Kristina Johnson AP 250

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

1) Edirne was the first major city that Europeans traveling to the Ottoman Empire reached—so building a large complex here offered the Sultan an opportunity to use architecture to impress the Ottoman Empire's greatness upon visitors. 2) The mosque's epigraphic program—its inscriptions, was developed after the devastating defeat that the Ottoman fleet suffered at Lepanto in 1571 against the navies of the Christian Holy League 3) exterior is clearly not an artistic afterthought but rather an elegant, architectural shell vital to the overall composition 4) The architect had wanted to disprove claims that no architect could match Hagia Sophia. 5) Muqarnas are the faceted decorative forms that alternately protrude and recess and that are commonly used in Islamic architecture to bridge a point of transition—in this case, the broad base of the dome above and the slender piers below

Frontispiece of the Codex Mendoza Viceroyalty of New Spain. c. 1541-1542 C.E. Ink and color on paper

1) First viceroy of New Spain created a codex to keep and record information about the Aztec empire to send to Emperor Charles V, spanish King of this period 2) Art was done by a native artist but notes in Spanish were added. Codex shows a history of the Aztecs for Charles V or the Holy Roman Empire 3) Mix of native and European art beucase the New World was largely completed by native artists paid by Spanish patrons 4) Spanish paper, instead of indigenous amate bark paper or deerskin. Pigment on paper (substance used as coloring). Blue pigment crisscross patern represents canals in Tenochtitlan. Divided into three sections: a history of each Aztec ruler and their conquests; a list of the tribute paid by each tributary province; and a general description of daily Aztec life 5) Utilizes pictograms made by Aztec artists. Ecclesistical patrons also paid for religious works to be made. This scene shows the founding and conquerin gof Tenochtitlan and other Aztec cities

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

1) Great philosophers and scientists that all lived at the same time pictured together. Almost every great Greek philosopher even though they lived at different times 2) Split into two sides - Plato and Aristotle 3) Architecture looks Ancient Roman (barrel vaults and representations of classical sculpture). Linear perspective 4) Originally a library (LEARNING), sharing ideas with each other, 4 branches of human knowledge, liberal movement in church history 5) Figures are highly idealized, seems effortless to paint these, pope's private library and considered some of the most supreme works of the renaissance, may have been more influential but he died so young.

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

1) Highlights protestantism, the faithful gain salvation. 2) The left side depicts the Last Judgement: Moses holding the Ten Commandments, the Old Law of Catholicism, and a skeleton chasing a person into Hell, signifies the Old Law and is not substantial enough to live a good life. 3) Right side: shows a figure covered in Jesus' blood showing that faith in Christ alone is needed for salvation 4) Violence of the 16th century was fueled by differences in beliefs towards how one gets to heaven which included the destruction of a great number of works of art. This is the most influential image of the Luther Reformation (an effort in 1517 to restore the Catholic Church but ended up turning into a rebellion). 5) Woodcut, allows piece to be mass-produced for cheap. Reputation of artist spreads faster and shading is more emphasized.

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

1) Jesus is never depicted on the ceiling. Not a single scene is from the New Testament. Not a single directly christian figure 2) The flood: errors of human ways, depicts Noah and his family fleeing the rising flood in Genesis, remaining figures cling to the top of a mountain for safety, ark is the only safe haven 3) Distinguished from the renaissance because the story is told through figures, all his figures are almost always nude and incredibly bugg 4) Human form = ideal form because that is the form that God created. If you wanted to convey important ideas you had to do it through bodies (twisting and turning bodies), these are ideas he got from later Greek art and copies he saw from roman art 5) Painted all of this but he did not consider himself a painter (sculpture was the central art form because it was the form that was most like God)

Venus of Urbino Titan. c. 1538 C.E. Oil on canvas

1) Nude reclining woman, nudity was only considered acceptable if it was depicting Venus. The actual woman depicted was unknown because she was undercover as Venus. Feeling of sensuality. Looking directly at the viewer. Canvas divided into two scenes. Figures in the right background balance the mass of her body on the left without distracting from it (smaller and distant). Altered anatomy but not immediately noticeable. 2) Began experimenting in different ways with glazing to create softness and richness of color and visual sensuality. Represents the allegory of marriage and to teach fidelity and motherhood 3) Glazing!!!!! Artist applies very thin layers of oil paint (nearly translucent). This created a lustrous appearance. 10-15 layers of paint. Glows in a certain softness (sensuality again). Use of chiaroscuro WITH glazing 4) The way the artists borrowed from painting of Flanders and brought oil paint to Italy, Tital got the position/style of reclining female nude from painting by Giogione. Began the female nude as a genre. 5) Subjects have psychological dimension as well as expression of subject's notability/high position. More realistic body types, calmer and not a dramatic scene being portrayed. Not complex poses. Not very colorful or bright. Can see the entire face.

Hunters in the Snow Pieters Bruegel the Elder. 1565 C.E. Oil on woods

1) winter, hunters returning forma day out. playfulness in the center on the ice. daily routines, labors of the people (peasants), activities 2) steep diagonals guide one's eyes deeper into the complex painting. high horizon line, a lot of things can be happening in the expanded space. 3) northern renaissance: more common and imperfect scenes, where the italian renaissance shows the perfect and beautiful moments. 4) mannerism: still life is elevated from the lowest form of painting to an accepted art form 5) genre painting: scenes of everyday life, acceptable forms of finishes art

Terra Cotta Fragment Lapita. Solomon Islands, Reef Islands. 1000 B.C.E. Terra cotta (incised)

1- "Lapita" refers to an ancient Pacific culture which archaeoligists believe to be ancestor of the contemporary cultures of Polynesia, Mirconesia, and Melanesia (sub regions of Oceania). culture gets its name from the site of Lapita in New Caledonia (french territory in south pacific). dont know the precise region but originally came from southeast asia 2- Lapita peoples began spreading east through the islands of Mealnesia into the remote islands. Lapita art best known for ceramics 3- patterns incised into the pots before firing with a comb-like tool to stamp designs into wet clay. some designs may have been related to patterns seen in modern polynesian tattoos and bark cloth. 4- number of freestanding pottery figures depicting anthromorphic and zoomorphic subjects have been unearthed at Lapita sites, as well as a single bone image representing a stylized human figure

Last Supper Leonardo da Vinci. c. 1494-1498 C.E. Oil and Tempera

1- "artistic rendition of the Last Supper" 2- meant to remind viewers of the denial of betrayal by his followers and the Passover Seder 3- expressions and body language are artist's interpretation of the REACTION of Jesus giving them all the news of someone's betrayal 4- each apostle can be identified by his reaction and what we know to be true of each of them from the bible 5- used linear perspective here which helped to pioneer this because this was such an important painting

Temple of Minerva and sculpture of Apollo Master sculptor Vulca. c. 510-500 B.C.E. Original temple of wood, mud brick, or tufa; terra cotta sculpture

1- Among the early Etruscans, the worship of the Gods and Goddesses did not take place in or around monumental temples as it did in early Greece or in the Ancient Near East, but rather, in nature. Early Etruscans created ritual spaces in groves and enclosures open to the sky with sacred boundaries carefully marked through ritual ceremony. 2- While the desire to create temples for the gods may have been inspired by contact with Greek culture, Etruscan religious architecture was markedly different in material and design. 3- These colorful and ornate structures typically had stone foundations but their wood, mud-brick and terracotta superstructures suffered far more from exposure to the elements. Greek temples still survive today in parts of Greece and southern Italy since they were constructed of stone and marble but Etruscan temples were built with mostly ephemeral materials and have largely vanished. 4- roughly divided into two parts—a deep front porch with widely-spaced Tuscan columns and a back portion divided into three separate rooms. Known as a triple cella, this three room configuration seems to reflect a divine triad associated with the temple, perhaps Menrva as well as Tinia (Jupiter/Zeus) and Uni (Juno/Hera). 5- high podium and frontal entrance. Approaching the Parthenon with its low rising stepped entrance and encircling forest of columns would have been a very different experience from approaching an Etruscan temple high off the ground with a single, defined entrance.

Forum of Trajan Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column)

1- Basilica was an administrative building, ancestor of the church (later used as a base of what the church looked like); temples around perimeter, took hot warm and cold baths as a social engagement 2- greek: agora build by city state; roman: wealthy families donated money for these and that name was all over. Triumph arches: paraded from end of city to the arch 3- was a space for public meetings, courts and governmental agencies, for public monuments, military triumphs, glorified state and ruler, conveyed stability and power of rome 4- last major imperial four built in Rome - also the largest and most innovative. gift to the people and state form Trajan that also glorified his rule. designed for him to make a major gift to rome 5- equestrian statue: man on a horse. disappeared for a long time and then reappeared in the Renaissance. Roman idea shows the guy very big and the hierarchy scale suggested power and importance. the horse was added for an intimidating effect.

