraham is seated at the center of the House of ParadiseAbove Abraham, the Hand of God reaches out to a kneeling Sainte Foy (Saint Faith)On the pediment's opposite side, right under the enthroned Christ's feet, angels open and release souls from their graves to be weighed/judged by God to determine if they're going to heaven or to hell. A large doorway leads to paradiseA gaping mouth leads to hellClear divide in faith is depicted on Judgment dayPediment of the Lower register of HellCentrally-seated Devil sits, grinning, surrounded by tortured, screaming soulsFigures in intense pain, panic, chaos, and cruelty surround himAll represent some capital sinAdultery, gluttony, arrogance, misuse of church officesDevil sits enthroned like Christ: he has the power to Judge and decide punishments for the damnedOn the Devil's left: a hanged man, representing JudasHe hanged himself after he betrayed Christ

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 (tempera, gold, and silver on purple vellum. (Rebecca and Eliezer at the well, Jacob wrestling the Angel)

Form - Byzantine - Continuous narrative - Animal skin pages - Completely made by hand o With silver text and died a deep royal purple - Manuscript of the first book of the bible - Preserves some of the earliest illustrations of bible stories Function - Depict the first book of the bible - Not sure who would have been reading this book o Probably a royal individual's - Illuminated manuscripts not only aimed to depict stories of the bible but be a symbol of the owner's piety Content - Caught between realistic and abstract - Shows the medieval artists and patrons value of symbolism and abstraction - written in greek Jacob Wrestling the Angles - Story o Jacob leads his family across a river over a bridge. Then, Jacob has to fight with an angel. Upon fighting with the angle Jacobs name becomes Israel. o The importance of this story is the renaming of Jacob to Israel - There is an attempt to display a transition within a single image - Calls back to the Romanesque o Looks as though it could be a freeze o Roman colonnade on the bridge o The form of the bodies under the drapery - Typical of Byzantine art o Skewed perspective o Mixing up of space in an intentional way Rebecca and Eliezer at the Well - Story o Abraham wanted to find a wife for his son (Issac) and sent his servant, Eliezer, to find one for him. On the journey, Eliezer is in need of help and Rebecca comes to the rescue. Rebecca ends up being the perfect girl for Issac. o This is a story about God intervening to ensure a sound marriage for Abraham's son - In this continuous narrative, there are two episodes o Rebecca is shown twice § Once leaving her town to get water and another helping Rebecca - Classical elements o Roman colonnades o Reclining nude next to the river § Serves as a personification of the well's water - Not a realistic showing of space (very Byzantine) Context Early Byzantine (330-726 BCE) - The capital is moved to Constantinople - Christianity becomes the official religion - Emphasis on flatness and mystery - Used the church to back the authority of the emperor - Iconoclast controversy (726-843) o Destroyed all art with icon, most of the early byzantine art. Sinful nature of making graven images Cross Cultural Connections: Narrative

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

Form - Illuminated manuscript - Gold lead of vellum - Each image has a golden background - Resembles Christian gothic o Long flowing bodies o Small architectural details - Painted in the Barcelona area of Spain - 56 miniatures using gold leaf background Function - Depict the story of Passover to be read at seder - Used mostly at home - Show the wealth of its owner - Stands as a testament to the impact and signifigance of jewish culture in medieval spain o The rich multicultural atmosphere that produced such a magnificent manuscript Content - Haggadah = narration - The story of Passover o Miraculous salvation from slavery o Told at seder Context - Late Romanesque / Gothic Period o Christianity and how Christianity facilitates power is the emphasis now o Art was often didactic - Jewish Art o Jewish people often patroned work as the Christians and Muslims during this time o Jewish patrons would often use Christain painters to decorate important sacrad books - It was forbidden to create images at this time o Skeptical of who made is, thought to might have been a Christain o It was justified by being didactic Cross Cultural Connections 1. Rubens, Henry IV Receives the portrait of Marie de Medici 2. Lawrence, The Migration of the Negro, Panel no. 49 3. Giotto, Lamentation from the Arena Chapel

Hunters in the Snow. Pieter Bruegel the Elder. 1565 C.E. Oil on wood.

Form 117 cm by 162 cm Contrapposto, dynamic movement Figures with their back towards the viewer -- draws eye into the scene, away from the foreground Lots of contrasting colors -- draws eye around the composition Sharp forms, less gentle blending Very, very subtle use of atmospheric perspective in the back-most mountains and hills Function Represents both the hardships and the enjoyments of winter Sheds light on the activities of everyday life Reaction to the renaissance themes of nobility and religion Making art to depict the world as it is seen Content Part of a six-part series of images called seasons of the year Figures, and houses painted in warm, earthy tones -- contrasting from the cold blues and grays used to represent the elements Homogenized figures, none of which show their face--represent the poor, "nameless" Hunters return from what might have been an unsuccessful hunt Both figures and dogs bend down and sulk, looking exhausted Small figures in the background dot a pair of frozen lakes, seemingly enjoying the winter Figures dance about the ice, interacting with each other and small objects Mood in the foreground -- solemn, sense of despair Figures in bottom left third sag, trudging through the snow Left-most figures huddle by the fire, desperate for warmth Almost every visible figure has a downward gaze Architecture -- where nature and civilization meet Rows of houses fall away into vast fields of snow Context: Painted by Pieter Bruegel the ElderPainted in 1565Bruegel is best known for his landscapes and his focusing on the life and mannerisms of peasantsthis is fitting considering the content of this workThis is probably the reason this work's patron picked Bruegel It was commissioned by Nicaels JonghelinckThis is a secular paintingThis is one of six works in series entitled Months of the Yearstrangely there are only six works instead of twelve and only 5 still exist Northern RenaissanceThe patron was from Antwerp in modern day HollandThis probably depicts a scene somewhere in the alpsThis is because Holland is an extremely flat country, yet there are mountains in the background Content (cont.): The viewers eyes are drawn across the painting diagonally by the positioning of the subjects and statically placed linesNo linear perspective!Aerial Perspective! We start at the bottom right as these figures are largest and appear closest to the viewerThese figures appear to be coming back from an unsuccessful huntThey don't have much in the way of food and appear to be trudging through the snow with despairThey are hunched over and appear to be defeatedWe do not see their faces, so we have to assume their emotions based on their stancesThey are positioned, facing towards a small village and frozen pond Our eyes instantly shift onto the frozen pond were the peasants appear to be enjoying the winterThe immediate shift between the hunters and the other peasants indicate that Bruegel wanted to contrast these two groups of peopleThis was probably to contrast the two sides to winterThese figures appear to be playing a version of hockey and iceskating and do not have the give of the same negative feelings that the hunters do As our eyes continue along, we see a village in the background on the left It is pretty empty and probably is meant to keep the viewers eyes on pond, moving up into the mountainsLike I said before, these mountains are probably indicating that this is in the Alps, around modern day Switzerland The birds are also pointed at the pond and help focus our eyes on the subjects Themes Everyday life and mannerisms Social commentary Beauty in simplicity Cross-Cultural Connections Bayueax Tapestry Representation of everyday activities No-frills depictions of commoners doing jobs Seated Boxer Sense of sorrow, defeat → sagging figure(s) Tangible sense of both physical and emotional weight Everyday subject

San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 C.E. Stone and stucco. (San Carlo alle Quattro Fontane 2 images, plan)

Form Facade with 3 bays Plan Two triangles (diamond) inscribed in an oval Circles inscribed in triangles Intersecting circles No right angles—curves Sophisticated inter connection of geometrical shapes Musical and mathematical stacking together three distinct units undulating lower zone Middle zone standard Greek cross plan oval dome The dome appears to be floating above the interior of the church because its springing point and light sources are concealed by the zone below. combination of precedent and novelty complex interweaving rhythms. Bold illusionistic effects, achieved by calculated lighting, intensify the space. Function Dedicated to St. Charles Borromeo and the Holy Trinity (for the Trinitarians) Make a great church within a very small and cramped space Content Facade Undulating waves Upper part= concave bays Sectioned entablature Center = oval held by asymmetrically placed angels upper facade completed only after Borromini's death Most sources believe that the top heavy look of the top half is a result of Borromini's nephew's taking over the project in about 1675-77 Lower stories = 2 outer concave bays and a convex center United by continuous entablature central niche above the portal statue of St. Charles Borromeo by Antonio Raggi sides are statues of the founders of the Trinitarian order, St. John of Matha and St. Felix of Valois Dome Windows at the base add to ethereal effect (@hagia sophia) coffering= circles with octagonal molding, unequal hexagons, and Greek crosses Has window of real sunlight where an oculus might be series of oppositions lower and upper levels the center and the edges tall columns and the smaller niches Convex and concave Paradox of imagination/ fantasy/ emotion vs. intellect Adds to the mystical effect of the church, and describes the mysteriousness of religion Impact of emotion when you're there— you don't even realize how incredibly complicated it is Decorations Symmetrical Many carvings (Borromini =stonecutter by trade) Cherubs Head and wings but no body Fills the complex spaces beautifully Light unifies the space Perk of white interior Context Characteristic of the Baroque: Undulating movements and sculptural effects Eliminated the corner in architecture (almost all corners on this are soft) Borromini built it basically for free Very thankful to the trinitarians - his first clients Also allowed himself full creative freedom San Carlo alle Quattro FontaneBecause small sometimes called San Carlino alle Quattro FontaneIn english, "Saint Charles at the Four Fountains"Gets name from the intersection it's on with four fountains, one of each corner Fountain on the corner of the church is preexisting depiction of Neptune, also defined as a personification of the Arno River Borromini's first independent commission Rome, It was commissioned in 1634 and was built during 1638-46except for the tall facade, which was added about 1677Francesco BorrominiItalian architect who was a chief formulator of Baroque architectural style. based his designs on geometric figures Contemporary and rival of BerniniGloomy manlonely, withdrawn he prided himself on his highly specialized trainingresented his modest degree of recognitionbased his art on geometry: handling of form, volume and light.Mathematics before everythingGeometry, light, shapes— inseparabledeclared antiquity and nature to be his points of departure Also had medieval, Florentine, and mannerist influencesAlways alert to the context of his commissionsdeep sensitivity to the relationship of his buildings to the surrounding area and buildingsSuffered severe melancholiamade worse by hypochondriac hallucinationsFell upon a sword during a fitrecovered his mind after mortally wounding himself, repented, received the last sacraments of the church, and wrote his will before he diedAt his own request, he was buried anonymously in the grave of his teacher and friend, MadernoIt has been suggested that Borromini's suicide was the result of an increasing schizophrenia and that this pathological process is reflected in his architecture (not supported theory)

Allegory of Law and Grace. Lucas Cranach the Elder. C. 1530 C.E. Woodcut and letterpress.

