Content Area 3 APAH

Annunciation Triptych (Merode Altarpiece)

1427-32 CE Made in Tournai, South Netherlands Oil on oak By the Workshop of Robert Campin 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

Screen with the Siege of Belgrade and hunting scene

1697-1701. Circle of the Gonzalez family. Tempera and resin inlaid on wood with mother of pearl Form: Spanish Colonial, Flemish, Dutch Styles. FUnction: Was a decorative piece for the viceroys palace. Intended to have two different audiences view it. Content: Depicts the Battle of Belgrade of 1688. Also depicts a scene of hunting, includes natural elements. Battle Scene is shown to illustrate the power of the Hapsburgs in Mexico. the scene is from the Great Turkish War. On the other side, the hunting scene is much more relaxedn and decorative Context: It was inspired by Japanese folding screens as there was renewed trade between Spain and Japan.

74. Adam and Eve

Albrecht Dürer. 1504 C.E. Engraving. Made by German renaissance artist Albrecht Dürer Two figures standing in controposta Engraving Function Served to please the eye Made to show people the story of Adam and Eve with a new modern invention Content Adam and Eve are clearly in a german forest (evidence- the woods are shown as dark and menacing like they are in german tales and there are "devils" around the couple which are seen throughout german folklore) Adam and Eve are the first humans ever created according to the bible There are multiple animals around them including a parrot who is on a branch which identifies the artist as a citizen of Nuremberg Showcases Vitruvian (Roman architect) ideals about the human body The four animals represent the four humors in the human body (Melancholic: elk, black bile, Phlegmatic: ox, phlegm, Sanguine: rabbit, blood, and Choleric: cat, yellow bile) Context Parrots were often bought by wealthy germans at the time to show off their wealth At the time people thought that if all of your humors were healthy a person would look ideal German artists were interested in classical italian/Roman art Printmaking was super new to people at the time of its creation Dürer was credited as an agent of change from gothic to renaissance

58. Church and Reliquary of Sainte-Foy

Artist: Architects unknown, but the construction was directed by Abbot Odolric Materials: Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary). Date: The Church: c. 1050-1130 C.E. The date of the reliquary is unknown, but Bernard of Angers first spoke of it in 1010 Location: Conques, France. Romanesque Europe. Form: Romanesque pilgrimage church, and the reliquary: a container holding the remains of a saint or holy person The main feature of these churches was its cruciform plan. Looks like a cross, symbolically commemorating Christ's sacrifice. Also helped control the crowds of pilgrims, enter in the west, circle around to the east. The apse usually contained smaller chapels, known as radiating chapels, where pilgrims could visit saint's shrines, especially the sanctuary of Saint Foy. Pilgrims traveled around radiating chapels, paying homage to saints' shrines. Semi circular relief carvings on the outside. The reliquary was a gold and gem encrusted statue, containing and representing Saint Foy. Function: Has a religious function, a place of worship and pilgrimage, hosts pilgrims on their journey to Santiago de Compostela in Spain. It is also an abbey, a part of a monastery where monks worked, prayed, and lived. Visitors would be blessed, demonstrate their piety, and to be saved on Judgment day. Places like these would inspire Christians into behaving in a holy manner that would ultimately lead them to Heaven. There was a lot of misuse of church offices at the time among clergymen, elements like the carvings that you'll see speak to the misuse of church offices. Indeed, this portal was not only a warning for pilgrims, but for the clergy as well. Generally to respect Christ and honor his sacrifice on the cross for mankind's salvation. Content: Barrel-vaulted nave, with arches on the interior, the central part of the church building, meant to accommodate most of the congregation. Apse, the typically large semicircular or polygonal recess in a church, with a domed roof, usually containing the altar. Side aisles on either side. 5 radiating chapels surround the apse (in a semicircle). A cruciform outlined church. Elaborately carved relief carving on the South end of the Last Judgment. Before people would go inside to receive blessings, an important message of the Last Judgment is shown. This scene is depicted on the tympanum, the central semi-circular relief carving above the central portal. In the center sits Christ. He is depicted as in power, the one true Judge. He sits enthroned with his right hand pointing upwards to the saved while his left hand gestures down to the damned. Reminds people of the joys of heaven and torments of hell. Mary, Peter and possibly the founder of the monastery as well as an entourage of other saints are on the right of him. Below the saints on Christ's Right is an arcade (a covered passageway with arches along one or both sides) covered by a pediment, symbolizing the House of Paradise. Houses those who are saved; people who will live with Christ forever. Abraham is seated at the center. Above Abraham, the Hand of God reaches out to a kneeling Sainte Foy (Saint Faith) On the pediment's opposite side, angels open and release souls from their graves to be judged by God. A large doorway is shown leading to paradise, and a gaping mouth is shown leading to hell. Clear divide in faith is depicted on Judgment day Pediment of the Lower register of Hell has the Devil sitting in the center,smiling and surrounded by tortured souls. Feelings of pain, chaos, and cruelty all surround him. They all represent capital sin, adultery, gluttony, arrogance, misuse of church offices. Devil sits enthroned like Christ: as he has the power to judge/punish the damned. On the left of the devil is a hanged man, representing Judas. He hanged himself after he betrayed Christ. As mentioned before, the reliquary is a container holding the remains of Saint Foy, a martyr. It is golden and gem encrusted, very expensive. Those on pilgrimage would bring gems of their own to contribute. Context: Other small churches stood on sight from the 7th century. A church had stood on the spot since the 600s; the Church of Sainte-Foy was built from 1050-1130. It's an important pilgrimage church on the route to Santiago de Compostela in Northern Spain. Many churches on the pilgrimage route had a similar or identical layout. Pilgrims went to receive a blessing; their visitation = demonstration of piety The reliquary: Originally displayed in a monastery in Agen. First mentioned in written history in 1010 by Bernard of Angers, worried it would inspire idolatry because of its expensiveness. The monks at Conques stole it to draw visitors, it contained the bones of a beloved martyr. Sainte Foy, a 12-year-old French, Christian convert lived in Southern France under the Roman Empire. She was killed for refusing to worship pagan gods, making her seen as a martyr. Pilgrims would bring gems to be added to the reliquary as symbols of their piety. Includes agates, amethysts, crystals, carnelians, emeralds, and many others... The Reliquary brought/brings a great number of pilgrims or tourists. Perhaps the purpose of wanting to attract more people was to build up Conques' commerce and economy...