Pazzi Chapel Basilicia di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c. 1429-1461 C.E.

1- Brunelleschi invented the system of mathematical perspective that would revolutionize painting. 2- in Florence, he came up with an elaborately designed plan to finally build a dome on the Florence Cathedral, one of the greatest engineering triumphs in history 3- revolutionized architecture by creating a style of architectual design aimed at returning buildings to the balance, harmony and geometric perfection of Classical architecture. read something in original latin and used that text to correctly render greek and roman orders on buildings 4- only color added by roundels of terracotta designed by Luca Della Robbia and executed by his and his brother's workship 5- sculptors were themselves innovative: they created way of 'vitrifying' (hardening like class) the glazes of the terracotta and thus created more brilliant and long lasting colors

Audience Hall of Darius and Xerxes Persepolis, Iran. Persian. c. 520-465 B.C.E. Limestone

1- Built as a seat for spectacular receptions and festivals 2- Relief sculptures depict delegations from all parts of the empire brining gifts tone stored in the local treasury 3- Audience hall has an apadana with 36 columns covered by a wooden roof 4- Stairways adorned with reliefs of the new Year's festival 5- Colums has a bell shaped base that is an inverted lotus blossom

Röttgen Pietà Late medieval Europe (Germany). c. 1300-1325 C.E. Painted wood

1- Christ is on the cross, but never suffers. His divinity overcomes all human elements and so Christ stands proud and alert on the cross, immune to human suffering 2- Late medieval devotional writing leaned toward mysticism and many of these writers had visions of Christ's suffering. Francis of Assisi stressed Christ's humanity and poverty 3- Christ clearly died from the horrific ordeal of crucifixion, but his skin is taut around his ribs, showing that he also led a life of hunger and suffering. 4- In Catholic tradition, Mary had a special foreknowledge of the resurrection of Christ and so to her, Christ's death is not only tragic. 5- Even though the statues are horrific, the intent was to show that God and Mary, divine figures, were sympathetic to human suffering, and to the pain, and loss experienced by medieval viewers

Lamassu from the citadel of Sargon II, Dur Sharrukin Neo-Assyrian. c. 720-705 B.C.E. Alabaster

1- Description: this is a relief sculpture (high relief). Mix of man and beast. Body of a bull and wings of a falcon or another bird of prey, stylized head of the king. Compound figure. Followed by an attendant carrying something - maybe doing a ritual? 2- Meant to be symbolic - meant to be painted which would have brought more of a sense of realism 3- Largest use of stone in this culture 4- Compound figure: made of several different beasts 5- Has 5 legs, why? Looking at it from the front it is standing guard, looking at it from the side shows it walking. Supposed to view it either from the side or from the front. Not supposed to see it from this view where there are 5 legs - two views in one sculpture

Dedication Page with Blanche of Castle and King Louis IX of France, Scenes from the Apocolypse from Bibles moralisées. Gothic Europe. c. 1225-1245 C.E. Illuminated manuscript

1- Each figure is set against a ground of burnished gold, seated beneath a trefoil arch. 2- made expressedly for the French royal house, include lavishly illustrated abbreviated passages from the Old and New Testament 3- On beholding the Morgan illumination, viewers would have immediately made the connection between this earthly Queen Blanche and her son, anointed by God with the divine right to rule, and that of Mary, Queen of heaven and her son, divine figures who offer salvation. 4- represents the cutting edge of lavishness in a society that embraced conspicuous consumption. 5- The nobles, church officials, and perhaps even common folk who viewed this page could be reassured that their ruler had been well trained to deal with whatever calamities came his way.

The code of Hammurabi Babylon (modern Iran). Susain. c. 1792-1750 B.C.E. Basalt.

1- Emphasizes hammurabi's power because he is in the presence of a God. Being able to approach a God represents someone very powerful. Hammurabi appears to be taller even though the other person is sitting down it puts a lot of power in him. God is reaching out, giving him a rod and a ring - symbols for his ability to design a kingdom or a law code 2- about the power of the person who made the code 3- More symbolic than an acutal code because you can't translate a picture 4- Rays of sun behind him alludes to his connection to the sun and the stars. Really powerful because he has four horns (four pairs). Not sitting in a chair, but he is on a ziggurat so he is symbolically sitting on a temple - he is above the ground and hammurabi is not. 5- Stil represnting himself as a servant of the God not as the God himself

Statue of Votive figures from the Square Temple at Eshnunna Sumerian. c. 2700 B.C.E. Gypsum inland with shell and black limestone

1- Of a specific person but still a generic portrait and abstract and thus symbolically eternal and general instead of specific and temporary 2- Purpose: placed in the temple to stand in front of the God 24/7 and offer continuous prayers - Attentive (shown through the over-exaggerated wide eyes), humble, - These are very stereotypical 3- Different sizes because meant for people of all different wealth; Size indicates importance (more powerful=bigger statue=more expensive) 4- Can only tell male from female by whether or not they have a beard and because the garments on them are different (one shoulder is exposed, sleeve only on one side), 5- This is a votive offering: devotional picture; Frontal: meant to be looked at the front; Stylized: recognizable form but it has been generalized and abstract so that it can last longer and have meaning for longer

Athenian agora Archaic through Hellenistic Greek. 600 B.C.E.-150 C.E. Plan

1- Panathenaic Festival, ceremonies and parades to honor Athena - held here 2- Place of commerce, symbol of democracy's birth, 490s-500s BCE 3- 1 procession every year = veneration to the goddess Athena 4- The Tholos: 50 members of the senate stayed here at all times, that way the government was always ready in case of an emergency. 5- The Monument of Eponymous Heroes: Each citizen belonged to a tribe, and every tribe was represented on this monument. The people of Athens would go to this monument to read the news and announcements for their tribe that was posted under their tribe's statue.

Standard of Ur from the royal tombs Summerian. c. 26000-24000 B.C.E. Wood inlaid with shell, lapis, lazuli, and red limestone.

1- Standard was a flag brought into battle; Intentionally buried - found in tombs. Original archaeoligist called them royal but we don't know if they are for sure - they must have been important enough to have this but we don't know for sure if they were royal 2- The materials used tell us that it is a luxury object and it also tells us that they must have had trade routes and that the people who made this were important enough to get these luxuries 3- Object that can easily be carried. Long side represents peace and prosperity. Made with pieces of shell. Showed us the different roles performed in society. Scenes divided into registers - start at the bottom. 4- King is so tall it breaks the boundaries. Wearing different clothing. Has one leg that seems to be an animals leg 5- One side is terrible violence, warfare. Fallen people (enemies) have very specific detail, especially about their injuries. This same side is a scene going into battle. We see four people dead but it was clearly symbolic of a much greater number. soldiers are in regular placement which shows they are marching along

Niobides Krater Anonymous vase painter of Classical Greece known as the Niobid Painter. c. 460-450 B.C.E. Clay, red-figure technique

1- Story: One side is Apollo and Artemis killing Niobid's children. This is because Niobid bragged about her children to Leto, so Leto's children (Artemis and Apollo) kill Niobid's children; Focus on the idea of hubris 2- The other side is Hercules and Athena to his left. It could be a sculpture of Hercules, and warriors are coming to as him for protection before they go into battle; Might be about faithfulness to the gods 3: Red figure vase; Covered everything with slip except what they wanted to show up; Details are painted in with a liquefied slip; Symposium 4: Vases used in dinner parties called symposiums; A way for the citizens to have fun but in a structured way; freeborn males were invited 5- Provided a bond for the ruling classes; Play games of skill, oratory

Acropolis Athens, Greece. Iktinos and Kallikrates. c. 447-410 B.C.E. Marble

1- Temple of Nike; ionic design; Place where people make offering to Athena for the victories (Nike) 2- 4 sides - relief sculptures about the different wars Athens were involved in 3- Not perfectly spaced/flat/straight etc. 4-. Ruined - Ottoman v. Venetians 5- corrects for imperfect viewing

Tomb of the Triclinium Tarquinia, Italy. Etruscan. c. 480-470 B.C.E. Tufa and fresco