Form Material/technique → woodcut and letterpress Lucas Cranach the Elder = artist Located in Germany Media = oil on wood Northern Renaissance 72 cm by 88.5 cm Lucas Cranach the Elder Influential artists in 16th century German art Printmaker and painter Representative of the Northern Renaissance His father, Hans Maler, was a painter and gave Cranach his first lessons He adopted the name Cranach when he was 30 years old Birth place = now Kronach As court painter of the Elector of Saxony, the patron of Luther, he is remembered as the chief artist of the Reformation Moved to Vienna in 1501 Full of expression and dynamic Moved to Wittenberg in 1505 More static style Met the reformed Martin Luther = portrayed in his works He also sold medicine, papers, ran a wine pub, printed books He was elected as mayor three times A talent for politics 1524-met Albrecht Durer Lutheran Reformation The Law and the Grace Single most influential image of the Lutheran Reformation The Reformation--initiated by Martin Luther in 1517 (attempt to reform the Catholic Church, which had been the only church in western Europe up until Luther) The Role of Art The Law and the Grace explains luther's ideas in visual form Heaven is reached through faith and god's grace Luther despised and rejected the Catholic idea that good deeds ("good works") could play any role in salvation Catholics Vs. Luther: how to get to heaven? Catholics Believer could take action to vouchsafe their salvation by good deed (financial donations and paying for art) Luther Insisted that salvation was in God's hands and all the believer had to do was to open up and have faith Anger led to rebellion and destruction of artwork that the Catholic Church was become rich on Scene: Two nude figures appear on either side of a tree that bisects the composition Law (left) = dying tree Gospel (right) = living tree Tree is dead on the side of the Law but vibrant on the side of the Gospel The altarpiece from left to right Six columns of Bible citations appear at the bottom of the panel Left (Law) Side Scene: Law and judgement symbolized by a man being forced into hell by Death (skeleton) and Satan (demon) Moses delivers the Ten Commandments Moses beholds these events; his white tablets standing out against the saturated orange rope and green tree Highlighting the association of law, death, and damnation Held by a figure that appears to be Luther himself (Cranach consistently depicted Luther in his portraits alongside biblical figures) Christ sits in judgement Adam and Eve partake in eating the forbidden fruit Motifs (left) are meant to exemplify the idea that law alone, without gospel, can never get you to heaven Right (Gospel) Side Scene: Grace and Gospel with Christ's cross crushing Death and Satan Blood of christ covers those near the cross John the baptist directs a naked man to both Christ on the cross in front of the tomb AND to the risen Christ who appears on top of the tomb Risen Christ = stands triumphant above the empty tomb, acting out the miracle of the Resurrection Nude figure is not hoping to follow the law on judgement day Stands passively, stripped down to his soul, submitting to God's mercy Lutheran saw the law as the side in which financial donations enriched the church and should not be a way to salvation; in the gospel side he believed through your own belief in god should be enough to bring his grace Law paves the way to salvation by preparing the way for grace God judges and God shows mercy The Law and the Grace is concerned with two roles that God plays: Judge (condemns human sin) Show mercy (forgiveness) Granting unearned salvation to sinful believers Luther's idea of law is multifaceted and complex relationship to his idea of gospel Law alone will never make salvation possible, law paves the way to salvation Includes events from both the New and Old Testament Concerns two aspects of the relationship between humanity and god Describes events throughout the bible which reveal the dual aspect of god's relationship to people Cranach's pictorial translation of Luther's unique understanding of salvation Interprets the roles of law, good works, faith, and grace in the human relationship to God

Great Mosque. Cordoba, Spain. Umayyad. Begun c. 785-786 C.E. Stone masonry. (Great Mosque 2 views, detail, arches, plan)

Form Mosque - place of Islamic worship~ 620x460 feetCross cultural comparisons: architectural plansSullivan, Carson Pirie Scott buildingChartres CathedralTemple of Amun-Re FunctionTo demonstrate the presence & permanence of the transplanted Umayyads in Cordobabuilt this mosque in cordoba on the site of a christian church [built by the visigoths]This appropriation of a christian site made a statement about the existence of Islam in the region & the power of the new rulersPlace of worshipFollowers pray towards the mihrab (which faces mecca)Represents a fusion of cultures & religionsExemplifies Islamic design of tesserae & variety of color on mosaics Content Comprised of...large hypostyle prayer hallhypostyle = filled w/ columns"full of seemingly endless rows of identical [two-tiered] columns and [double-flying] arches made from alternating red and white voussoirs" (Gateways, 148)voussoirs = "stone wedges that make up the arch"Interior space seems magnified by its repeated geometry Sense of awe & monumentalitymihrab The wall that indicates the direction of Mecca for Muslims' daily prayer timeMecca = birthplace of islam (in modern-day saudi arabia)Golden tesserae form bands of calligraphyFocal point in the prayer hallFamous horseshoe arched prayer nicheParticularly in this mosqueFramed by an exquisitely decorated arch >> the famous horseshoe archCommon in the architecture of the visigothsVisigoths = the people that ruled this area after the roman empire collapsed & before the umayyads arrivedAn easily identified characteristic of western islamic architectureRibbed dome Above the mihrab / central bayA metaphor for the celestial canopyIntricate composition of criss-crossing archesdemonstrates the mathematical & architectural accomplishments of the Islamic civilization^also exemplifies the use of geometry as a source of artistic inspirationall lavishly covered with gold mosaic in a radial patternAnticipates later gothic rib vaulting (though on a more modest scale)a courtyard with a fountain in the middlean orange grovea covered walkway circling the courtyarda minaret (now encased in a square, tapered bell tower)minaret = tower used to call the faithful to prayerMinbarUsed to stand by the mihrab as the place for the prayer leader & a symbol of authorityRepeating elements (columns, arches, voussoirs) - establishes a steady rhythm within the structureThis structural repetition suggests the same kind of repetition in prayer (as seen in Muslim worship: recitation of the Shahada [one's profession of faith] five times per day)Repetition - alludes to the "permanence of [the] architecture" as it is "combined with the timelessness of prayer" (148)Mosaics, inscriptions from the Quran, and brilliant colors line interiorIntricate patterns/designs formed by the tesserae (tiles within a mosaic) ContextDemonstration of multi-cultural influence on their artAncient roman columns in hypostyle prayer hall were recycled from the original christian church on siteInterior uses spoliaReused columns of slightly varying heightsHorseshoe archesof the roman & visigoth architectural styleCame to be characteristic of islamic architectureThe building was expanded over 200 years (even after becoming a mosque)Began as a roman templeTemple was converted to a church by visigoths - who seized cordoba in 572 CEUmayyad conquerors converted church to a mosqueCompletely rebuilt by the descendants of the exiled UmayyadsUmayyadsFirst Islamic dynasty who had originally ruled from their capital, Damascus (in present-day syria), from 661 to 7507th & 8th centuries^^period of vastly increasing wealthRulers built mosques & palaces through the islamic empire to demonstrate dynasty authority & the increasing power of the islamic faithYet this economic prosperity resulted in significant financial corruption among caliphsProvincial rulers fled the control of tyrannical caliphs to establish independent dynastiesPost the overthrow of his family (the Umayyads) in Damascus by incoming Abbasids, Prince Abd al-Rahman I escaped to southern SpainEstablished himself as Emir there (w/ the support of muslim settlers) and centered his emirate in CordobaAttempted to recreate the grandeur of Damascus in CordobaHe sponsored building programs, promoted agriculture, imported fruit trees / other plants from damascus^^orange trees still stand in the courtyard of the mosque in CordobaSite was practical & symbolicPlace that affirmed Muslim presenceCordobaBoth a major commercial & intellectual center for the arts, literature, science, & philosophyFostered a diverse & thriving urban cultureIslamic civilizationappreciation for different cultures & worked to preserve/absorb preceding culturesCaliphates had classical Latin works translated into arabicgained mathematical knowledge from indiaLearned of the invention of paper from china^^this willingness to incorporate other cultures extended into their art & is exemplified in this mosqueOne of the oldest structures still standing from the time Muslims ruled Al-Andalus in the late 8th centuryAl-Andalus = Muslim Iberia (includes most of spain, portugal, small section of southern france)The great mosque at córdoba (overview)Very simple plan; hypostyle hallLess of a sense of monumentality (in comparison to the great mosque of damascus)Double arches to raise the ceilingMixing roman and byzantine mosaic work - striking juxtaposition of old and newA center for scholars all over the islamic world"Prime example of the muslim world's ability to brilliantly develop architectural styles based on pre-existing regional traditions" (Khan Academy, The Great Mosque of Cordoba)"An extraordinary combination of the familiar & the innovative" (Khan Academy, The Great Mosque of Cordoba)

Rottgen Pieta. Late medieval Europe. C. 1300-1325 C.E. Painted wood.