67. Pazzi Chapel

Artist: Filippo Brunelleschi was the architect, with other artists contributing (mentioned later) Materials: Masonry (stonework), Pietra Serena, terracotta, etc. Date: 1429-1461 C.E. Location: Basilica di Santa Croce, Florence. Form: It is an architectural structure, making use of Pietra Serena stone (sandstone). Its masonry is the load-bearing element of this building (meaning the walls support the arches and domes, not the pillars). This is a chapel, a small building for Christian worship, usually attached to an institution or private house. In terms of size, an exact measurement is not easily accessible, but it is a relatively small area. Important to note the variety of shapes involved in this structure, squares, rectangles, triangles, circles, semicircles, etc. It's obviously a three dimensional piece. It includes fluted plasters, long walls, and a dome on pendatives, among other elements. It seems to be inspired by centrally planned architecture like that of ancient Rome. Function: The building itself has the function of a religious structure, used as the chapter house by Santa Croce friars (as seen in the benches that line the wall). In other words a meeting room for monks of Santa Croce. Now it is a true representation of early Renaissance work. Includes influence from other artists besides the architect, including Giuliano da Maiano, Luca della Robbia, Desiderio da Settignano and his brother Geri, and Alesso Baldovinetti. It was also used as a classroom for teaching monks (as well as other religious purposes) There was a place where the commissioning family could bury its dead. It could also be a social expression, as well, being that it was commissioned by a wealthy and influential family at the time the Pazzis. This would've essentially been a marking of territory in Florence. Overall, it is also the embodiment of the Pazzi family's power, wealth, and perhaps generosity. This structure carries a particular importance, as seen in how it was funded even through war with neighboring cities. Content: Includes elements that are typical of Brunelleschi like the use of pietra serena / the grayish green stone. This greyish green stone articulates the decorative elements on the walls and even the white colored walls themselves (emphasizing the perfect geometry displayed throughout). It is preceded by an atrium, an entrance hall, supported by six Corinthian columns placed next to the central arch. It is a rectangular layout containing a square room, covered by a dome, and two sides of the remaining space with a barrel vault with round windows. The wall opens on a scarsella (a small square apse or large semicircular recess in a church, arched or with a domed roof) covered by a dome decorated with a fresco painting reproducing the sky over Florence. Still discussed who contributed this, but many attribute the chapel to Michelozzo, Rossellino or Giuliano da Maiano. Has the feeling of an ancient Roman temple, as in it is close to a centrally planned space like the Pantheon. There is an attention to perfect geometry and centrality, as if the artist is trying to create a classism as well as replicate the ideals and standards of ancient Rome. There are fluted plasters (decorative pillars) on the interior and long walls. There is a hemispherical dome with an oculus in the center, with windows piercing its sides. This allows a pleasant light into the building. It looks like a dome on pendentives (a structure that allows a circular dome over a square space). In the triangular spaces of this pendentive are roundels (disks, or decorative medallions) of terracotta. Luca delorobia was the artist who contributed to this. The central dome is decorated with round sculptures and the coat of arms of Pazzi Family (two paired dolphins) made of glazed terracotta, works by Luca della Robbia. The architect wanted to create a space that wasn't exactly a basilica, for it is meant to be a chapter house not a church. But there is still a desire to work with centrally planned space. Overall it emits a feeling of order, design, perfect construction, and rationality. There is a subservience to the overall design conception. All of these elements mentioned contribute in some way to the overwhelming feeling of classism in the structure. Keep in mind, it is not exactly centrally planned - for it is more broad than long. There are also small barrel vaults on either side of this dominent central dome. Pretty much Brunelleschi wanted to turn this rectangular space into a square with a dome on top, and he does so pretty well, making it appear less rectangular and more geometrically even. Context: Brunelleschi built the Pazzi chapel as a perfect space with harmonious proportions, doing this by including in his project plan the knowledge he gained during a stay in Rome, where he focused on measuring ancient buildings like the Pantheon. It was commissioned by Andrea de' Pazzi in 1429 to the architect, but the construction continued on after the architect's death in 1446. It was never truly finished after the family suffered consequences of a conspiracy organized by some of the Pazzis with the archbishop of Pisa Francesco Salvati, against another family. Luca delorobia was the artist who contributed to the roundels, as he perfected the ability to fire at high enough temperature to vitrify modern glazes. The desire to work with centrally planned space becomes even more prevalent in the High Renaissance. Giuliano da Maiano made the frame and the door, Luca della Robbia made the relief representing Saint Andrews on the throne above the portal and the glazed terracotta rounds. The external frieze to Desiderio da Settignano and his brother Geri. Alesso Baldovinetti drew the pattern of the stained glass window with the figure of Saint Andrew.