1- The tombs are intended to contain not only the remains of the deceased but also various grave goods or offerings deposited along with the deceased. 2- The rear wall of the tomb carries the main scene, one of banqueters enjoying a dinner party (above). It is possible to draw stylistic comparisons between this painted scene that includes figures reclining on dining couches (klinai) and the contemporary fifth century B.C.E. Attic pottery that the Etruscans imported from Greece. 3- Scenes of dancers occupy the flanking left and right walls. The left wall scene contains four dancers—three female and one male—and a male musician playing the barbiton, an ancient stringed instrument similar to the lyre (left). 4- Common painterly conventions of gender typing are employed—the skin of females is light in color while male skin is tinted a darker tone of orange-brown. 5- funerals were often accompanied by games, as famously represented by the funeral games of the Trojan Anchises

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

1- about autumn and harvest, also focused on beauty of the subjects as opposed to to their use or purpose 2- painting is about slow and careful discovery and what is rewarded to those who observe it 3- color harmonies: green grapes on one side and red on the other. red plums on the other side 4- wealthy merchants created a new independent country and trade wealth and they wanted artworks that would reflect their success: still life, genre paintings, landscapes 5- butterfly is about to land but is second guessing itself because of the salamander

Camelid sacrum in the shape of a canine Tequixquiac, central Mexico. 14000-7000 B.C.E. Bone.

1- accidentally discovered in 1870 in Tequixquiac, Mexico. found 40 meters inthe ground by an engineer because the area it was found had many lakes 2- was made from the remains of the sacrium of an extinct camelid (Camelidae family). made to look like a dog or a wolf 3- two hols were cut through the sacrum (the spine) and the figure also has engravings in it. the markings were made by human hands, probably with a sharp tool as the holes are carefully carved and symmetrical 4- language evidence suggests that the sacrum bone was a very important bone in Mesoamerican culture which related to sacredness, resurrection, and fire. other cultures also thought of this bone as sacred (not just the one believed to have made it)

Great Mosque Córdoba, Spain. Umayyad. c. 785-786 C.E. Stone masonry

1- added a church for Christianity. originally had mosque with church next to it, allowed both faiths to keep practicing 2- calligraphy (verses from the Quran in octagonal), grillwork: windows perforated so you can still see through them 3- arches: heavenly, weightless; mosaics were made by Byzantine craftsmen 4- similar to other mosque, if no church would be even more similar 5-. monument when Islam was dominant religion in Spain up until last moment of Islamic power

Great Altar of Zeus and Athens at Pergamon Asia Minor (represents-day Turkey) Hellenistic Greek. c. 175 B.C.E. Marble

1- art was to show people that they could overcome anything 2- Fragment that has athena at tis center: graceful and beautiful as she is fighting. Clear she is going to win. Athena is being crowned by the winged Nike. A lot of figures coming from different directions, all in motion. Swirling in counterclockwise motion. Diagonals, deep carving 3- Fragment with Zeus at its center: like athena, totally in control and there is no doubt he is the victor. Taking on three giants. Eagles and thunderbolts. Herosim, balance, even as sense of momentary and excitement. Set of symbols that spoke oaf the greeks fear and optimisn that thye could overcome chaos. 4-Altar: figures seem to be pouring out of our world. Why are the sculptures in berlin? Political ambissions of Prussia. Inheritors of the great classical tradition thought to be important to them 5- museum recontruced altar so that people would get a sense of what it would be like. Wouldve been surrounded by a great library.

Colosseum (Flavin Amphitheater) Rome, Italy. Imperial Roman. 70-80 C.E. Stone and concrete

1- basic made of concrete and then added bricks and marble to make it pretty 2- ARCHES= did not invent, but used them the most. created open areas and transferred the heavy weight in top areas down to the walls 3- built of concrete because it was extremely safe and cheap; romans were the first to use concrete in buildings 4- design: center is area where gladiators would fight, sand was on the bottom so that it would absorb the blood. seats assigned according to status. ionic columns used where the women sat because they were seen as the most feminine of the columns because they were slender and had volutes 5- political purpose: flavian family paid for the building to demonstrate the power and wealth of the family (largest in the Roman world). restored Senate authority and promoted public welfare. this was used after Nero died (he started a lot of civil wars) as a place for the public to enjoy gladiator fights and other forms of entertainment. (built on the lake in the gardens of Nero's palace, which shows shift of power after Nero's death

Alhambra Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding

1- built by the last Muslim dynasty in Spain 2- many grand rooms have vaulted ceilings decorated with maquarnas 3- formal and elaborate facade near fountain and courtyard. this was the focal point 4- Gardens, water fountains, canals, and pools are a recurring theme 5- carved stucco and painted tile were used to decorate interior and exterior walls of the palace

Bushel with ibex motifs Susan, Iran. 4200-3500 B.C.E. Painted terra cotta.

1- bushel is one of the many found near the acropolis of the city Susa at the site of an ancient cemetery. each bushel shows an individual signature for the individual craftsman. formation of Susa as a large and important metropolis city coincides with arrival of Islam. 2- attempted to find the meaning by studying and searching the areas that they were found for settlements of the same time in order to discern whether the beakers were part of funeral rituals or simply used in the home life 3- decorations suggest a connection that the people had the natural world around them - bushel has plant and animal life depicted 4- the bushel also shows images that suggest the settlement of humans such as the borders of villages and fields, this possibly suggests a sort of harmony between the people of Susa, Iran and the plants and animals of the area

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

1- can also be regarded as an example of a marriage portrait; only etching he ever made of the two together 2- identifies himself as a draftsman and that draws attention to his mastery of what was regarded as the most important basic skill of an artist 3- his practice of varying the degree to which he etched a plate 4- The figure of Rembrandt is more deeply bitten than that of Saskia, a technique that not only suggests that the artist is closer to us, but also places greater emphasis on him. 5- The figure of Saskia, on the other hand, is more lightly etched, with the effect that she is seated farther away and plays a less important role

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

1- caravaggio brings the spritual level down to somewhere that everyone can relate to 2- Christ comes in and Matthew has a spiritual conversion 3- not just Christ walking in but the embodiment of a kind of spritual force 4- the baroque is taking these intensely spiritual forms that have come out of the Renaissance, maintaining the high naturalism and building on the high naturalism of the Renaissance 5- figures are so removed from the idealized beauty of the High Renaissance

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)

1- carpet page: irish monks may connect to celtic monks who made this 2- spent an entire year making this page for meditation; total of 6 years to make the whole thing because of their devotion to God 3- incipit page: one at the beginning of every new chapter, celebration of each new chapter. 4- stylistic elements include multiple colors, spirals, dots, interlacing and abstract animals; made with ink (soot), vellum, goose-feathered quills, tempera (color). 5- unusual historic context: was moved due to viking invasions. FIRST TRANSLATED GOSPEL TO OLD ENGLISH

Arena (Scrovengni) Chapel, including Lamentation Padus, Italy. Unknown architect; Giotto di Bonde (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco

1- chapel built and was the way of atoning for the sin of usury hoping that this would help his soul to go to heaven 2- when giotto painted God he inserted a panel painting (not a fresco) 3- in almost every scene Christ moves from left to right but here Judas is an impediment 4- Jonah is swallowed by this giant fish, by this whale, so praying for forgiveness. having betrayed God, delivered from fish. 5- the sacrifice that Christ made comes down to decisions they have to make in their life. last reminder to take the stories portrayed here seriously

Bayeux Tapestry Romanesque Europe. c. 1066-1080 C.E. Embroidery on linen

1- commemorates a struggle for the throne of England between Duke of Normandy and Earl of Wessex 2- example of Anglo-Norman art 3- serves as a medieval artifact that operates as art, chronicle, political propaganda, and visual evidence of mundane objects, all of which at a monumental scale 4- depicts military tactics 5- The brutality of war is evident in the battle scenes. Figures of mortally wounded men and horses are strewn along the tapestry's lower zone as well as within the main central zone.