Form: -Röttgen Pietà painted wood, 34 1/2 inches high -Painted wooden sculpture, but it is damaged, paint is less vibrant, worm holes in Mary's head -most of the Pieta statues of the time were from Germany, and the other surviving works are marble, or other stone, making this wooden sculpture all the more unique Function: -The lamentation section of the stations of the Christ, but the scene around it is taken away forcing the viewer to examine emotion -Artistic viewing is like a vision, would have been the object of focus during prayer - Would have been on an altar with other religious art, perhaps depicting the passions of the Christ -This type of sculpture was common in German abbeys Content: -Spirituality, mysticism, pure emotion of Mary holding her dead son -Sharp crown of thorns, 3D blood and wounds, making it violent and gruesome -Mary is not looking optimistic like she knows he will rise again; she looks like she had been wronged, she is draped in the typical garb with heavy fabric and she still looks young, but she is suffering -Extremely skinny, ribs visible, body is contorted -this new depiction and way of Christian thought was called "the patient Christ" Context: -c. 1300-25, late gothic period of middle ages, which was very dramatic -Saints like St. Francis of Assisi, Bridget of Sweden, St. Bernardino of Siena And Hildegard of Bingen -Originally depictions of Christ on the cross would demonstrate the Christus triumphans, like in the Lindisfarne Gospels -Greco Crucifixion came after this in the artistic evolution and it showed suffering but Christs legs are together so as no to be immodest or too humanized Principle, where his suffering is not apparent, but in this period divinity showed in a different, and more human way, belief that connection to god could be achieved through emotion -clearly reflects mysticism of the time, not caring about previous issues with iconoclasm during middles ages, as it is a holly object that would have been prayed to

Il Gesu, including Triumph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect) ; Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century C.E.; facade: 1568-1584 C.E.; fresco and stucco figures: 1676-1679 C.E. Brick, marble, fresco, and stucco (Il Gesu 2 images, Triumph of the Name of Jesus)

Form: A Gesú, which is simply Italian for the name for the mother church Church was designed by Giacomo da Vignola and Giacomo Della Porta in 1575 Triumph of the Name of Jesus is a fresco painted in the traditional style Ceiling fresco done in 1678-1679 by Giovanni Battista Gaulli Function: Serves as the main and original church for the Jesuits Important place for previous and current Jesuits, as it is the mother church Also served as a model for the future Jesuit churches in terms of architecture and style Ceiling fresco serves to illustrate the beliefs of the Jesuits Called the people to their faith and scared them into not believing A strong emphasis to choose this path and not leave or refuse it Content: Single aisled church, removing others as a space for traffic to clear it up Church has a cruciform floor plan, although the transept is not overly long on either side so it does not bear exactly like a cross in terms of proportions The church has a dome over the intersection of the large nave and transept Very dark interior, and it is thus chiefly dependent on natural lighting from outside An interesting mix of the rational and Baroque styles Focus on the altar in the center Renaissance style columns Corinthian, ornate, and made of rich materials Some of them reuse ancient pieces The reusing of ancient materials is called "spolia" Context: Saint Ignatius of Loyola, the founder of the newfound Jesuit religion, needed a church to serve as the religion's center The Jesuit religion was a very dramatic response to the recent reformation They were very against the reformation and focused their teachings on charitable works, education, and missionaries Very tense moment in terms of religion, as the reformation was almost 100 years prior and there were many religious wars going on It was then funded by Cardinal Farnese, who was the Pope's grandson Church is in the center of old Rome Very close to the Pantheon and Roman Forum Themes: Religion, spirituality, beliefs and values War and social conflict Power and authority Social concerns/issues God/religion Cross-Cultural Connections: Comparable to Bernini's Apse at Saint Peter's Basilica Similar in terms of interior size, shape, and style Comparable to Michelangelo's Sistine Chapel The Sistine Chapel features an incredible ceiling fresco, which serves to illustrate famous religious stories and timelines in vivid detail and color Similarly to the Sistine Chapel, the Triumph of the Name of Jesus ceiling fresco is a fresco painted on the ceiling of a church with the purpose of propagating the faith and captivating the followers

Isenheim Altarpiece. Matthias Grunewald. C. 1512-1516 C.E. Oil on wood. (opened and closed)

Form: Left picture Left side: red robed figure stands next to Corinthian column Middle: Christ is centered and crucified Very macabre and dramatic Hanging down from the cross On his left side are three people: two women looking up in anguish and one person holding the woman in white On his right side is a red clothed man and a dog Right side: red and blue clothed old, bearded man with a staff Pradella: Jesus's dead body is being held by several people next to some sort of opening, possible a grave Right Picture: Left side: woman looking up at a Gothic architecture place to a robed figure Middle: Left: Woman in pink dress playing guitar-like instrument surrounded by smaller figures and instrument Right: Mary and Christ-child in a landscape, blue sky and bright orange light (sun?) Right side: figure rising divinely with a mandorla over bodies Pradella: Same as the left picture → Christ's body being held Big! 9' 9 1/2" x 10' 9" (just center panel) But she's movable Function: Created to serve as the central object of devotion in an Isenheim hospital built by the Brothers of St. Anthony Popular in Germany at the time Facilitate public prayer Fully opened on special occasions → helps to inspire hope Content: Left picture: panels is closed Virgin is swooning into the arms of St. John the Evangelist John the Baptist gestures towards Christ Lamb of God is below him (metaphor for Christ himself) not usually at crucifixion Inclusion is symbolic, since he is considered as the last of the prophets to announce the coming of the Messiah Mary Magdalene is just crying Outside panels: St. Sebastian and then the St. Anthony Abbott Right picture: panels are open From left to right: Annunciation, Virgin and Child, Resurrection Angels playing music celebrate the birth of the Christ child resurrection (fireball— hovering over the sepulchre and the bodies of the sleeping soldiers, a combination of Transfiguration, Resurrection and Ascension.) Both predellas show a Lamentation scene Context: Isenheim Hospital was run by Brothers of St. Anthony St. Anthony was a patron saint of those suffering from skin diseases Took care of sick and dying peasants at hospital Christ was painted in such a macabre way to show them that he too suffered like they are now Predella: the bottom part in the altarpieces

Last Supper. Leonard da Vinci. C. 1494-1498 C.E. Oil and tempera.

Form: Oil and tempura was an experimental combo Used lead white as a base instead of traditional wet plaster to achieve more brilliant colors but the paint never adhered to the wall and began immediately deteriorating Added a double layer of dried plaster to achieve greater detail Things that have contributed to its terrible condition: Location (side of a cafeteria building), materials, techniques used, humidity, dust, poor restoration efforts, bomb hit monastery in '43, destroying large section of the refectory, air pollution in postwar Milan, tourists and overcrowded viewing 42.5% of the surface is Leonardo's work, 17.5% is lost, and 40% is the additions restorers Perfect perspective is achieved at Christ's level using linear perspective This view is 15 feet in the air Strong sense of depth conveyed Vanishing point right behind Christ's head draws the viewer's eye to this central figure Christ's body forms an equilateral triangle Very unified composition (it is intentional, mathematical, and precise) Faces are individualized and figures are realistic with accurate proportions and light and shadow (chiaroscuro) Use sfumato technique (use of glazes in slightly different tones of color creating an almost imperceptible transition from light to dark) Great emotion, gesture, action (clamour and reaction of the figures), and interaction between figures Function: Monks would eat silently while looking at this painting. Used to teach and inspire contemplation about this pivotal moment in the religion Shows unity between the earthly, mortal world and the eternal and divine but also shows the chaos and flaws of humanity and greatness of the divine Content: The 12 apostles sit at a long table placed parallel to the picture plane in a simple, spacious room and react to Christ saying, "one of you will betray me" during seder at Passover (christ's mouth is still open) The apostles have highly emotional reactions In the center, JC appears isolated and composed while his apostles freak out around him, showing his divinity and ethereal nature. He is reaching for the bread and wine, the sacrament of communion Calm center with a window framing Christ's head draws attention to Christ with a realistic halo of the window and curved pediment (the only curve in the entire painting) Chaos surrounds him and all lines converge behind him- he is a divine center 4 groupings of figures create a clustered, chaotic sense to the scene Judas to the right of Christ has head down in shame and holds the bag of silver. He is reaching for the same bowl as Christ Peter is rushing to Jesus, pushing Judas back in need of knowing the betrayer, and he is holding a knife ready to defend Jesus foreshadowing that Peter will sever the ear of a soldier as he attempts to protect Christ from arrest. Peter was known as his protector John closes his eyes Simon, Thadeus, and Matthew to JC's far left demonstrate the force and extent of the impact of the news Thomas, to JC left points upward, questioning God Philip points to himself with a face of grief James spreads himself out to calm people down Through windows is a lush green landscape symbolizing heaven, which frames JC showing his divinity over all the others 3 windows, 4 groups of 3 apostles, Christ body forms a triangle = holy trinity and divinity Painted on the side of the refectory of Santa Maria delle Grazie in Milan. Context: Da Vinci, born in Florence, was a painter, sculptor, engineer, architect, and scientist Trained with the prestigious Andrea del Verrocchio High renaissance (rebirth of classical ideal of beauty, use of shading, naturalism, and humanism) Centralized in Rome, art was commissioned by popes Missing halo distinguishers like early renaissance, but it is obviously the last supper because of da Vinci's complete mastery of skill Fascination with the body to show beauty of nature and convey the soul Narrative style of painting common where the body and emotion reflects the mind Da vinci had desire to depict humanity and convey individual emotions and reactions to represent their character and humanity Idealized geometry of Jesus is in line with the Renaissance's rediscovery of Neo-Platonism (humanist revival combining Greek philosophy with Christian theology) Plato believed that the mortal realm was imperfect, and the divine can be seen in heavenly, geometric perfection Da vinci practiced with live models, and therefore had a deep understanding of the observable world which is reflected in the highly individualized and proportionally correct apostles Cross Cultural Connections The Calling of Saint Matthew Ludovisi Battle Sarcophagus Justinian Panel Wall Plaque from Oba's Palace

Venus of Urbino. Titian. C. 1538 C.E. Oil on Canvas.