Catacomb of Priscilla

Artist: Unknown Materials: Excavated tufa (a porous rock composed of calcium carbonate and formed by precipitation from water) and fresco (on lime plaster using water to merge dry-powder pigment to with the plaster). Date: c. 200-400 C.E. Location: In Rome, Italy (specifically the north of Rome). Form: It is an architectural structure, specifically levels of passageways underground of tufa. Walls are decorated with murals/pictures. Consists of cubiculum and locali (poor v.s rich), both spaces that hold bodies. The catacomb itself would reach 3 levels deep in some areas. In terms of size, it stretches about eight kilometers. It holds around 40,000 tombs stacked. Being an architectural piece/structure, it's obviously a three dimensional piece. It includes elements of murals as mentioned. It also includes areas for oil lamps to be placed, implying these were painted in nothing but oil lantern light. Also includes stairs. It also consists of inscriptions, making it just as much of a written document as it is an artwork. Function: Thought to be an area of land donated by a wealthy Roman woman named Priscilla to be used for family burial and later a massive number of the Christian community. It was initially to escape the summer heat... Literally, this was built for religious purposes as a means of burial. Wealthy people would buy out enough space for a sarcophagussarcophocus covered by marble, the poor would not have as much space, covered over by layers of tile and plaster. Some believe it was a place where Christians could escape persecution, though this may not be all that true. Overall it has a practical religious function, as well as a social function. It represents, in modern times, the beginnings of Christian iconography... Content: Consists of a series of underground passageways, going as deep as three 3 levels underground in some areas. On either side of the walls are horizontal niches called to hold bodies, wealthy people would have larger spaces to fit a sarcophagus. They would be covered by marble or tile and then plaster. There are cubiculum (wealthy) and loculi (poor) throughout the catacomb. The first images found date to 3rd c from the 200s. Earliest known representation of Madonna and child. Within these walls is the earliest known representation of Madonna and child (Virgin Mary and Jesus). Also contains some of the earliest of Christian iconography painted and carved. This includes inscriptions that speak to the people buried, relating to their lives and hopes for blessed afterlife. Also includes carved symbols like the anchor, which speaks to safe harbor and salvation. Also use of a fish, a representation of Christ. Themes of salvation are seen throughout, and reference to content of both the Old and New Testament. For example, the Greek chapel. This had nothing to do with the greeks it was only called this because both latin and greek writing is seen throughout. Consists of Roman first style wall painting, which is when palaster is built and painted to imitate marble to look rich. It is assumed to be the oldest part of catacombs. It is lavish yet small. Meals could be eaten in this place so as to honor the dead. Divine intervention scenes are present, the Book of Daniel (three youths in a fiery furnace, story is that they are asked to worship pagan idols but refuse, so they are sentenced to be burned alive but are saved). Pieces like this relate to the struggle of Christian persecution. Ressurrection of Lazurus, and other miracles of christ. Sacrifice of Isaac is shown, depicts Abraham in the center and Isaac off to the right carrying wood. We normally see Abraham depicted as about to kill Isaac with his wrist grabbed by an angel. Breaking of the Bread depcited, looks like a last supper (long table, still life, seven men. Meals). It is really just a reference to the story of multiplication of loaves and fishes, another miracle of Christ, typical in early Christian Iconaology. Cubiculum of the Veil, has images of a woman married, dressed as a bishop, and as a mother. Refers to the woman buried there. She is in a prayer pose, (referred to as an orant figure) representing the hopes of family that she will enjoy a blessed afterlife. She is looking up to heaven. Largest painting in this cubiculum is Christ as the Good Shepherd. Depicts three goats, one over shoulders. He is in a contrapposto stance, looks young, no beard, trees with doves next to him. Shows that he will care for his followers like a good shepherd for his flock. Also depicts peacocks, a symbol of eternal life. Quail, a symbol of the earth. It is all the first tentative steps of what would become christian art. Context: A wealthy Roman woman named Priscilla gave this land for family burial and later the burials of a massive amount of the Christian community. Grave robbing would occur over time, as well as hunting for relics, which has left some tombs uncovered and empty. Holds over 40,000 tombs. Christian Martyrys buried here, had spiritual importance and power. Episodes of persecution were major concerns of Chirstian life until the Edict of Milan officially called for toleration, which slowly softened these tensions. Earliest Christian art can be seen here ( Perhaps not earlier because of the prohibition of such by the Second Commandmen. Or it didn't survive. Or a Christian vocuabulary hadn't been developed yet. The Catacombs of Priscilla is mentioned in many ancient documents on Christian topography/liturgy in Rome. There is, as mentioned, a great number of martyrs buried within, so it is called "regina catacumbarum" or the queen of the catacombs. Priscilla is spoken as a benefactor of the Christian community in Rome. It was rediscovered in the 16th century.