Palette of King Narmer 4. The palette was used to prepare eye makeup which was used to protects their eyes from the sun. It was probably commemorative or ceremonial. (2-2)

1- composition: bodies seen from above, with heads carefully placed between their legs. narmer is preceded by four standard bearers and a priest followed by his foot washer/sandal bearer. schematic lines delineate NArmer's muscle structure 2- iconography: relief sculpture meant to symbolize King NArmer uniting Upper and Lower Egypt. reviewing the beheaded bodies of the enemies he has just defeated. (symbolizes unification). bull knocking down a city or fortress symbolizes Narmer knocking over his enemies -- narrative 3- back: the king wears a short skirt and a white crown that is usually associated with upper egypt. crown signifies a specific part of the king's overall responsibilites. victims shown kneeling in front of him. shoulders are close to his body = he was bound. 4: back cont. heiroglyphics: lower one says servant and the one of the top says his name. underneath the king's feet are two people who are enemies or people that have been overthrown. left heiroglyphic represents a wall and the other one some sort of know. both are usually interpreted as names of places Narmer had captured. 5- purpose/interpretation: king depicted in human form shows him destroying enemies while when he is depicted as a strong bull it represents detroying city walls. rows of bodies represents the people he has killed. used for cosmetic purposes aka to mix eyeliner. this was an extremely large version because he was so wealthy he could afford that

Portrait of Sor Juana Inés de la Cruz Miguel Cabrera. c. 1750 C.E. Oil on canvas.

1- considered to be first feminist of the americas 2- artist wants to show her as intelligent and prominent, statement of status 3- portaiture 4- nun is surrounded by books and instruments of learning. wearing a typical nuns outfit with a nun's badge and is holding a rosary 5- purpose of this painting is to show how women can gain influence and be independent even in their situation

Chartres Cathedral Chartres, France. Gothic Europe. Orignal construction. c. 1145-1115 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass

1- converted into a Christian space in the third century 2- relics were critically important because they were believed to actually have a kind of spiritual power that could benefit those who pain homage to that 3- pointed arches opposed to round arches of Romaneque; ribbed vaults that allowed the Gothic architect to raise the height of the church 4- proportions of the entire church (relationship between windows and architecture) is meant to invoke and inspire 5- based on as so many Christian churches are on a basically plan that ancient Roman public building but Christian churches tended to make them into cruciform, into the shape of a cross by adding a transept that literally intersects the nave

Isenheim altarpiece Matthias Grünewald. c. 1512-1516 C.E. Oil on wood

1- created for the chapel of the monastery hospital in Isenheim, built and run by the brothers of St. Anthony 2- three positions 3- first position is only open on special occasions, shows that suffering has a happy ending which is good for a hospital 4- second position is partially opened, and emphasizes the promise of resurrection 5- third position is fully opened and depicts saints

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

1- crusades opened up access to relics, which encouraged pilgrimage within Europe 2- treasury because it held things. main relics in the ambulatory. roughly similar to greek/roman temples 3- reminded of your sins; if religious, you usually are located in the nave or apse. 4- basilica nace: same shape, taller, churches kept burning so they made stone roof, so it would be 'fireproof', cut stone (no concrete) 5- reliquary: head=old roman god; body=contemporary; jewels encrusted over time

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

1- cylinder used for cosmetics. kept in a room in a palace, symbol of wealth and importance for owner 2- gift to an 18 yr old as a coming of age present. ivory objects usually given to people in power but later regifted to caliphic allies in hopes they would convert to islam 3- ivory allowed for more detailed carvings and popular in roman times because it was elegant, smooth, and easily carved 4- court art and secular art included elaborate figural designs; only in religious context that the art was aniconic 5- decorated with four eight-lobed medallions which are surrounded by figures and animals

Spaniard and Indian Produce a Mestizo Attributed to Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas

1- depicts a spanish father and indegenous mother their son 2- caste painting, tried to capture reality but were largely fictional 3- family model relates to Mary, Jesus, and Joseph; seem content and happy 4- little is known about the patrons of the paintings 5- thought to be commissioned by Viceroys, stand-ins for the spanish king who brought them back from spain. possible that elites who claimed to be of pure blood were among these individuals who commissioned caste paintings

House of Vetti. Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62-79 C.E. Cut stone and fresco

1- design: construction and decoration belong to the final period of Pompeii's occupation which shows important evidence of the aesthetics of the city near the time of the cities destruction; offers key insights into domestic architecture and interior decoration in the last days of the city of Pompeii; significant not only because of its size but also important design changes of Roman houses during 3rd quarter of the 1st century BCE 2- houses for absolute TOP of society, very highest class 3- function: place for rituals of daily life and social hierarchy; used domestic display as a way to reinforce social position and as a way to advance their own fortunes; used to show their social status: clients are in the house they get a view of what the wealth of the patron is 4- houses made out of concrete, "frescoed over it" to make the walls fancy and more attractive. paintings in place of windows (generally copies of Greek culture to show their class) 5- overall the design suggests an attempt at forward looking interior decoration and offers key insights into domestic architecture and interior decoration in the last days of the city -- indicates important change

Entombment of Christ Jacopo da Pontormo. 1525-1528 C.E. Oil on wood

1- early mannerist style, however located in a small dome designed by Brunelleschi so located in an Early Renaissance style 2- Christ is lowered from the cross and is about to be entombed and Mary is mourning his death. not sure if it is entombment or deposition because artist took a lot of symbols out that are usually associated with those scenes - just gave us figures and nothing about the context 3- different from the high renaissance because giving an earthly setting was important to that time period. rejection of earthliness. 4- period of revolution, the protestant reformation. copernicus discovering the earth revolves around the sun. 5- mannerist style: new spirituality as opposed to the natural realism of the Renaissance. mannerists moved away from the High Renaissance emphasis on having a central point that the eye is led to, and instead created works that made the eye wander around the painting

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

1- exaggerated contraposto compared to Greek and Roman statues. life-size 2- built for the Medici palace NOT for the public. even though it wasnt meant for the public the courtyard it would've been placed it could be seen by the public 3- overt sexuality: seen in the exaggerated contraposto and the feather from the hat that goes up really high, 4- brought back life and movement to sculptures 5- statue has an embodiment of the promise of a long rule. david will grow up to become a powerful ruler and therefore the family will also come into power

Mortuary Temple of Hatshepsut Near Luxor, Egypt. New Kingdom, 18th Dynasty. c. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite.

1- form: built out of the living rock, monumental size 2- materials and technique: huge temple created out of the rock. sandstone, stability after a period of instability, expressed power of Hatshepsut through monumental size 3- content: hatshepsut = subject, ruled at beginning of New Kingdom, wanted to show authority and stability. temple, lots of columns, 3 levels, ramps. her birth and divine origins are shown here - her story 4- original context: located in the Valley of the Kings. reasserting that she was equal of a male pharoah, made this massive monument to prove that - she is not buried here (but her lover is) 5- mortuary temple, so it was made to perform rituals in before Hatshepsut was buried. made for people to give her and the gods offerings.

Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 B.C.E. Cut limestone.

1- form: shape represents the ben-ben (mound) frmo the creation, also represents the rays of the sun 2- materials and techniques: made out of limestone blocks. they were transported from the quary to the site and closely packed together 4- content: each side of the pyramid of oriented towards a point on the compass. each pyramid has a funerary complex adjacent connected by a formal pathawy used for carrying the dead pharoah's body to the pyramid to be interred 5- site is Egypt located on the West Bank of the Nile. Significant because the Nile was the center of their lives. allowed Pharoah to ascend to the Gods and represented reincarnation from Horus to Osiris - built to last forever, sign of long and prosperous reign

Temple of Amun-re and Hypostyle Hall Karnark, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: c. 1550 B.C.E.; hall: c. 1250 B.C.E. Cut sandstone and mud brick.

1- form: sunken reliefs, sanctuaries, columns and hypostyle hall, open courts, pylon gates, clerestory lighting 2- materials and techniques: pieces were taken from structure previous rulers had built. sandstone, torus moldings, mud brick, paint 3- content: temple for worship and a place for priests to live. pylon gates: two large sides, symbolize mountains. hypostyle hall: clerestory lighting, restricted access. papyrus throughout temple symbolizing New Kingdom 4- original context: Luxor was an important political and religious center since it was part of ancient city of Thebes, the capital of Egypt. Temple of Luxor, located near the banks of Nile 5- religion, exclusive to important people

White Temple and its Zuggurat Uruk (modern Warka, Iraq). Sumerian. c. 35000-3000 B.C.E. Mud Brick.