Form: Oil on canvas Layered oil paints to depict the variety of lighting in the painting Lots of different rich colors to create a sense of contrast Completed in 1538 Function: The Duke Urbino Guidobaldo II Della Rovere wanted a gift for his new wife and therefore commissioned Titian to paint this The painting also reflected how a wife should be to the husband in a household as a sexual, respectful individual She also was depicted as a motherly figure for her future children This painting was made to be looked at by many people so Titian made the painting as beautiful as possible Content: A majority of the painting is taken up by a nude female who is known as a Venus She was named a Venus so that it would be more appropriate to paint her nude The woman has a direct gaze that meets the eyes of the viewer This draws people into the painting Makes someone want to focus on her and not the rest of the painting Background is equal in color with a darker backdrop on the left and a woman and a child lighter background on the right The body of the Venus is very different than a real body as the torso of Venus is very large while her feet are very small and unreal This Venus was a symbol of beauty during the time and that is why she is usually depicted nude The dog in the background represents fidelity while the child and maid represents motherhood Uses a wide variety of colors that really emphasizes the importance of colors and lighting The painting is very different in style as the lines as the Venus has curves and the rest of the painting is straight lines Incorporates the Roman time period by using a column and a window that is not using glass and shows that the artist is trying to revert to a style of art that emphasized human beauty The small tree in the background that looks perfect and ready to grow to represent the future of the marriage Since the painting has the woman titled Venus it makes the viewer feel more comfortable seeing a nude depiction of a woman Context: This is an example of perfect Venetian art: The movement of art in Venice was shown with its deep rich colors and use of shadows and use of lights Glazing techniques were used to create subtle changes in gradient and level Lots of different colors were available in Venice due to the amount of trade so lots of paintings could be made with a variety of colors This took place during the 15th century to the end of the 16th century Venice during this time period was a stable republican government that allowed lots of trade and had the ability to invest in artists Venice was able to invest in the artwork because of the trading style of the city which generated wealth for the city Cross-Cultural Connections: The use of Venus in different European artworks is used by these artists: Velasquez Goya Manet Reni Madonna and Child The David Michelangelo

Annunciation Triptych (merode Altarpiece). Workshop of Robert Campin. 1427-1432 C.E. Oil on wood.

Form: Overall (open): 25 3/8 x 46 3/8 in. Central panel: 25 1/4 x 24 7/8 in. Each wing: 25 3/8 x 10 3/4 in. Central scene looks like a living room of someone living in Northern Europe A lot of detail-- pay attention to everything Like shiny nails, shadows, rust Shows age of doors Even in background (can see men on horseback and a town etc.) Interest in light-- using oil paint so they can paint texture (unlike Italian Renaissance) A lot of realism, yet expressed differently Space of the room doesn't make sense because perspective hadn't really been put into place yet Not mathematically accurate The table is a double perspective Creates a telescoping that brings the viewer in-- makes the room available Function: Can be folded up and carried Made to maintain an interest-- physical objects to spiritual ideas To aid in private devotion Content: Center Scene-- Mary and Gabriel Modern context Not meant to secularize the scene-- but to make them closer to us and make prayer more intimate Gabriel just appeared to Mary to tell her she will give birth to Christ The drapery has sharp folds-- falls on the floor and obscures bodies The shiny pot represents Mary's purity Many things in the room (many have to do with the incarnation) Small figure holding a cross coming through the window heading towards Mary (the holy spirit) Unusual because it is usually a dove, but this is one of the first time that God takes human form Donors are on the left The Patrons-- man and his wife Kneeling-- can recognize them as donors In a walled garden (hortus conclusus)-- refers to Mary's virginity Joseph is on the right He is making tools in a workshop-- he is a carpenter Reminds us of how handmade the painting is (it is on wood) Can see prosperous city through window Mousetrap for sale outside window Context: Campin was a very successful painter with apprentices and assistants Newfound prosperity in Northern Europe-- so commissions are increasing Annunciation was painted first, then the left side donors were added This painting would have been seen over and over again

Fruit and Insects. Rachel Ruysch. 1711 C.E. Oil on wood.

Form: Still-Life paintings Function: Painted for her Cosimo III = sign of friendship and common wealthy status Sold for double that Rembrandt's paintings sold for Painting for a widening merchant class Intricate and formulaic approach that dominated the late Renaissance Less complex but more realistic Context Renaissance art was at its peak--> artists began to challenge the societal norms (accepted artistic styles and elements of the time) Artists reinvented the way art was portrayed --> led to a new form of art Vibrant colors (red and green) Uncommon subjects 1648 = Netherlands became independent from Spain (economic prosperity) Flourishing international trade = newly affluent middle class Wealthy merchants created a new kind of patronage and art market = producing directly for buyers (rather than work commissioned by the church) Historical, mythological, or religious paintings were no longer desired = buyers wanted portraits, still-life, landscapes, and paintings of everyday life Artworks that would reflect their success Rachel Ruysch became known as one of the greatest floral painters of her time Rachel Ruysch Grew up in Amsterdam into a wealthy family of Dutch artists, architects, and scientists First successful female artist during the Baroque She specialized in still life (a theme of natural beauty in life) Art that reflected the time period (microscope was perfected) Her father, Frederik Ruysch, was a scientist (professor of anatomy and botany) who inspired the small details in her work He had a collection of rare natural historic specimens that led Rachel to help, catalogue, and record Led Rachel to her fascination with insects He encouraged her artists talents with careful observation of the natural world At 15 years old, began apprenticeship with famous painted Willem van Aelst (also specialized in still life) At 18 years old, she produced her first still life and established her career... At 29 years old, she married painter Juriaen Pool (had 10 children) Remarkably prolific = produced 250 paintings in 7 decades "Holland's art prodigy" "Our subtle art heroine" Scientific interest into categorizing Content: Possessed elegant skill and technique (element of sensitivity) She used bold and dynamic colors and textures Parallel to the growth of the Dutch industry and science of botany Flowers became newly appreciated simply for their beauty and fragrance Desirable status symbols for the wealthy However this work speaks to fruits and insects Season = Autumn Subject = fruits, vegetables, harvest, and insects Composite of the studies (combined into this composition) Grapes = blood of Christ Animals = naturalism Corn, Squash, Chestnuts Also Wheat = Eucharist (christian symbolic value) Attention to detail (particularly leaves and flowers) Less symmetrical and much more lively Curves (a sense of movement) Less formalized and orderly Possessed energy and creativity A sense of illusion and realism (the painting seem real) Story (a world of its own) Butterfly that is about to land but perhaps has second thought because their is a salamander or a small lizard

Entombment of Christ. Jacopo da Pontormo. 1525-15-28 C.E. Oil on wood.

Form: ·Painted oil on wood · In a church to the right of the entrance, above the altar, in the Capponi Chapel in Florenceo Right when you come in you are struck with this painting · Early mannerist style (see below)o This is important because the chapel is a cubical, very logical space, that is very much in the Renaissance style and there are Renaissance frescos right next to it that show in annunciation The Mannerist style: · Term used to describe the art that directly succeeded the Renaissance and preceded the baroque · Over-elaborate distortion and elongated figures · Imbalanceo Very different than the perfection of the Renaissance · Response to the Protestant reformation Function: - Altar piece -Aestheticizes the well-known scene, the Deposition Content: · Mournfulo The fresco beside it shows the beginning of Christ's live (annunciation) and this shows the ending · Just figures, not much land, packed with peopleo This is very mannerist and the completely opposite of the Renaissance · There is no depiction of a cross so we are not sure as to whether it is the deposition or the entombment · Unnatural body position of the figure in the left foreground · Abandons the high Renaissance pyramid balance · No place for our eye to rest · Constant movement · Figures have no weight to their body · Over exaggerated emotionso Not emotions of a person, rather symbols of emotions (like masks) Context: In the Capponi Chapel of Santa Felicita, Florence. Frescos clearly in early mannerist style, but chapel is a cubic space that was designed by Brunelleschi in early Renaissance style. Fresco to the right by Pontormo shows the Annunciation. Powerful juxtaposition; function almost as beginning and end of Christ's earthly existence. In pendentives, roundels showing 4 Evangelists. Mannerism=art of artifice, exaggeration, and emotion rather than Renaissance rationality. Highlighted rather than hid the contrived nature of art. Artifice manifested itself through imbalanced compositions, unusual complexity, ambiguous space, departures from convention, and innovative portrayals of traditional scenes. Historical developments contemporaneous to end of Renaissance, beginning of Mannerism: Florence is no longer a republic (Medici family abolishes it). Protestant reformation. Copernicus' discovery that planets move in orbit around sun (not around earth). Period of real revolution, new spirituality with Reformation and Counter-Reformation. Reflected in more otherworldly style of Pontormo and other mannerists.