Chartres Cathedral

Chartres, France. Gothic Europe. Original construction c. 1145-1155 C.E.; reconstructed c. 1194-1220 C.E. Limestone, stained glass. Context 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 *definition: a part of a deceased holy person's body or belongings kept as an object of reverence; relics were believed to have special powers that could bestow divine goodwill, healing, or favor on those who visited them--hence the culture of pilgrimage, where people would travel great distances to visit the cathedrals that housed relics

Eisenheim Altarpiece

Complete Identification: Isenheim Altarpiece Matthias Grünewald 1512-1516 Oil on wood Christian, German Germany (now in France) 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

Hagia Sophia

Constantinople Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer. Form: Anthemius of Tralles and Isidorus of Miletus a mathematician and physicist designed and built the church. The architects fused together the vertically-oriented central-plan building and the longitudinally oriented basilica. It is 270 feet long and 240 feet wide. The dome is 108 in diameter and its crown rises to 180 feet above the ground in the original dome plan. There are 40 windows set at the bottom of the dome. The pendentive is a curved triangle of vaulting formed by the intersection of a dome with its supporting arches. The architects of the Hagia Sophia utilized four pendentives to create the dome that looks as if it is suspended in the air and made the famous lighting that comes into the Hagia Sophia possible. They wanted it to look like a floating "Dome of Heaven." The builders also squeezed the windows together and lined the sides with gold mosaic to create the idea again of a "floating dome." Function: The church was built and dedicated to Byzantium Emperor Justinian 1 as well as the city of Constantinople. It is the symbol of Byzantium. Emperor Justinian 1 reign from 527-565 was known as the First Golden Age of Byzantium and he proclaimed Orthodox Christianity as the only lawful religion. Therefore, he wanted the Hagia Sophia to be built so that it could rival all the other churches in the world. The original purpose was for the church to be the seat of the patriarch of Constantinople and the head of Eastern Orthodox Church. However, over the years its purpose has changed. In 1453. The Hagia Sophia was converted into a mosque by the Ottomans. In 1935, it was converted into a museum and most recently in 2020, the Turkish Court revoked its museum staus and has reopened it as a place for Muslim prayers. Content: It is widely believed that the church is named after the Saint Sophia, but in Greek Hagia Sophia means "Church of the Holy Wisdom of God. It sits atop an earthquake fault and has been severely damaged three times with repairs still going on today. Inside the Hagia Sophia, there is a mosaic which depicts each emperor offering his monument to the Virgin Mary holding the Christ Child. The memory of Emperor Justinian and Constantine the Great (who built Constantinople) lives on in the church. It was not only the center of liturgical life, but also political as it was the location where each patriarch crowned the new emperor. Also, the church was used as a way to express Byzantine power to foreign countries and their ambassadors Context: Anthemius of Tralles and Isadore of Miletus were Justinian's architects who had the goal of surpassing Solomon's Temple in Jerusalem with the Hagia Sophia. It was known as the "jewel" of Christian churches and inspired many future architects and their endeavors. Constantinople built the first cathedral in 360 which was burned to the ground during the riots that occurred in 404. The second one was built by Emperor Theodosis II in 414 and was burned to the ground again in the "Nika Revolts". The third and final Hagia Sophia was commissioned in 532, completed in 537, and is still standing today.