1- form: white washed, elevated for Gods, mesa-like form, middle of the city to show off their wealth, mud brick 2- materials and technique: mud brick, white washing, white plaster, roof was tar and brick 3- content: temple (empty throne), statuary (votive figures), steps and ramps, wooden shelves, podiums, altar, very few objects, animal bones (burials) 4- original context: middle of the city to show off wealth, priests allowed access, monument for Gods, elevated 5- temple for worship; largest structure at its time, employed lots of people, sign of people's faith, someplace to look up to

Apollo 11 Stones Nambia. c. 25000-25300 B.C.E. Charcoal on stone

1- found in the Apollo 11 Cave in the Huns Mountains of southwestern Naminia - brought to the cave from another location indicating ritual use. 2- the rocks were buried, making it easier for scientists to estimate when the work was created because they can take Radio-Carbon test from the soil in which it was buried in. this method tells us that the work is very old 3- seven painted stone slabs of brown-grey quartzite that depicts a variety of animals painted in the charcoal. don't know the animal. because people at this time could not read or write this is the equivalent of the most complete information of the depicted being. 4- the shelter this was found in was an active site of ongoing human settlement. indicate a tradition of rituals. could have been a way for various groups to establish their location. left stone might be human legs; symbolizing the relationship between the animal shown and humans

Winged Victory of Samothrace Hellenistic Greek. c. 190 B.C.E. Marble

1- found on the island in the north of Aegan. found in a sanctuary in a harbor. 2- portrays a goddess of victory. a messenger goddess who spreads the news as victory 3- moves in all sorts of directions. grounded by her legs, torso lifts up and abdomen twists, wings move back 4- drapery. sense of responding (in this case to natural forces) opposed to relaxed. 5- using the body for tremendous expressiveness force

Il Gesù, including Triumph of the Name of Jesus ceiling fresco

1- founded as the mother church of the Jesuit order (because of the centrality of its location in Rome?). the name is a glorification of the name Jesus 2- appeal to imagination rather than the intellect and the mind because there is a sense of focus 3- the name of Jesus is on the ceiling which encompasses the theme of the whole church 4- removal through the council of trent. council of trent wanted to direct this through simplicity, however it looks ornamental because of the materials themselves. could be said that they're spare because their classicizing 5- ceiling with frescoes. coming together of architectural space (all realms of elements coming together).

Catacomb of Priscilla Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco

1- frescoes: madonna and child, the Good Shepherd, Abraham and Isaac depiction, breaking of the bread 2- new christian converts raised on previous ideals and they saw old traditions and experiences and wanted to continue this in their religious experience. change in burial practices (went from cremation to inhumation). 3- outside city walls, adjacent to major roads, romans built catacombs into the ground. families generally would have chambers or cubical dug to bury their family, wealthy romans had sarcophagi or marble tombs carved for their burial. 4- christians wanted this too so Christian catacombs were often dug adjacent from non-christian tombs. sarcophagi with Christian imagery were supposedly popular with richer christians. status of christianity not very high. romans did not understand their religion and so many things were mistaken. (nero killed all of the christians in rome and persecuted others). gained statues when constantine converted to christianity and later made it the official religion of the roman empire. 5- old testament stories illustrated to show christian idealogy. stories and serious images from the old testament. themes of death, resurrection, and salvation. portraits of the evangelists and their symbols. depicts Christ as true teacher and a philosopher surrounded by his students or disciples.

Grave stele of Hegeso Attributed to Kallimachos. c. 410 B.C.E. Marble and paint

1- funerary sculpture, grave marker, similar to modern gravestones. 2- privately owned, not owned by the state but still in a public place. 3- Represents a change because funerary art from the Archaic Period was more similar to Peplos Kore while this is more of a grave stone like we see now. 4- disappearance during high classical movement (maybe while sculptors building acropolis?) 5- Domesticizes the female; "quiet reverence" - keeping with tradition of the high classical that we see in Parthenon sculpture

Last judgement of Hu-Nefer, from his tomb New Kingdom, 19th Dynasty. c. 1,275 B.C.E. Painted papyrus scroll

1- guidebook on how to get through the next world; Early egyptian history has idea of immortality but is mostly connected to pharoah 2- Towards end of new kingdom this belief is individualized - individual afterlife instead of it connecting ot the pharoahs afterlife 3- NEW KINGDOM 4- ancient text that contained spells, prayers, and incantations - things that were thought to be needed in the afterlife. this tradition is called pyramid text and can be dated back to the old kingdom 5- this text was found in the tomb of a scribe, scribes had a priestly status. you can see representations of the man who had died, who was buried with this text. the man this was buried with is shown in the top corner in white which shows that he has earned a place in the afterlife

Screen with the Siege of Belgrade and hunting scene Circle of the González Family. c. 1697-1701 C.E. Tempera and resin on wood, shell inlay

1- hunting scene inspired by tapestry made in france, inspired by japanese folding screen and lacquer box 2- battle of belgrade scene: between the Hasburg empire (spanish empire) and the turks 3- expression of political power, intended to be viewed by women 4- intended for people coming and visiting 5- hunting scene: focuses on landscape elements, dimension

Augustus of Prima Porta Imperial Roman. Early first century C.E. Marble

1- idealized depiction of the Roman emperor - meant to show Augustus as a strong leader who the people would want to follow and trust (a protector). sculptors looked back on Greek roots to make this (because it was an idealized athletic version of him rather than idealized brain) 2- context: roman civil war ended in the first century BCE, Romans conquered last of the Hellenistic city states and Octavian. Defeated the allied Roman General Marc Antony and Queen Cleopatra Octavian named Augustus and made first emperor by the Roman Senate. 3- contrapposto: the model of the King. dressed in military garb - soldier, hero of battle, conqueror. 4- breastplate depicts his "divinity", showing gods participating in return of Roman standards from Parthians. cupid at ankle- claims to be descended from Roman goddess of love, Venus. divine figure; breastplate says he is a warrior, judge's robes show him as a civic ruler. back not carved (Against a wall). right hand in orator pose - holding laurel branch (symbol of roman/Greek peace and victory)/ sword pointing down in left hand? icon statues placed in village squares to be viewed by people (who rarely saw the emperor in person so this gave them the idealized version to think of) 5- Idealized body to show his strength and power to lead everybody. The old face is to show that he has experience, old family, ancestors had been generals. Combines the two traditions (hellenistic and veristic)

Virgin and child between Saints Theodore and George Early Byzantine Europe. Six or early seventh century C.E. Encastic on wood.

1- image of Mary as the Queen of Heaven, next world. hand of God reaches down from a cloud. 2- surprising because it exists and almost all icons from this time periods were destroyed; also unusual because it is so old 3- could only use this after Christianity was the official religion 4- if you show Jesus physically you are only showing his physical side and therefore only worshipping his physical side and not his spiritual side 5- not supposed to depict real person like supposed to be sacred. destruction of icons was common in the Byzantine empire

Seated boxer Hellenistic Greek. c. 100 B.C.E. Bronze

1- last phase of ancient Greek art because the Hellenistic will end when the Roman's conquer Greece 2- hollow sculpture; lost wax casting and it would be chase so you could carve into portions and we can see that in the beard and hair so those lines are cut in the surface 3- usually Greek Sculptures are idealized figures, athletic, and nude; this figure is athletic but not young and not idealized 4- use of pathos: calls on our emotions. the beauty of this does not come from his face and figure, but rather our understanding of his life and suffering. 5- not just sitting down, but his torso is collapsing and his head is down (he is looking up but you can still feel the exhaustion). rarely see seated figures, usually they are standing noble and heroic. because he is sitting down, there is humility and humanity and informality.

Annunciation Triptych Workshop of Robert Campin. 1427-1432 C.E. Oil on wood

1- left side: portraits of donors, typically seen kneeling, possibly including figure in back (may also be patron saint) 2- center: painted on "Spec" and was created in the hope of being bought 3- right: Saint Augustine: Christ's cross the mousetrap set for Satan 4- Naturalism meant to encourage meditation and reflection through hidden symbolism and drawing the viewer into a world she or he recognized, which would then be interpreted during worship 5- small, private altarpiece for home' large ones were major traditions for churches

Tlatilco female figurine Central Mexico, site of Tlatico. 1200-900 B.C.E. Ceramic

1- located in what is now known as the Aztec Empire (Central Mexico). artistic pose and the lively hairstyles represent the experienced artistic traditions of Tlatilco. 2- before the Tlatilco figurines, ceramics had only been around for a couple of centuries. because of this, the detail of each figurine is remarkable for its time. the artistic pose and the lively hairstyles represent the experienced artistic traditions of Tlatilco 3- common theme with all the figurines: emphasizes wide hips, spherical upper thigh, and a small, pinched waist. lack of attention to hands and feet. 4- hairstyles were detailed and thought of as important to the people of Tlatilco. rare for the figurine to have two heads compared to the figurines with only one head. we don't know why the figurine occasionally has two heads (bidephalic) but some scholars believe that it represented an idea of duality