San Vitale. Ravenna, Italy. Early Byzantine Europe. C. 526-547 C.E. Brick, Marble, and stone veneer; mosaic. (San Vitale, Justinian panel, Theodora panel, San Vitale plan)

Form: Centrally planned basilicaOctagonal in shape Byzantine church Function:Obviously primarily to worship the Christian god (This is a church)Glorify the Byzantine Emperor Justinian and Empress TheodoraServes as a reminder for the power of the Byzantine Emperor Context:Built after the split of the Roman empire

Alhambra. Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding. (Alhambra, Court of the Lions, Hall of the Sisters, Plan)

Form:Every single space covered with decorationExtensive use of rhombus geometric forms and calligraphyMost of the interior arches are false arches, with no structure; they are there only to decorate.Built on a hill overlooking the city of GranadaWalls are covered with beautiful and extremely rich ceramics and plasterwork.Walls include intricately carved wooden frames"muqarnas" hold up ceiling in Hall of Kingsmocarabe vault can be seen in Hall of the two sisters Comares Palace wall Function:3 PurposesCitadel, Barracks (alcazabaResidencepalace of the Nasrid sultansMedina (the city)Connected by pathways and gardens, all of which could be blocked off Palace of the Lions Hall of the SistersSixteen windows at the top of the hall allow in light through a honeycomb of stalactitesUsed for receptions or as a music room5,000 muqarnas reflect lightCross-Cultural Comparisons: InteriorsHouse of the VettiiWright, FallingwaterHall of Mirrors, Versailles Content: Contains palaces, gardens, water pools, fountains, and courtyardsThree PalacesComares Palacearched grill allows in lightwalls covered with inlaid tile in geometric patternsSalón de Comares hall of the ambassadorsthe Palace of the Lionsseparate building that was connected laterarched covered patio encircles the marble fountain at the centercontained residential halls with star motifsthe Partal Palaceknown as the portico because of its portico in the center of an arcade and at the edge of a poolGeneralifefrom the Arabic, Jannat al-arifameans paradise, gardenvegetable and ornamental elements contribute to the paradise of the garden Partal Palace and Generalife Context:Alhambra is an abbreviation of Qal'at al-Hamra meaning red fort.Built by the Nasrid Dynasty (1232-1492)the last Muslims to rule in Spain. Muhammad ibn Yusuf ibn Nasr (aka Muhammad I) founded the Nasrid Dynasty in 1237Palace of the Lions built by Muhammed VExterior-Interior relationshipImportant transition seamlessly fromshaded patios and covered walkways from well-lit interior spaces to courtyards and gardens Ornamental elementsreflection of water intricately carved stucco decoration.Beautiful, detailed, and careful attention to detail

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. (Capel 2 images, Lamentation)

Form:Frescothis chapel is COMPLETELY covered in frescoceiling included. narrative scenes, flat figurestrompe l'oeil (fools the eye)fake marble panels separate scenes. Whole thing is frescoLapis Lazuli for the bright bluesvery expensive. secco frescodry frescoat the time, Enrico didn't want the Lapiz Lazuli's color to be diminishedbecause of this method, it didnt stick to the wall as well, so some of the blue is diminished Function: Atone for the sin of usurybankers -> usurersEnrico Scrovegni paid for the chapel as a "good work" to try and guarantee a spot in heavenworried about afterlife, so paid for huge work of arthis father was included in Dante's inferno, so he had good reason to be worriedPrivate, devotional art Content: 3 registers of narrativetop: Yoakim and Anna (Christ's maternal grandparents) and birth and life of Marymiddle: scenes of Christ's life (the miracles, etc)christ is moving forward in the scenesthere is a rhythm to the scenesbottom: the PassionWall Fresco: Last JudgementEnrico (the patron) is on the side of the blessed, giving the chapel to MaryThe Lamentationpart of the passion scenestransitionary work from Middle ages to Renaissanceillusionisminserting architectural elements to give a more earthly settingnot just the typical gold background from the normal Medievalthis is a big deal. humanismfigures interacting with each other and connection in individual wayskissing, cryingTHE LAMENTATIONChrist being mourned by Mary and followersWe see actual grief— BIG DEAL medieval scenes usually had characters being divine and not that upsetHere, we see Mary not holding the dead son of God who will rise again, but holding her own dead child who she believes she will never see againshe is incredibly sad, and she is looking at his dead face in grief. Very real and humanist emotionsshe twists her body around him and hugs him and supports him on her kneeeach figure has their own personalized way of grievingsome throw their arms out, some sob, some quietly pity Maryeven the angels are mourning in individualized waystearing at clothes and hair, in agonyCompositionall eyes lead to christthe hill is a straight line straight to christtwo figures face away from usfirst of all, big deal to have figures with their back to us. very new for the medieval period (naturalism)also makes big space bubbles around christ, emphasizing him morethey do the same thing we do: watch Mary and Christadd to illusion of spacesymbolsdead tree— will grow again (analogy to Christ's resurrection)Mary Magdalene at Christ's feet w/ typical red hair (she anointed christ's feet so it's fitting)the mountain carries over into the next scene of the resurrection Context:Painted by GiottoCalled Arena Chapel because it's next to a Roman ArenaCalled Scrovegni Chapel because of the patrons the Scrovegni familynext to the palace of the familyprivate devotional arta good work to atone for the family's sin of UsuryEnrico's attempt to get into heavenWhy so groundbreaking? How is it a transitional work?This is one of the first works that shows divine figures acting in humanist waysthe medieval style was figures that were not real looking, backgrounds were gold and basic, and the figures were unemotional. As divine as they could possibly bethis chapel transitions us into the renaissance style of human looking and acting figures in the Renaissancefigures are interacting with each other, which has basically not happened yet figures face each otherthey interact with each other— kissing, showing grief, Holding each other. This was a huge deal characters showing intimacy Characters not always frontal some in profile, some with their backs to us Foreshortening used3D: the figures have weight to them, not floating like typical medieval architectural elements in some of the scenespre linear perspective, but perspective is attempt edwe see Giotto's attempt at providing depth and backgrounds earthly settings for the divine scenes

Calling of Saint Matthew. Caravaggio. C. 1597-1601 C.E. Oil on Canvas

Form:Painted by Caravaggioc. 1599-1600Oil on canvaslocated in the Contarelli chapel, San Luigi dei Francesci, Rome Content:Biblical story of the calling of Saint MatthewMatthew, a tax collector is sitting at a table counting money, generally being shadyJesus walks in from the right with Saint Peter by his sideJesus points to Matthew with his hand extended, says, "You. I want you"Jesus singles Matthew out and calls on him to join him and his disciplesMatthew points to himself in a gesture of incredulityThis scene takes place in what appears to be a tavern or pubsetting makes the event commonplace, relatableCharacters are all dressed in contemporary clothing, setting this event in Caravaggio's time, rather than biblical timesthis serves to make Matthew's experience (sinner turned follower) into something that is relatable to and possible for the everyday citizen of Romecloser to Caravaggio's own experiencesVERNACULARLIGHTplays an active role in furthering the action/plot, rather than merely creating a general, ethereal glow as in the high renaissancerealisticlooks like it is streaming in from the open doorway behind Jesus and Peterthere is a clear light SOURCEstream of sunlight comes in diagonally from top right corner, follow's Christ's finger pointing toward Matthewhighlights Matthew's facealmost seems an extension of Jesus's pointed fingerThe second Adam?The formation of Jesus's outstretched hand mimics Michelangelo's hand of God in "The Creation of Adam" (Sistine Chapel ceiling)Jesus is sometimes referred to as "the second Adam" because he, also created by God, is the redeemer of Adam's original sinThe artistic parallel between the work of Michelangelo and that of Caravaggio highlights Christ's status as "the redeemer"creates a full-circle/bookend effect Function:Didactic elementto portray the story of The Calling of Saint Matthewtaught from the Catholic perspective (recognizing Saints)so as to convince believers of the Catholic doctrines, to inspire support of the Counter-Reformation/Catholic ReformationTo bring viewer into the experience of the paintingCaravaggio does this by use of:commonplace settingcontemporary clothingrealism, naturalismrather than idealism of high renaissanceemotive, expressive theatricsThis also makes the "Catholic way" more accessible to people of all levels of education, of experience, of lifestylesContext:The Counter-ReformationThe Catholic Church reacted against the Protestant Reformation begun by Martin Luther (1517)after a period of austerity and withdrawal from lavish art, Catholic church experienced a revival in RomeChange of tactics:draw believers into the Catholic faith by enthralling drama, theatrics, and shocking beauty in artwork, architecturewant to make people feel an overpowering emotional response to Catholic-inspired artdifferentiating their approach to Christianity from that of the Protestantsthe Baroque stylefrozen action (like movie stills)theatricalhigh contrast chiaroscurodiagonal linesgruff, gritty realismrather than idealized, perfect realism of high renaissance

Woman Holding a Balance. Johannes Vermeer. C. 1664 C.E. Oil on canvas.