Great Mosque of Cordoba

Cordoba, Spain. Umayyad. C. 785-786 CE. Stone Masonry. Form: The Great Mosque is an impressively large building, it sticks out in the cityscape of Cordoba. It is very wide, in order to accommodate worshippers, there is much open space in the Mosque. The Mosque has an overall warm tone, with colors such as orange, yellow, and white used. It fits well with the surrounding conditions of the region. Function: The Great Mosque was created as a place of worship, and to reinforce Umayyad Muslim rule over the region in Spain Mihrab in the Mosque points towards Mecca, a holy place in Islam that is prayed towards by Muslims. The beauty of the Mosque is to glorify worship of God, and to help promote Islamic culture and control in Spain, where Islam was foreign. Content: The Great Mosque does not contain any icons, due to the unique iconographic restrictions of the islamic faith. Much of the artistic importance of the Great Mosque comes from its architecture and coloring, and the many individually important features of the Mosque which help with following proper religious procedures. There are patterns made of different materials along many walls of the Mosque, which add to its beauty. Context: The Great Mosque in Cordoba was created by the Umayyads, a Muslim nation which had invaded Cordoba and the rest of Spain in order to spread Islam and gain power. The Mosque is also thought to have materials and influences taken from a previous Christian church it had replaced, and represents the diversity of cultures that had ruled in Cordoba. Roman and Visigothic influences are seen in the architecture of the Mosque, showing a synthesis of architectural design. The Great Mosque was one of the most important buildings in Cordoba, both as a place of worship, a cultural hub, and an administrative headquarters. It remains an iconic part of the city into the modern day.

89. 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). Form Sculpted marble High relief life sized statue There is a fresco on the ceiling Bronze behind the statues The statue looks like it's floating Function To inspire faith into the viewer To tell the story of Teresa Content Saint Terasa was a recently canonized saint who in this piece is seeing a vision of an angel The story is that the angel appeared to her and stabbed her several times taking a piece of her when he pulled back the spear She was then filled with both incredible pain and the love of god The angel is angelic and flowing Teresa is more grounded and of the earth Around the statue the Cornaro family is seen looking down at the scene from nose bleed like seats The fresco shows a dove surrounded by light which represents the holy spirit Context Bernini used both his deep religious faith and love of theater to make this In the Cornaro Chapel Teresa was canonized in 1622 Bernini was commissioned by cardinal Frederico Cornaro

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)

69. Donatello's David

FORM Donatello's "David" is a 5 ft. bronze sculpture The bronze surface is highly polished and the blue/black shine over David's body stands out The finished texture emphasizes smooth skin and provides contrast with his curly hair, and rough boots The figure has a realistic form because of its nakedness and the obvious muscle. The choice of bronze, the nudity, and the pose all put this work in the context of this classicalantique. antiquity FUNCTION Patronage is a factor, this sculpture was made to represent David as a symbol for the Republic of Florence, Italy (which like the Old Testament youth stood up to its rivals) and also a great role model for independence. Specifically, Florence had been set upon Milan and other rivals and withstood, similar to David overcoming Goliath the larger adversary. This figure is important because it's Donatello's most famous work, it was the first major work of Renaissance sculpture, and it is the first freestanding nude sculpture (since the ancient times) for about a thousand years. The people during this time started to celebrate body and humanism. Their mindsets were,"God made it so we should show it off." CONTENT This sculpture represents the story of David and Goliath. David was a shepherd boy who herded the sheep and was favored by God. He was challenged to fight Goliath, and David ended up being victorious, because he is seen casually resting his foot on Goliath's head with a sword in his right hand. David's pose can easily be represented as effortless, and feminine. Since David is not entirely naked, the main focus is drawn to his hat and boots. The hat adds to David's beauty by the adolescent body, and the flower detail on the hat represents a "homosexual subculture" during fifteenth-century Florence. And the boots are represented as the "manly" features for David, because he's standing on Goliath's head. A useful interpretation has been to place the statue in the context of fifteenth century notions of male identity. There is a separation between David's graceful pose and the beauty of his facial expression and the gruesomeness of the decapitated head of Goliath below his feet. For the viewer, it's hard to imagine this young man, who had been engaged in mortal combat and cut off the head of Goliath. CONTEXT The time period of this artwork is sometime during the 1430s - 1460s Italy, in the fifteenth century, (Florence) above all is the seat of an artistic, humanistic, technological, and scientific time period known as the Renaissance.