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)

1- made of marble, stucco, and gilt bronze; sculpture cut from a single marble block and marble is handled in a tactile way to emphasize textures 2- sculptural representation of Sainte Teresa's diary of her sprititual visions of God, many of which involve an angel descending upon her and plunging an arrow into her 3- natural light is directed to the sculpture by the window above it 4- skin is highly glossed, feathers of angels are rough, drapery is fluid-like, clouds are rough-cut 5- Bernini was a sculptor and an architect so he brought together sculpture, architecture, and painting

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

1- mary and jesus are lost in thought and look more human which allows us to look as if we are going to look into the portrait; angels looks as if they are kids who would be in the streets of Florence and are very playful 2- high renaissance, symbols of divinity and holiness (mary's halo has been transformed from a gold, full circle into a thin, white ring around her head and faintly around jesus' head) 3- mary is not idealized and is more natural so the landscape background resonates with the natural aspects as opposed to the gold background normally seen 4- sense of sensuality that is hard to ignore because the real beauty that can be seen "without eyes" 5- humanist approach, no more byzantine elongation of bodies, looks like a real woman

King Menkaura and Queen Old Kingdom, Fourth Dynasty. c. 2490-2472 B.C.E. Greywacke

1- materials: dark greywacke stone. paint seen in traces, red around the king's ears and mouth and yellow on the queens face. 2- structure: dyad statue: one statue consisting of two people or elements. never finished. two figures stand side by side on a simple squared base. face fronting, although Menkaure's head turned to the right making it appear that he is emerging from the structure. sense of individuality but no emotion. neither depicted in purely idealized manner (unusual for royal images). both step forward with left foot 3- rep of queen: perfect female counterpart. idealized. protective gesture that suggests this could be his mother not his qife. clearly a royal because she stands at equal height and is entirely frontal as well. dyad focused on queen rather than king 4- broad shouldered and youthful looking king, body is straight, strong, and eternally youthful. clenched fists grasps traditional short pleated kilt. wears ironic striped nemes headdress and royal beard. facial features individualized but lacks a cobra perched on brow. suggests that both wigs were covered in metal (cobra wouldve been part of that addition) 5- wife is presenting him to the gods. equal importance. king's powerful physique and stride symbolize kingship. marks of paint that could have been intended to wear away immortal. staring into space like staring into gods eyes. substitute for Ka for protection of immorality. ensure birth of king in Afterlife.

Tutankhamun's Tomb, intermost coffin. New Kingdom, 18th Dynasty. c. 1,323 B.C.E. Gold with inlay of enamel and semiprecious stones.

1- meaning/purpose: ancient egyptians believed in mummification to preserve bodies for AFterlife. believed in preservation of three elements of the soul: Ka, Ba, and Akh. tomb itself intended to be a dwelling-house for deceased equipped with anything the Pharoah might need. 2- form/materials: built out of solid gold and inlaid iwth semi-precious stones and enamel alluding to wealth. King Tut depicted in his divine form. four goddesses inlaid on coffin, emphasizing his divinity. 3- ruled after the Amarna period. during this period was when they were focused on worshipping Aten the sun god instead of Amun. moved the focus of Egypt back to god AMun and returned religious capital back to Thebes. 4- gods and goddesses show us divine rule. death mask: back of the mask covered with a Spell from the Book of the Dead which was a roadmap to the afterlife. end of collar has falcon heads on them -- connect him to images of gods 5- discovered in 1922 in Valley of Kings by Howard Carter. Valley of Kings: royal burial ground located on the west bank of the ancient city of Thebes. King Tut's tomb held objects that gave insight to this period of Egyptian life

Anavysos Kouros Archaic Greek. c. 530 B.C.E. Marble with remnants of paint

1- monumental life-size sculpture = powerful motif 2- could be used as grave markers, offerings in sanctuaries, and rarely represented a God 3- could be inspired by contact with ancient egypt. 4- earlier Kouros has greater sense of stiffness, abtrasctness of the human body, forms represented as symbols rather than humans. corresponding to a block of stone. inscribing vs here where is more carved. 5- more natural flow, rounder faces, weight evenly distributed. traditional hair and headbands. sense of aristocratic nobility. grave marker

Peplos Kore from the Acropolis Archiac Greek. c. 530 B.C.E. Marble, painted details

1- name based on what was originally thought about the piece but further research proved that was wrong. peplos: original greek costume people thought she was wearing. kore: female clothed figure found in ancient Greece. recent research says she could be a goddess and not an offering to a goddess 2- clothed in an unusual way (for the time period and place), this is how we know that it might be a goddess (similar to what other goddess' in sculptures wore. 3- could be artemis or athena, or any other goddess. we don't know because the arm that would usually hold something that would give us an identity has fallen off. 4- holes around her head suggest she is wearing a crown which signifies divinity. there is a small sense of movement in her legs. she is smiling, which is a symbol of her well-being. ideal femininity. 5-

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

1- not a wedding taking place, simply a portrait of a couple that is already married 2- italian merchant (wealth is very apparent, might be what the painting is about) 3- witnessing of the male giving the women legal authorities? won't ever really know. can't simply be just a portrait because it seems like something important must be going on 4- single candle in the chandelier = presence of god. mirror is important because scenes of the passions of christ are on the panels 5- two people in the doorway which might represent the people looking at the two figures

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

1- not pretty from the outside (byzantine churches were plain from the outside), dome was built after the first one collapsed. 2- PROPAGANDA STATEMENT: built to reassert power after riots against him. meant to be bigger than the Panthenon (constantinople's basilica) 3- dome was made to look like it is floating and therefore more miraculous. PENDENTIVES: curved triangular shapes, dome resting on a dome, built to connect 4- CUT STONE AND BRICK. white washed mosaics after converted into a mosque. everything covered in gold so that it glittered from the inside 5- adventurous and unstable: pushed down into 4 peers hold down most of roof, everything else has columns and arches that force weight out to the peers

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

1- only one that still exists with original designs from this empire 2- design elements: colonnade, cornice, transept, apse, nave, aisles, atrium. apse used to be used in court but in churches used as altar. priests and other higher up people sat in different places 3- reused columns from roman temples because they showed that Christianity was not dominant religion 4- emphasis on the interior of the churches because Christianity was viewed as something scared and mysterious that needed initiation before being able to participate 5- needed to accommodate large crowds. had to obey how meaningful and important the church was to the roman empire. because of this, they decided to create basilicas (not the first to be created, but the first to serve as meeting places/places to gather)

The Palace of Versailles Versailles, France. Loius Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens by Andre Le Notre.

1- outside is classical, symmetrical and repetitive 2- when it was being built, ancient past was seen as the root of the intellectual and aesthetic superiority they believed had descended to the french nation 3- louis made a direct link from himself all the way back to the great thinkers and builders of the ancient, classical 4- garden took over 40 years to make, symmetrical 5- fountains; 11 main and 50 total

Las Meninas Diego Velázquez. c. 1656 C.E. Oil on canvas

1- painting is very large itself; large painting inside a large painting 2- baroque art was characterized by very large images and paintings 3- raises question about reality and illusions: creates uncertain relationships between viewer and figures represented 4- in the background the mirror reflects upper body of king and queen. k&q appear placed outside picture in space in similar to position to viewer. 5- painted four years before velazquez's death, meant to be his masterwork, velazquez was a painter at hapsburg court and was the official painter for the palace

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

1- patron saint of mexico 2- when Juan Diego saw the Virgin, it verified the "new normal" of Christianity being superior to the indigenous region 3- this work is one of the reasons that enconchado was created (to fulfill the local demands of asian inspired goods); which consists of tiny fragments of mother-of-pearl onto a wooden support or canvas 4- not typical of colonial art because it lacks bright colors and is not as dramatic as European Baroque. even looks similar to byzantine art because of its flatness and shell-inlay 5- replica of the original miraculous image, symbol or purity, flower motifs underscore biblical referance to the "women of the apocolypse" in book of revelation

Great Hall of Bulls Lascaux, France. Paleolithic Europe. 15000-13000 B.C.E. Rock Painting

1- people drew this as they witnessed the migratory patterns of many types of wild animals. the walls of the cave are soft calcite, so the artist carved lines and contours into the cave instead of always drawing or painting the images on 2- "twisted perspective": the animals bodies are depicted in profile, but their horns are from a more frontal viewpoint. some animals are drawn with just the outlines of the animal and it's contour, while others are filled in with blended colors 3- archaeologists have found many stone tools that give insight to the art and the ancient humans of the time. holes in walls to support tree-limb scaffolding used to reach higher decorated places. hollowed bones that are stained with color have been found in Lascaux (used to blow color onto the walls) 4- fossilized polled has been found in Lascaux that was brought in by accident on hair or clothes (used to find more about the environment at the time, and were these Paleolithic people had been)

Stonehenge Wiltshire, U.K. Neolithic Europe. c. 2500-1600 B.C.E. Sandstone .