Form:pinky is the vanishing point center of the painting is the center of the balance compositional control in the way that color is handled gold from curtain on the inner painting frame and the pearls and dresssoft swirled painting style common in baroquegenerally muted colors save his favorite blue and gold-----------Baroque: - "Baroque art is characterized by great drama, rich color, and intense light and dark shadows. Baroque artists chose the most dramatic point, the moment when the action was occurring. 's baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance."- Vermeer uses: - light - shadows - vibrant colors - emotion thought - diagonals - attention to details Functionwealth and piety / spirituality need a balance between those twoworld possessions in front christ behind idea of weighing ... judging mirror sign of vanity so maybe relating to the worldly possession idea ignoring the painting and focusing on what is in front of her but also sign of self knowledge and truth - To show what people in 17th C Holland were like - maybe they were straying from religion? Content:scene of everyday life BUT lots of symbolism woman is dressed in fine clothing she's part of the upper MERCHANT class in Holland during the 17th Cthis class was increasingly buying more art "the scale and subject of which is very much like this painting"typical cap made of linen worn by women at home fur trimmed jacket meaning it's cold out / in stands in front of table on the wall opposite her is a window LETTING LIGHT IN !!!golden curtainsalso a mirrorright hand has a very fine balance nothing on the balanceas if she is waiting for the balance to come to a rest on the table in front of her there are a number of boxes one is open and is thought to have held the balance and weights in the other box are strings of pearls coins also which are an indication of material wealth maybe she's going to weigh valuables? Behind her, there is a painting christ "in a brilliant mandola towards the top"functioning as a judge over souls souls at bottomone on the right are blessed and left are damned LAST JUDGMENT strong indication that this painting is about more than just a woman weighing her valuables her head divides the blessed from the damnedLight also plays a huge part in this her front is illuminated = the side of the blessed her back is dark = damned the light also creates motion, brings to life this idea that she is waiting for the balance to become still aka the idea of time and changevery real and natural at the same time bc this is a snap shot so it is frozen and quiet She is not pregnant "He observes that Dutch fashions of the mid-17th century seemed to have "encouraged a bulky silhouette. The impression of the short jacket worn over a thickly padded skirt in Vermeer's painting in particular may create just such an impression."interior scene = intimate Context:"The origins of this work has been traditionally linked to Pieter de Hooch, whose Gold Weigher matches Vermeer's work very closely. Since neither of the paintings is dated, critics have hypothesized who influenced who on the basis of style.""Owing to the intimate nature of Vermeer's art, there has been an inclination to link the painter's family members to the figures of his paintings"in this case his wife

The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood

FormJan van Eyck1434Oil paint on oak panel82.2 cm x 60 cm (32.4 in x 23.6 in) FunctionArt historians differ in their interpretations of the function of this paintingDocumentation of a wedding (why it's sometimes called "The Arnolfini Wedding Portrait")Evidence of a sacred event taking placetheir shoes have been removedhands joined togetherman raises one hand as if swearing an oathone candle in the chandelier is a symbol of God's presencedog is a symbol of fidelityserves to bless the marriage with this symbolismsignificant amount of religious imagerycandle in chandelier (God's presence)prayer beads on the wall, next to the mirrorroundels on the mirror show biblical scenesSignificance of Van Eyck's signature"Jan van Eyck was here"makes it seem like he was acting as a witness, rather than just signing a work of artin the mirror's reflection of the room, there are several figures standing in the doorway, looking in on the scene of man and wifethese figures could be witnesses to the wedding ceremonyThis was the leading interpretation of the Arnolfini portrait for a while, but now art historians generally agree that this is likely NOT a wedding portraitDouble portrait of an already married coupleShowing off their wealthArnolfini was a wealthy merchant from Bruges, a "thriving economic town in the early 15th century"high fashionwearing furs, heavy clothing, despite warm weatherwife is wearing gathered skirt to make her appear pregnantshe is not actually pregnant, this was the style during this timeorangeshad to be importedexpensivereceiving guests in their lavish bedroombedrooms were where people received guests, rather than living roomsthey are welcoming the guests shown in the mirror reflectionhusband's hand may be raised in greeting rather than oath/prayercarpetsign of wealth and tasteShowing off their piety, status as good christiansprayer beadsroundels around mirrorshoes removed ContentPortrait of a husband and wifePossibly Giovanni Arnolfini (?)art historians are not positive which Arnolfini this isbut definitely a wealthy merchant who worked in Brugesprosperous economic town in the 15th centurysurrounded by token symbols of their life that give evidence of what may be happening (see various interpretations in "Function" section)dogorangesremoved shoesprayer beadsbiblical imagery in the decorative roundels surrounding the mirrorlavish drapery, carpets, clothinglight streaming in from windowshows Van Eyck's mastery of light and shadow, soft texture ContextThe Northern RenaissanceBoth Northern Renaissance and Italian Renaissance are concerned with realism, but in different waysNorthern lacks perspective and obsession with human anatomy, but boasts greater attention to minute detail and softer gradations of color and lightbecause of GLAZINGlayer upon layer of translucent oil paintcreates softer colors, more realistic because translucent and smooth blending and gradationsthe Italian painters still used tempera and frescoThe size of the detailed roundels (half a fingernail!) shows mastery of fine detail in even the smallest of scenesThe dog's hair and the texture of the wife's gown/coat/cape are also great examples of this fine detail and texture

Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early Medieval (Hiberno Saxon) Europe. C. 700 C.E. Illuminated manuscript (ink, pigment, and gold on vellum).

Lindisfarne Gospels: Context for ALL of the Manuscript Illuminated by the bishop Eadfrith Made to honor God and St. Cuthbert Lindisfarne = island off the coast of Northumberland in England Produced in the British Isles between 500-900 CE Time of social upheaval and devastation invasions 793 CE--Vikings pillaged the monastery but the monks were able to keep the Lindisfarne Gospels safe Made in Italy St. Matthew Cross-Carpet Page Form: Codex = bound book, made from sheets of paper or parchment Designed and recorded with the use of ink pigments and gold vellum Function: Cover and opening of St. Matthew's Gospel Content: Example of Insular or Hiberno-Saxon art Straightforward and not TOO stylized A series of repetitive knots and spirals Ribbons = contain abstract animal forms that twist blue, pink, orange, red, green Snake-like creatures Centrally located cross Stacked wine-glass shapes horizontally and vertically Luke's Incipit Page Form: Written and recorded with the use of ink pigments Tiny red dots that envelop words Gold vellum The letters "NIAM" of "quoniam" Negative space now asserting itself as four letters Function: Opening of Luke's Gospel Content: Themes: Animal life Blue pin-wheeled shapes rotate in repetitive circles caught in the vortex of a large Q that forms Luke's opening sentence Birds also abound One knot enclosed in a rectangle unravels into a blue heron's chest shaped like a large comma (repeating shape vertically down) Feline presses off this appendage acrobatically to turn its body 90º Spiraled forms Swirling vortexes Knots reveal themselves as snakes moving along the confines of a letter's boundaries Luke's Portrait Page Form: Intricate designs made with different colored pigments Shapes create words Function: Luke's portrait Context: Curly-haired bearded evangelist sits on a red-cushioned stool Luke holds a quill in his right hand Feet hover above a tray supported by red legs Wears a purple robe streaked with red Gold halo = divinity Above halo--flies a blue-winged calf = sacrifice on the cross Eyes turned toward the viewer with its body in profile Clasps a green parallelogram = reference to gospel John's Cross Carpet Page Form: Symbols are assigned for the other three evangelists (Eadfrith included in their respective portraits) Matthew is a man= human aspect of Christ Mark is a lion = triumphant and divine Christ of the Resurrection John is a eagle = Christ's second coming Function: Opens John's Gospel Content: Interplay of stacked birds teem underneath the crosses of the carpet page One bird has blue and pink stripes in contrast to others that sport registers of feathers Stripes = negative association to the medieval mind = chaotic Is Eadfrith warning his viewers that evil lurks hidden in the most of unlikely of places?

Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse for Bibles moralisees. Gothic Europe. C. 1225-1245 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).

Medieval picture bible Most important to have survived Heavily illustrated Extremely expensive Illuminated manuscript Similar to text selected, but differed in the allegorical and moral deductions 7 surviving of the group - designed for the personal use of the French Royal family. Medallions - common (like stained glass and other Gothic art) Many artist involved - not known Only one side of each page used -increase size and expense New style: softer and more realistic - away from Byzantine influence Patron: Queen Blanche of Castile - financed it production Ruler to be: Louis IX 's job was to take the texts lessons to heart (along with other text read to him by tutors) This 13th century illumination, both dazzling and edifying, represents the cutting edge of lavishness in a society that embraced conspicuous consumption. As a pedagogical tool, perhaps it played no small part in helping Louis IX achieve the status of sainthood, awarded by Pope Bonifiace VIII 27 years after the king's death

Screen with the Siege of Belgrade and Hunting Scene. Circle of the Gonzalez Family. C. 1697-1701 C.E. Tempera and resin on wood, shell inlay. (Siege of Belgrade, Hunting Scene)

Originally included 6 additional panels The only known work to combine the two elite Mexican genres of biombos (folding screens) and tableros de concha nácar y pintura (shell-inlay paintings, later known as enconchados) Context and patronage: Commissioned by José Sarmiento de Valladares, viceroy of New Spain, it was most likely displayed in Mexico's viceregal palace, where it would have divided a ceremonial state room from a more intimate sitting room

Bayeux Tapestry. Romanesque Europe (English or Norman). C. 1066-1080 C.E. Embroidery on Linen. (Calvary attack, First meal)