71. Madonna and Child with Two Angels

FORM One of Fra Fillippo Lippi's most famous works is, Madonna and Child with Two Angels, which is a tempera on wood painting. Madonna is the main focus, due to her size difference in contrast to the two angels. The two angels look like they are farther back and not as much in the light of the painting compared to Madonna. This style used in this painting has a very humanistic look to it, by the use of soft and earthy tones to emphasize the humanism of the characters. This painting stands out because compared to other Madonna and Child paintings, this one is the most realistic, depicting Mary as a real looking woman. Lippi chose to make his characters in this painting look very realistic and he meant to make godly people seem relatable, this is why the angels look like children, and Mary's halo was painted very faintly in a thin white line, and is only visible after examining the painting much more closely. The landscape in the background adds onto the natural aesthetic of the painting itself, which helps to reflect the renaissance humanism that people at this time craved, (they wanted to celebrate body and humanism). FUNCTION Patronage is a factor, Lippi produced this artwork for the Medici family. They wanted a piece to show a religious background, along with constantly being reminded of Jesus Christ every time they would look at this painting. So in order to accommodate these requests, Mary has her hands together to represent prayer, and the two angels have wings. Lippi wanted a humanist representation of Mary to show the audience a more authentic look on such angelic people. This artworks function is to remind the viewer of the story behind the virgin Mary, and Christ. CONTENT Fra Fillippo Lippi's wife was used as a model for Mary in this painting, and she is represented as a very beautiful woman with delicate features. The angels look very playful, one of the angels is posed smiling at the viewer. The other is in the background with one side of his face showing, the other is blocked by Jesus. Both angels are seen supporting baby Jesus with their hands. Every figure in this artwork has blonde hair symbolizing youth and innocence. The frame of the picture behind Mary aligns to the painting itself, and helps to add onto the realistic aspect of what Lippi was trying to portray. CONTEXT The time period of this artwork is sometime during 1460 - 1465 Lippi was a painter, in Florence, during the second generation of Renaissance artists, when he painted this artwork.

70.Palazzo Rucellai

Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry. Form: The facade Leon created has 3 tiers overall The building has small engravings in between the different layers of the facade The building actually has a hidden 4th floor which is where the servants lived(Designed to not be seen) Each floor had a dedicated purpose 1st floor was for the families business 2nd floor was for guests 3rd floor was for the families actual living quarters Function: It was designed as a home for the Rucellai family Represents the family's wealth, power, status etc. It also gave them a place for business, a place to house their servants and to house any guests that they had Content: Many different designs can be seen on the exterior of the building. Including the family seal which depicts a ring with 3 feathers coming out of it (Are you sure? I remember it as a billowing sail) Rectangular windows(1st floor) as you go up the windows get rounder A feeling of lightness as you move from the bottom to the top of the building Surrounded by benches Large blocks of stone are seen near the bottom of the building Entirely straight lines Pilaster (Flattened Columns) are seen at the bottom of the building Context: The building was built after the Medici's built their house and some of that can be seen in the two buildings Giovanni Di Paolo Rucellai commissioned the building, he had also commissioned several other works and was a very big patron of the arts Rucellai and Leon did use more Ancient Greek and Roman styles when they built his house however Alberti took influence from the Colosseum when he visited Rome in the 1430s. He used a lot of similar elements mainly for design and not actual support. The columns don't do anything for the facade they are there for style The Rucellai family was a family of merchants who had commissioned several pieces. This building was to be their house They family had intended the building to be bigger than it was but they couldn't purchase the nearby building so the plans were never completed Leon wrote a book on architecture that was the first printed book about architecture, the book is called On the Art of Building In Ten Books, the different sections go over different elements of architecture He wanted to build a house for his family that displayed how powerful and wealthy he was The building was created in 1450

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

Form: Handmade pages by animal skin Purple parchment probably from a royal workshop Text is black now due to oxidation but was originally silver Supposedly one of the first images from the early bible stories Shows the first half of the 6th century 31.75cm x 23.5cm Function: -To shows the first stories of the bible and provided images -Meant to please the christian audience -Considered luxury items Content: -Realistic or abstract art? Mixture -Written in greek -Left page- Rebecca and Eliezer at the Well - Genesis 24: 15-61, Eliezer, a servant of Abraham, has arrived at a city in search of a wife for Abraham's son Isaac. There he meets Rebecca who is pictured twice. Illustrating a continuous narrative. -Right page- Jacob Wrestling the Angel - Genesis 32: 22-31 - Shows Jacob leading his family/followers over a bridge -at night Jacob wrestles an angel all night and then receives his blessing and was given the name Israel Context: -Early Byzantine (330-726 BCE) -Uses Church to back the authority -book was used to show royalties as well