1- people living in the fourth millennium BC who began work on Stonehenge were contemporary with the first dynasties of Ancient Egypt, and their efforts predate the building of the pyramids. neolithic villages would tell us who created these but the few villages that were found _____. no evidence of a ruler or social class that forced the people to put that much labor into making it. means the first phase was an egalitarian endeavor: very unusual for the ancient world. took 1,500 years to make 2- built in three phases. first phase was basically building a large put and 56 smaller holes. the smaller holes were filled with either bluestones or upright wooden beams. second phase occurred 100-200 years after. set up upright wooden posts - possibly a roof - used for burials during the time period. third phase took place 400-500 years after phase two. stones and wooden beams which inhabited the Aubrey hols were taken out and 30 large sarsen stones were set in a circle. 3- historians agree that it was an important place for over 1,000 years but don't know the exact use. since it was built upon for 1,500 years so there is a theory that it is a burial ground. human remains have been unearthed (signs of illness and injury). bluestones believed to be magical and have healing power. other theories are that it is a ceremonial site, a religious pilgrimage destination, a final resting place for royalty or a memorial to honor and connect with ancestors. Gerald Hawkins suggested it was used as an astronomical calendar. 4- uses moris-and-tenon system (there is a peg and hole that keep it in place). post-and-lintel building - ways to create doorways and roofs. different types of stones, large are sandstones and smaller rocks are bluestones (unknown smaller stones). different theories of stone transportation. hills, rafts, and animals or local access.

A Philosopher Giving a Lecture on the Orrery Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas

1- philosophical shift in the eighteenth century away from traditional religious models of the universe and towards a scientific approach 2- rather than a moral leadership or heroism, this painting's "moral" is the pursuit of scientific knowledge 3- orrery is a mechanical model of the solar system; philosopher most likely based on isaac newton 4- Wright mimics Baroque artists like Caravaggio, who inserted strong light sources in otherwise dark compositions to create dramatic effect 5- figures listening to the philosopher's lecture in Wright's painting are experiencing "conversion" to science

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

1- pin to hold cloak together, luxurious 2- bird can be seed if you use a lot of imagination, became popular in later roman empire as a fashion item everyone had (cheap or expensive, everyone needed them) 3- no emphasis on realistic images, more focus on patterns 4- stylized animal forms 5- good king gives these as treasure to his warriors to keep control over them

Adam and Eve Albrecht Dürer. 1504 C.E. Engraving

1- poses of the two figures are to show off his knowledge of classical proportions, artistic training is enhanced by the birth of academies 2- not a narrative of something but an advertisement of himself as an artist 3- carving itself is labor intensive and took a long time but once the carving is finished it is easy to make a lot of prints (Why it is easily made into an advertisement for the artists) 4- use a burin to carve into metal to make the carving 5- once the lines are carved, ink is spread everywhere and then wiped off the surface but still in lines, then pushed into paper harder than a wood-cut printing press

Doryphoros Polykleitos. Original 450-440 B.C.E. Roman copy (marble) of Greek original (bronze)

1- purpose: male canon of athlete or warrior, roman marble copy of greek statue, to inspire men to be just as fit as this 2- innovations: contrappasto, example of perfect greek proportions, much more realistic: body has angles and curves, muscles defined in a more natural way 3- emotionless face can be attributed to classical period

Head of a Roman patrician Republican Roma. c. 75-50 B.C.E. Marble

1- purpose: striking and unflatteringly realistic, demonstrates old age. idealization: republicans value virtues like wisdom, determination, experience. symbolize valor and strength 2- romans respect ancestors, sign of patrician heritage, showed that their ancestors had experience, important to show you had a patrician line. 3- political tradition: later on, people who were wealthy but didnt have patrician ancestors made images of their ancestors that look like this to show that they are aristocratic and their family is important as well. 4- funerary traditions: influenced by tradition of ancestral imagines as well as deep-seated respect for family, tradition, and ancestry. imagine: respresentation of form such as 5- republican era: signs as an upper class status, rules on who could own these and who can own masks.

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

1- relies on an illusion of movement 2- undulating movement effect is enhanced by the variation in treatment of the bays between the columns with niches, moldings, and doors 3- all altars are visible unlike basilican churches 4- concave and convex shapes are used to make this church stand out 5- corinthian columns stand on plinths and bear the main entablatures

Akhenaten, Nefertiti, and Three Daughters New Kingdom (Amarna), 18th Dynasty. c. 1353-1335 B.C.E. Limestone.

1- religion: changed the state religion. Amun is no longer the main god, new monotheistic religion centered on Aten. not really a divinity. he makes him and his wife the only people who can access Aten and who can be depicted as Aten on Earth - priests were mad. after Akhenaten dies, Egypt returns to regular/traditional religion 2- context: with religion change came distinct change in style of art that was meant to distinguish his reign. some aspects still clearly Egyptian ARt. squared shoulders, eyes seen from frontal view, profile of face, one hip facing the viewer. 3- content: sunken relief stele. made for home. provides rare look at royal family. style similar to colossus of Akhenaton and portrait head of Nefertiti. 4- characterize figures of Amarna school. family basks in life-giving rayes of Aten. 5- meaning: mood is informal. sense of a couple and relationship with one another and relationship with their children was very unusual for royal egyptian art.

Birth of Venus Sandro Brotticelli. c. 1484-1486 C.E. Tempera on canvas

1- renaissance painting and not Christian because of the nudity and openness to it; sensual with a near impossible pose 2- until this painting the only nudity you saw was Eve 3- based on Roman sculpture of Venus which was also a copy of Greek sculpture 4- being born of the sea and being pushed by the winds of zephyrs that are on the left: born fully grown, intertwined in possible ways 5- landscape is depicted as flat and unrealistic and the waves are simple

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

1- represents a celestial, military, and aristocrat person: created after the christians attempted to enforce catholicism 2- mannerism influence on pose of the angel (dance-like pose) 3- church considered an army and angels were its soldiers s 4- angels with guns show the military, aristocracy, and sacred beings, and were represented with the most lavish attire 5- before the spanish conquest there were no firearms

Ludovisi Battle Sarcophagus Late Imperial Roman. c. 250 C.E. Marble

1- romans portrayed as good. idealized as heroic. enemies are barbarians, borrowed from ancient greeks. 2- large tomb that has a deep relief carving. hero coming in on horse like a sunburst. romans look stern and serious, sense of seriousness of battle 3- moments of moral decision making, be merciful or slay prisoner. sculptures get smaller towards the bottom, like we are looking down on them 4- romans are smoother and enemies are more rough and more shadowed. surface mimics chaos of the empire (instability with Augustus). attention is put on the interaction of the figures 5- classical vs antique. classical is highly realistic, normal human proportions, individualized, believable variations, space between figures, drapery is realistic. antique: no individualization of figures, proportions are way off, sculptors used a pattern, figures are layered and overlapped, no variation in pose, figures treated as simplified patterns rather than looking like real people, less concerned of the elegance of the body

Jade cong Liangzhu, China. 3300-2200 B.C.E. Carved jade.

1- round shape probably developed from bracelets. often have miniture faces carved in the sides. 2- jade is a hard substance that cannot really be carved but worn down. takes a long time for the pieces to be finished. jade is a highly prized material (above gold and silver) 3- Jade was worn by kinds and nobles in life and death. China was a collection of isolated, organized states 4- found in the tombs of high-ranking people in large numbers. thought to protect a body from decay and in the afterlife. thought to represent the Heavens and the Earth

The Tête à Tête, from Marriage à la Mode William Hogarth. c. 1743 C.E. Oil on canvas

1- series; completed in april 1743, beginning of industrial revolution 2- aristocracy is starting to lose power 3- art is made for growing middle class instead of for serving the aristocracy 4- the marriage of the viscount and the merchant's daughter is quickly proving to be a disaster 5- the decoration of the room comments on the action. picture on mantelpiece shows Cupid among ruins (love itself is ruined). in front is a classical bust w/ a broken nose that symbolizes impotence

Sarcophagus of the Spouses Etruscan. c. 520 B.C.E. Terracotta

1- shows a couple having a banquet for all eternity, banquet on the walls would be happening in the afterlife. 2- art depicts what those who have passed will be doing in the afterlife 3- life picks up where it left off in the afterlife, very similar to their actual life on earth 4- had many funerary practices: banquet with the dead, sarcophagus would be present 5- They feared that if the dead were neglected, they would become evil, so they built elaborate tombs for them; Could have items from past life in their tombs to take into the afterlife with them; similar to Egyptian tombs

Running horned women Tassili n'Ajjer, Algeria. 6000-4000 B.C.E. Pigment on rock.