Shows the Battle of Hastings in 1066but begins with events leading up to it!!Shows the of England between William, the Duke of Normandy, and Harold, the Earl of Wessex that occurred in 1066 in the end, William the Conquerer, or the Duke of Normandy won and became the first Norman king of England textile is missing its end which most likely showed William as king Bayeux Tapestry created in Canterbury 1070made within a generation of the war -- important because first that was made this close to the actual event believe the patron was Odo, Bishop of Bayeux, William's half-brothertapestry shows Normans nicely in the events Odo appears in many scenes with the inscription ODO EPISCOPUS (EPS) scenes believed been adapted from images in manuscripts illuminated at Canterbury Function: to commemorate the win of the Normans (original) to give a (semi) accurate depiction of the war (now) Form: not a true tapestry - not woven into the clothimagery and inscriptions embroidered using wool yarn sewed onto linen clothhigh quality of the needlework suggests that Anglo-Saxon embroiderers"A continuous narrative presents multiple scenes of a narrative within a single frame and draws from manuscript traditions such as the scroll form" "Eight colors can be made out from the tapestry; the five main colors are blue-green, terracotta, light-green, buff and grey-blue. There are also places where very dark blue, yellow and a dark green have been used. The color of skin has been left as the color of the linen." unrealistic figures 1 dimensional, flat, no depth or space perception but split into 3 sections (thin top and bottom and larger middle section) in an attempt to show depth/foreground and backgroundtop and bottom also function as boarders Content: 75 scenes w/ latin inscriptions = titulifirst meal: we see dining practicesexamples of armor used battle preparationsservants prepare food over a fire and bake bread in an outdoor oven Servants serve the food Bishop Odo, blesses the meal "chickens on skewers, a stew cooked over an open fire and food from an outdoor oven. William sits down to a feast with his nobles and Bishop Odo says grace. Servants load food onto shields to carry it to the banquet"cavalry: we seeWilliam's use of cavalrycavalry could advance quickly and easily retreatscattering an opponent's defenses allowing the infantry to invademainly cavalry meaning that they were most commonthey wear conical steel helmets with a protective nose platemail shirtscarry shields and spears foot soldiers carrying spears and axeshorses have no armor mortally wounded men and horses along tapestry's mid and bottom "air fills with arrows and lances, men lie dying. The English soldiers, who are all on foot, protect themselves with a wall of shields. The Normans attack from both sides. The lower border of the tapestry is filled with dead and injured soldiers"

The Virgin of Guadalupe (Virgen de Guadalupe). Miguel Gonzalez c. 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl.

Spanish rule in Mexico, Central America, and part of the U.S., 1521-1821 o Virgin Mary became one of the most popular themes for artists Most popular Marian cult image Original image of Guadalupe considered an archeiropoieta, or a work not made by human hands, and so divinely created Story of her miraculous revelation: o varies depending on the author, but the general story goes something like this: In December 1531, a converted Nahua man named Juan Diego was on his way to mass. As he walked on the hill of Tepeyac(ac), formerly the site of a shrine to the Aztec mother goddess Tonantzin, Guadalupe appeared to him as an apparition, calling him by name in Nahuatl, the language of the Nahua. According to one textual account written in Nahuatl, Juan Diego described her as dark-skinned, with "Garments as brilliant as the sun." She requested that Juan Diego ask the bishop, Juan de Zumárraga, to construct a shrine in her honor on the hill. After recounting the story, the bishop did not believe Juan Diego and requested proof of this miraculous appearance. After speaking again with Guadalupe on two other occasions, she informed Juan Diego to gather Castilian roses— growing on the hillside out of season—inside his tilma, or native cloak made of maguey fibers, and bring them to the bishop. When Juan Diego opened his tilma before Bishop Zumárraga the roses spilled out and a miraculous imprint of Guadalupe appeared on it. Immediately, Bishop Zumárraga began construction of a shrine on the hill. different social and ethnic backgrounds pay her reverence In particular, creoles (pure-blooded Spaniards born in the Americas) promoted her devotional cult. They wrote some of the earliest texts recounting her miraculous appearance on Novohispanic soil, a fact they advertised as proof that God blessed the Americas and approved of a new nation Copies were abundant in the 17th century as devotion increased: prints, paintings and enconchados (oil paintings with shell-inlay) replicate the original "after the original" - suggests that the artists based their work on the original image and some of the power of the original image transferred to the replication Besides replicating the tilma image, artists often included the narrative of the miracle in the four corners of the composition The flowers that frame the mandorla (as is the case with this copy) - are a direct reference to the Castilian roses in Juan Diego's tilma.

Pyxis of al-Mughira. Umayyad c. 968 C.E. Ivory.

The Pyxis is 16cm tall and 11cm wide, and made of carved ivory from an elephant tusk There is inlaid jade and several other precisions stones Ivory was durable, smooth, elegant, and easily carved This made it highly desirable for the creation of pyxides (the plural of pyxis) Highly portable, they were often given as gifts. In Al-Andalus, ivory objects, including Pyxides, were bestowed upon members of the royal family Specifically sons, wives and daughters on important or memorable occasions, such as a marriage, birth or coming of age Later they were given as Caliphal gifts to important allies, such as the Berbers, who are the indigenous peoples of North Africa, many of whom converted to Islam and swore their allegiance to the Umayyad Caliphs in Spain. The practical function was to carry perfumes and other cosmetics The pyxis is decorated with four eight-lobed medallionsThese medallions are surrounded by figures and animals, including falconers, wrestlers, griffons, peacocks, birds, goats and animals to be hunted Each medallion has princely iconography Although Islamic art is commonly viewed as an-iconic, human and animal figures play an important role in iconography A Pyxis is a cylindrical contained for holding cosmetics This was a coming of age gift for al Mughira, the 18-year-old daughter of the caliph of the Umayyad dynasty Best surviving example of the tradition of carved ivory in Islamic Spain Spain was home to some of the most impressive Islamic art and architectureIvory was part of the mediterranean art tradition, so this work is an example of local artistic tradition blended with Islamic themes This comes from the royal workshop of Madinat al-Zahra, which was one of the wealthiest cities in Umayyad-ruled Spain The work is currently located in the Louvre

Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). C. 17th century C.E. Oil on Canvas

This painting was found by itself, but was likely part of a larger series that included angels performing other activities such as drumming and holding lances Representing: celestial, aristocratic and military beings The harquebus is a firearm with a long barrel created by the Spanish in the mid-fifteenth century o Forefront of military technology o Native indigenous people saw guns as supernatural manifestations o power of the Spaniards over indigenous people and protection offered to faithful Christians angels: o Although the Council of Trent (1545-1563) had condemned all angelic depictions and names but those of Michael, Gabriel, and Raphael in the mid-sixteenth century, this ban was observed neither in the Viceroyalty of Peru nor in Baroque Spain o The Catholic Counter Reformation held a militaristic ideology that portrayed the Church as an army and angels as its soldiers o Prints from Europe (Flemish) may have had an influence - cost effective and distributed easily o Cosmos, planets, thunder, for both Catholic as well as indigenous function were connected in angels Military: o Prints from the 1607 series, The Exercise of Arms, by the Dutch Mannerist engraver Jacob de Gheyn, may have inspired paintings such as Asiel Timor Dei. These prints were models for specific military positions and demonstrated how to fire a gun. However, the Andean paintings differ from the prints, since they combine local dress and do not present realistic military positions. o Mannerist body style still popular in the 17th century (started at the end the renaissance in 1500's) Aristocratic beings: o the dress of Andean aristocrats and Inca royalty, and is distinct from the military attire of Gheyn's harquebusiers Andean invention that combines contemporary European fashion and the typical dress of indigenous noblemen excess of textile in Asiel Timor Dei indicates the high social status of its wearer The elongated plumed hat is a symbol of Inca nobility, as feathers were reserved for nobles and religious ceremonies in pre-Hispanic society The broad-brim hat on which the feathers are planted was in style in France and Holland around 1630 During the first half of the eighteenth century, when Asiel Timor Dei was painted, the use of gold and silver became prohibited in the clothing of nobility. The military was, however, exempt from this rule The angels with guns personify at once the military, aristocracy, and sacred beings, and were adorned with the most lavish attire. Francisco de Ávila, a priest in Peru who studied native customs, described the second coming of Christ as an event during which an army of well-attired angels with feathered hats would descend from the heavens

Self-Portrait with Saskia. Rembrandt van Rijn. 1636 C.E. Etching.

form: Rembrandt used a copper plate, eroded by acid, to create this workThe Etching plate is deeper for Rembrandt than SaskiaShows him as more important, but also closer to the viewer He first etched in Saskia to help create the illusion that she is behind Rembrandt This was likely etched in a mirrorit depicts Rembrandt as left handed, yet he used his right Function: Private artwork comments on the nature of their relationshipWe are getting a view into a private moment as if we have literally interrupted it Context: Depicts a thirty year old Rembrandt and his wife Saskia, two years after they were married Rembrandt is one of the most prolific etchers of his time with nearly 300 to his name many of his early etchings have the immediacy and spontaneity of a rapid sketch Highly experimental artistUsed a soft ground to allow him to draw freely on the plate He is also well known for his portraitsHis style changed greatly over his lifetimeWith his early works we see a much more extensive use of ChiaroscuroHis later works show his evolved confidence as an artistWith the Self-Portrait with two circles we see him defiantly claiming his geniusWe also see his comparing of himself to the likes of Giotto with the two circles in the background Content: Obviously, this is a marriage portraitdepicts a young Rembrandt with his wife SaskiaThis is the only etched portrait of the two together Rembrandt rarely depicted himself as the contemporary GentlemanAgainst the style of time We are present in sceneWe appear to have interrupted an intimate moment This etching also marks the first time Rembrandt depicted himself as an artist in the workLike I said before, this was probably etched in the mirror causing a reversed image While this is the only portrait of the two together, it was not unusual for Rembrandt to use his wife as a model