Frontspiece of the Codex Mendoza

Form: The drawing is separated into 4 quadrants plus one not included In the very center is the Tenochtitlan, it's an eagle on a cactus. Ten men are depicted within the quadrants wearing white robes The man left of the eagle with gray skin and different styled hair is identified as a priest The glyphs on the robes identify their names. The priest's name is Tenoch Glyphs are surrounding the page which has dates of different events in Aztec history Below the quadrants are 2 scene of what seems to be a conquest on different nations The Aztec's are drawn as bigger to exemplify their power over the nations Colhuacan and Tenayuca which were identified through the glyphs Function: The Frontispiece is a commissioned Codex to record information about the Aztec Empire. It has information about the organizations and foundations of their capital (Tenochtitlan) Their capital city was built where it was because their ancestors were told to leave their current home and build one where they saw an eagle on top of a cactus The glyphs surrounding the page are supposed to be years. Content: The work depicts the Aztects finding their city and them conquering other nations depicting how powerful they were The work also depicts their founding of Tenochtitlan The work also depicts Tenoch the priest and the other 9 men who led the Aztecs to find their new capital The war scene beneath is to represent their previous military victories and have them come off as powerful Context: The creator of the work is unknown, they were most likely indigenous(Nahuas specifically) and possibly more than one person created the work. The work was created in 1541-1542 CE at the Viceroyalty of Spain It was made to record information about the Aztecs The specific page is meant to show the founding of the Aztec capital The work was going to be sent to Spain but it never made it their as French pirates took it and it later ended up in France

Alhambra

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

72. The Birth of Venus

ID: The Birth of Venus was created by an artist who worked on the Sistine Chapel, Sandro Botticelli. The work was made around 1480 (1483-1485) after he completed his contribution to the chapel. It is a commissioned piece for Lorenzo di Pierfrancesco de'Medici of the Medici family, as well as part of a series of paintings on the mythological side, The Birth of Venus the most famous and well-known. Form: The medium itself is tempera on canvas/panel (tempera is a paint similar to acrylic, but it dries matte and can be water soluble) utilizing muted colors and organic shapes. Coming in from the right corner is the god of wind, Zephyrus, with his wife - the goddess of flowers - Chloris in arms. The two appear to be blowing a breeze towards Venus as flowers fall around them, showcasing their respective abilities while also pushing the new goddess to the shore. Waiting there is the Hora of Springtime, rushing to Venus with a cloth to cover her up. Function: The artwork was a commission for the Medici family portraying the myth of the goddess' birth as an addition to Betticelli's mythological series. Content: The piece depicts what's in the title, the birth of the goddess Venus as she rises out of the sea and is pushed to the shore. Context: There are many theories surrounding the intention of the work, but the focus will be on two for now. One belief is that the work, as it focuses on the goddess of love, was intended to fill the viewer with contemplations of love in physical and intellectual forms. In addition, the work was used frequently as a wedding painting to exemplify lovey-dovey feelings among the two spouses. Another theory believed that Botticelli based Venus off of a mistress that both the head of the family and his brother shared in order to further flatter and impress the Medicis, which seemed to work out well.

Dedication Page with Blanche of Castile and King Louis IX of France (Moralized Bible)

ID: The artwork originated in Paris, France and was created way back between 1227-1234. This piece is but a page in a three-volume set of bibles, more well known as the Moralized Bible painted by a series of artists picked by the Queen to make a bible with chosen scriptures. Form: The main mediums used for the piece are gold leaf, ink, and vellum, a paper-like material made out of animal skin. The figures portrayed above are Queen Blanche of Castile, and her young son next in line for the throne, King Louis IX. The queen dons very royal attire, as well as a white widow's veil to symbolize the loss of her husband. The king dons clothing of similar fashion, and in his hands holds what appears to be a coin. The queen and her son share a gaze between them with her hands held up as if she were preaching while her son politely gives his attention. Below the royalty are two scribes, both believed to have been working on the exact Bible that the page is in and simply just depicting their work in the process. Function: The piece was made as an illustration for carefully chosen scriptures to put into the Moralized Bible. Content: The queen had lost her husband and was left to tend to the next king in line herself. As the current leader and mother of the next king, it was her job to provide scholars and tutors to teach her son about different biblical texts and lessons just as every other king was required to learn, hence why she's depicted in a pose that shows how she's teaching him. Context: As mentioned before, with only the queen around to make sure the king has the best possible influence in order to rule, he was to be taught biblical texts, and one of the best possible ways to get the most important scriptures necessary for his lessons was to write a completely separate bible, of course leading to the Moralized Bible.