1- silhouette of a woman running (you know this because of her flexed legs). many people at the time were mainly hunter-gatheres. the artwork is from an area in Northern Africa with collection of rock shelters that contained 15,000 different drawings and engravings 2- compared to work in other "rock cities" in the Sahara and throughout Africa. they used this method to find the general time period. researches place works in a chronological sequence based on style and content. 3- attributed to the Round Head Period. this was rock art from the Sahara that is known for its large size, elaborately attired people, and people with round and featureless heads 4- possibly a goddess of an agricultural religion because above her head there appears to be a cloud of grain. the horns, armlets, and dots on her body imply that she is either a goddess or dressed in a ceremonial outfit. dots could be body paint applied for a ritual

San Vitale Ravenna, Italy. Early Byzantine Europe. c. 526-547 C.E. Brick, marble, and stone veneer; mosaic

1- similar to roman mosoleums, church building traditions. 2- octagonal, made out of brick, outside very plain 3- CENTRAL PLAN tells you its s a greek orthodox church 4- derived from, eastern catholic/christianity. fancy mosaics and decoration but no sculpture 5- UNUSUAL because it is an italian church but still built under Byzantine Emperor -- no Byzantine religious sculpture

Pantheon Imperial Roman. 118-125 C.E. Concrete with stone facing

1- some historians believe that the temple was designed to worship all of the gods or at least dedicated to them. may also have been a place where the emperor could make pubic appearances in a setting which reminded onlookers of his divine status. LATER converted into a catholic church by pope boniface in 608 CE and dedicated to Mary of the Martyrs 2- design: scale and size emphasized power and Roman duty. greek influenced because it was related to Hadrian's education - studied in roman span, learned a lot about ancient greek culture. dome was innovational because it was oldest free standing dome in rome. diameter and height are the same, varies in thickness, lighter materials mixed with the concrete . oculus: allowed natural light to come in so no artificial light was used. piers: walls that arches are inside of 3- technological innovations: which concrete walls of the barrel supported the weight and pressure of the dome,, allowed a vast open, uninterrupted space, architecture could be something that shaped space and have a different kind of relationship to the viewer. 4- the renaissance and modern era: dome was most copied element, oculus was seen in almost every neoclassical building in europe and north america, pieces of the pantheon all over the world 5- structure is important example of advanced Roman engineering. walls made from brick-faced concrete was an innovation widely used in rome's major buildings and infrastructure. concrete allowed spaces to be carved out of the wall. concrete o the dome is graded into 6 layers with a mixture of scoria. ONLY ARTIFACT OF ROMAN ANTIQUITY SO IT WAS INCREDIBLY INFLUENTIAL

Seated Scribe Saqqara, Egypt. Old Kingdom, Fourth Dynastic. c. 2620-2500 B.C.E. Painted limestone.

1- symbolism: portrayed as alert with wide eyes. ready to scribe for person of importance. crossed legs means that the man could work for long periods of time. 2- usually sitso nthe ground. hand position might mean the man was in the middle of writing. simply clothed sign of humanity. 3- materials: inlaid eyes made of a ton of different things which shows how much work went into just the eyes. back of the crystal covered in organic material that gave iris of the eye its color and was also thought to be adhesive. eye held in socket by two copper clips connected to the back. 4- black paint used for eyebrows (typical for people too not just statues). hands sculpted in great detail. woodel dowels used for nipples. 5- form: sitting cross-legged, right food in front of left. skirt draped over his legs, serving as a support, and his right hand appears to once have been holding a brush. face draws attention of viewer with wide eyes. broad chest.

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 )

1- telling a story on a page with small width so the bridge bends 2- text above illustration of the story; written in Greek which was the common language of the roman empire (not latin!!!) 3- old testament, only genesis depicted 4- semi-nude figure depict water (water nymph represents river). 5- still using old greek and roman conventions in art (water nymph as river, background and foreground)

Alexander Mosaic from the House of Faun, Pompeii Republican Roman. c. 100 B.C.E. Mosaic

1- this is a battle not a sport. ruler of persia turns and flees under the fire of Alexander the Great 2- tension and torsion creates tremendous cause of dynamism 3- sense of confidence when you look at Alexander's face 4- art historians link this mosaic to a literary description of ancient greek painting by an artist named philoxeos 5- found under a layer of volcanic ash from the city

Henri IV Recieves the portrait of Marie de' Medici, from the Marie de' Medici Cycle Peter Paul Rubens. 1621-1625 C.E. Oil on canvas

1- this match is about politics in addition to love 2- sixth in a series of 49 paintings. idealizes and allegorizes marie's life in the light of peace and prosperity she brought to the kingdom 3- idealized portrayal of the conclusion of in April of 1600 of marriage negotiations that were two years in the making 4- Henry is distracted by his mistress that he promised to marry but he still recognized the political and financial necessity of the medici marriage 5- The theme of peace, which runs throughout the cycle, was indeed furthered not only in France but in Europe by the marriage alliances brokered by Marie for her children

Anthropomorphic stele Arabian Peninsula. Fourth millennium B.C.E. Sandstone.

1- title translated means resembling human form, but not itself human. stele means upright stone slab used to mark a grave or site. we can get a general description from the title alone 2- found in a small village in El-Maakir-Qaryat al-kaafa near Ha'il, Saudi Arabia, an area with well established and traveled trade routes. was one of the oldest words of art discovered in Arabia 3- meant for religious or burial purposes - simple and abstract. one of the three stelae found in northwest Saudi Arabia. over 60 other low-relief sculptures have been found in Arabian Peninsula from the same time period. even though some were found over 2,300 kilometers away they share similar characteristics that show they were made from the same people 4- clearly represents a human figure. three feet tall. side sculpted, but emphasis on front; especially fast, chest, and waist. all body parts are very simple and even the necklace is not detailed

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

1- used his knowledge of classical architecture (COLOSSEUM) to domestic architecture 2- three equal levels, classical entablatures dividing them, use of different orders on each level of the facade 3- adaption of classical roman elements 4- loggia designed, perhaps, for a family wedding... family and builder ran out of money 5- the three levels had three different distinct purposes

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

1- used to tell the story of Passover around the seder table each year 2- this version is one of the most lavishly decorated medieval Haggadot ---each miniature is decorated with a brilliant gold-leaf background 3- long flowing body, small architectural details and patterned background reveal that this manuscript was created during the Gothic period 4- the Golden Haggadah is both stylistically an example of Jewish art and Gothic art 5- stands as a testament to the impact and significance of Jewish culture in medieval Spain—and the rich multicultural atmosphere of that produced such a magnificent manuscript

The Ambum Stone Ambum Valley, Enga Province, Papua New Guinea. c. 1500 B.C.E. Greywacke

1- was a representation of species or ancestors. people believe it could be used for spiritual rituals because objects similar to this are often considered sacred. people in the region today often believe there might be powers within the sculpture. used today in spiritual rituals like fertility, hunting, and sorcery 2- found in the pacific/oceanic region - Papua New Guinea - Enga Province. most sculptures like this were found in the highland or mountain areas. said to be modeled after the long-beaked echidna found in the region and the animal used was similar to how we use pigs today 3- made from Greywacke stone. this material was very hard to work with which makes it more valuable because of the amount of labor put into it - HAD to use tools to make this it could not be done by hand. 4- Pestle category. has the head of an animal but the body is most likely supposed to resemble a human

Women Holding a Balance Johnnes Vermer. c. 1664 C.E. Oil on canvas

1- women dressed in fine clothing, holding a fine balance, painting behind her 2- light through a window, motion of time and change but very quiet and calm 3- carefully planned out: vanishing point at her finger, exact center at balances 4- changes take place during this time; painted for the merchant class (not the church), protestant reformation (not a religious subject) 5- maybe eventually led to the the industrial revolution because this focuses on science instead of religion