Chartres Cathedral. Chartre, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass. (Chartres Cathedral 3 images, Great Portal of the west Facade, Plan, Notre Dame de la Belle Verrière window)

legend says that the church was built on the site of a Druidic temple--whether or not this is true, we do know that it was built on the site of a Roman temple long history of use as a Christian space: used for Christian worship since around 200 CEby 1000 CE there was a substantial church in the site Chartres has always been associated with the worship of the Virgin Mary 9th century: the church received a relic* from Constantinople: the tunic of Mary (or the Sancta Camisia) this relic made the church a hugely popular pilgrimage site (which also made the church very rich) the Romanesque church on the original site burned down in 1194--but the tunic was found three days later, unharmed!the people of the town took this as a divine message that they should rebuild the church so that it would be as grand and beautiful as possible, deserving to be the worship place of Mary work on the reconstruction of the cathedral started around 1220 Form the formal plan of the Church is a Latin cross with three aisles, a short transept, and an ambulatory the high nave is supported by double flying buttresses three part elevation of nave arcade, triforium, and clerestory the absence of a gallery, which would have usually been present as a four-part elevation, was a conscious choice made by the architect in order to increase the amount of space for stained glass windows uses pointed arches and ribbed vaults inside the body of the church, which is very typically Gothic everything was meant to move the eye upward the radiating chapels, which in a Romanesque church would have been separate spaces of their own behind the altar, were integrated into the larger area of the church, which allowed for light to permeate all parts of the church Gothic unified space based on a cruciform basilica plan, with a transept intersecting the nave being added after the fire transept provided an extra entrance/exit, which was good for the flow of people in total, Chartres has nine portals (aka doors) the nave is the widest in France and is 121 feet high Content everything about the church was chosen by architects in the effort to create "heaven on Earth" one of the best examples of Gothic cathedralsnew focuses on more airy, open spaces; thinner walls, and geometrypeople used the perfect proportions of geometry to try to simulate and bring to mind the balance, harmony, and beauty of the world that God had created part of the old Romanesque cathedral remains intact on the west-facing facade--it is easy to tell which part because the walls are much thicker, with small windows, and is organized according to the golden ratio jamb figures the relief figures that are carved into either side of the portals/doorwayskings and queens of the Old Testament each is attached to a column carved in Gothic style representations of spiritual beings--not naturalistic in any way they seem to levitate, with no real weight to their bodies stretched out vertically their drapery obscures their bodies meant to represent gatekeepers: they "watch" the people in a kindly and calm way as they enter the church, reminding people of the ever-present eyes of God huge Gothic emphasis on stained glass large windows were made possible by the use of flying buttresses, which supported the weight of the walls and allowed them to be much thinner and taller flying buttresses took the outward thrust of heavy ceilings and directed it out and down; allowing for the structural design of the church to be taken out of the church itself "floating planes of light" were meant to make people feel completely surrounded by light; inundated by the spiritual presence light was seen as a divine symbol because it was beautiful and immaterial, so people saw it as the closest thing that they could get to the divine realmlight entered the stained glass windows and cast colored patterns on the walls and pews of the church; moving during the day according to the movement of the sun vivid, rich colors used in the glasslarge rose window in the north transeptbordered on the bottom by additional lancet windows that form almost an entire wall of stained glassthe rose window images correspond with the structural program found surrounding the portals of the church; in the middle is he Virgin Mary with her son, Jesus, then above her four thrones with angels and the Kings of Judea, who were Mary's ancestors, and finally several minor prophets surrounding the rest of the program and the lancets below her shows how God foretold all of the events of Christianity from the start: it was his divine plan to have a son born on Earth to Mary who would go on to save mankind from their sin north transept portal has intricate jamb figures some are from pre-fire and some are from post-fire, so there is a marked difference in the Romanesque v. Gothic sculptural stylerelief archivolt sculptures protrude many feet from the side of the church, almost forming their own chapel Romanesque:shows God speaking the Word, then the Word becoming material (ie Genesis, with the creation of water/earth, Adam/Eve, etc.)--all devoted to the time before Christan emphasis on Mary, who is being crowned in the tympanum additionally shows Mary as a baby, Mary holding Jesus, and Mary ascending to heaven Gothic:much more elongated, proportional, with a larger intricacy of drapery and greater emotional expressionAbraham, Isaac, Moses, Samuel, David, Isaiah... a bunch of different Old Testament prophets, who foresaw the coming of Christ how they relate to each other aids in their didactic purpose; for example, Abraham looks up to the angel that will stop him from slaying his son, Isaac the chancel screen (aka a screen separating the area around the altar from the larger nave) once sported an astrological clock that told the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current zodiac sign (unfortunately it was destroyed in the 18th century) Function was a hugely popular pilgrimage sitethe dimensions of the church were constructed in order to facilitate the easy flow of large numbers of people aisles surrounding the nave and behind the altar meant that people could walk all the way around the church, see the relic, and exit, without ever having to walk in front of the altar people in the Middle Ages embarked on pilgrimages in order to gain health, divine goodwill, or to ensure their place in heaven during the afterlife many components, such as the guardian jamb-figures and the stories told in the stained glass, were constructed to aid in the pilgrims' journey; the jamb figures reminded the pilgrims of the ever-present merciful (yet nonetheless judging) eyes of God and the angels, and the stories in the stained glass were didactic, telling scenes from the Old and New Testament--helpful, for many at the time were illiterate Chartres was a breakthrough for Gothic architecture because it was the first cathedral in which the flying buttresses determined the overall exterior aesthetic plan of the building--previously, architects attempted to conceal or camouflage the flying buttresses into the larger walls of the cathedrals, by the flying buttresses of Chartres had to be so extensive in order to support the extraordinarily tall nave that this just wasn't an option

Hagia Sophia. Constantinople (Istanbul) Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.

ontent:Longitudinal and Centrally planned BasilicaThe dome is on top of a square this is called pendentive Two half domes come from that square Four Minarets pencil minarets the place from which Muslims would be called to prayer when Hagia Sophia was a mosque The Sultan's Lodge The private and elevated balcony from which the Sultan would worship It was secluded because only certain people were allowed to talk to and interact with the Sultan. MihrabIs off center because it faces and oreinets itself towards Mecca, but the original church was oriented in a different direction. Arabic CalligraphyThe highest form of Islamic art takes years of training Context:Hagia Sophia, Istanbul, 532-37 (architects: Isidore of Miletus and Anthemius of Tralles)Formerly Constantinople, RomeCommissioned by Emporer ConstantineShowcased his power as the Roman emperor. As the Roman Emperor, he had a lot of power within the church, one of those powers was to appoint the patriarch of the church. Hagia Sophia as it is today is the third version of the building because the first two were burned down during riots. The building of Hagia Sophia put to work many citizens who would have otherwise been rioting.The current dome is taller than the original dome was because the increase in height helps to better distribute the weight of the dome. Iconoclasm The reason that there aren't any images or large mosaics of biblical scenes is because of the period of Iconoclasm or opposition to images of God and Jesus. Arabic calligraphy the other reason that there are no biblical images in Hagia Sophia is because it was turned into a mosque after the sack of Constantinople. In mosques, the only form of art is Arabic calligraphy from the Qu'ran and geometric patterns, and so any imagery in Hagia Sophia was destroyed when it was converted into a mosque. Form:Two floors centered on a giant nave with a great domed ceiling, along with smaller domes Towering above (high)Central and Longitudinally planned Basilica Function:Cathedral Mosque 1453Museum est. 1934 Vocabulary List1. Hagia Sophia - (n.) "holy wisdom" in Latin2. Minarette- noun. a tall slender tower, typically part of a mosque, with a balcony from which a muezzin calls Muslims to prayer.3. Squinch- noun. a straight or arched structure across an interiorangle of a square tower to carry a superstructure such as a dome.4. Apse- noun. a large semicircular or polygonal recess in a church, arched or with a domed roof, typically at the eastern end, and usually containing the altar.5. Pendentive- noun. a curved triangle of vaulting formed by the intersection of a dome with its supporting arches.

Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 C.E.; altar frescoes: c 1536-1541 C.E. Fresco. (Sistine Chapel 2 images, The Delphic Sibyl, The Flood)

orm every surface--ceilings, floors--are covered in mosaic and fresco Function where the College of Cardinals decides who the next pope will be Content ceiling vault completely covered in fresco9 Old Testament scenes separated by painted architecture Context Michelangelo began work on the frescoes in 1508 for Pope Julian he continued work on it for 4 years, but took a break in 1510, and the frescoes painted after this time are palpably different--compare the complex narrative of The Deluge, which uses smaller figures, to the more idealized, monumental figures in God creates Adam the vault frescos are undeniably some of the most important images every painted--they turned into an "academy" for painters, meaning that up and coming Renaissance artists would visit the chapel in order to try to study and imitate the monumental weight, harmony, strength, anatomical perfection, and elegance of Michelangelo's figures the chapel has recently undergone a controversial cleaning in which soot and grime from years of the chapel's use were cleaned off to try to bring back the rich colors of Michelangelo's vision