92. Woman Holding a Balance

ID: Woman Holding a Balance was painted by renaissance artist Johannes Vermeer around 1664. The painting has Dutch origins and is part of the Baroque (a style art that was very popular in the 17th century which was meant to inspire awe to the viewer) period of art. Form: The painting depicts a young woman with a very peaceful expression delicately holding a balance in her hand that appears to be evenly balanced. Behind her is a painting of The Last Judgement, and to her left on the wall is a small square mirror. She's hovering over a table with pearls and other jewelry spilling from a box and onto the surface. There's a crumpled mound of fabric on the table as well, the same color as her jacket. The colors are mostly dark aside from the trickle of light coming in from the window to illuminate the room, Function: It's believed that the painting is intended to bring peace to the viewer. The painting in the background shows the struggles of Christ, showing that the woman has some religious weight on her shoulder. The addition of the jewelry on the table seems to represent either wealth and/or just material possessions. She seems to be at peace in a way where she must've found some balance between the two, hence the pleased look on her face as she's looking at her balance. Content: The woman in the picture is staring at a balance in her hand; this, as well the other objects in the room, could hint at her state of mind. Context: Johannes Vermeer was a painter who never quite got much recognition for his artwork and for a while after his death, his work almost went forgotten. He only dated three of his paintings, and every other one had an estimated date as a result, including Woman Holding a Balance. Around the time this painting was made, artists were straying away from strictly painting with religious themes and more for providing paintings to the merchant class, so this painting was likely made with that same intent.

Mosque of Selim II

ID: Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1568-1575 CE. Brick and stone. Form: Ottoman architectural style with Huge dimensions of 190 x 130 meters Polychrome exterior made of stone mixed with brick that compliments geometric volumes of the building's exterior. Intricate calligraphy on the dome ceiling of the mosque. Function: The city Edirne was seen first by European travellers so the Mosque was built to use architecture to impress them. One Madras served as a college for studying the traditions of the prophet Muhammed. Built to surpass Hagia Sophia -> demonstrating Islam's triumph. Content: Consists of 18 domes dominated by a huge central dome; the main dome is supported by 8 columns placed close to the walls A mosque, two madras, a row of shops, and a school for learning the recitation of the Quran. The Mosque: Nearly square prayer hall with an ethereal dome seems to float above. Dome supported by eight muqarnas-corbelled squinches which are supported by eight large piers. The muqarnas stepping out opens up more space below. Exterior buttresses support the east and west piers and do the most work to hold up the dome. Artfully hidden in exterio porticos and galleries The Qibla Wall (faces Mecca) projects outward and showcases openness of the space. The Muzzin platform (place to lead prayers) is directly under the dome, creating an interesting geometric vertical alignment of square, octagon, circle. Placement could also reflect Sinan's interest in surpassing Christian architecture. Context: Considered the great masterwork of Sinan, an Ottoman architect. Dome's octagonal shape was influenced by the tomb of Öljeitü but much larger. The city of Edirne had been the capital of the Ottoman Empire before Istanbul, and it was effectively the second city of the Empire. Also it was one of Semin II's favorite cities Entire complex designated as a UNESCO World Heritage sight in 2011 The interior has been repainted throughout the centuries. The polychrome Iznik tiles remain largely untouched.

Santa Sabina

ID: Rome, Italy. 422-432 CE. Brick and stone, wooden roof. CONTEXT Rome, Italy atop a hill Late Antique Europe, 422-432 CE On site of Saint Sabina (300s in Rome,) who was stoned to death for converting to Christianity The building was originally a classical Roman administrative buildingOrdered interior served to manage large numbers of visitors and to impose the government's authority Thick columns and classical decor create structural stability Example of an ancient Constantinian basilicaA pilgrim who visited a Constantinian basilica in the 300s said this about the effect of the space: "The decorations are too marvelous for words. All you can see is gold, jewels and silk...You simply cannot imagine the number and sheer weight of the candles, tapers, lamps and everything else they use for the services." Constantinian architects were the first Roman Christians; they chose the ancient Roman basilica to serve as the basis of their new churchesSpolia: recycling old buildings or architectural materials for another purposeThe architects reinvented a formerly governmental space into a religious oneManipulated the light from the windows so that the space became well-litAdded mosaics on the walls 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

93 Palace of Versailles

ID: The Palace of Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. Form: 700 rooms, 2153 windows, and takes up over 67,000 square meters of floor space The entire palace and gardens were built along the East and West axis so the sun would rise and set in alignment with King Louis IX's home. Palace was filled with sculptures, paintings, and fountains all focusing on King Louis. Marble and gold paintings are everywhere throughout the palace. Function: Meant to emphasize King Louis IX's importance The Hall of Mirrors The practical function was just a passageway for the king to pass through It was also used for parties and military agreements, and with how the sun reflects off of the windows it showcases the grandeur and power of the "Sun King" Designed to glorify the french monarch with a combination of Baroque and Classical architectural styles. By utilizing the classical Greek architectural style, King Louis was linking himself to the great thinkers of the classical period, a display of vanity in a sense. Content: The Kings Official state bedroom Where the king would perform rising and going to sleep ceremonies everyday The Queen's bedchamber The Hall of Mirrors: Runs along the the entire length of the central building One wall contains giant windows overlooking the gardens while the other wall consists of 357 mirrors The exterior of the palace uses simple Classical architecture borrowed from ancient Greek temples. The Gardens: Symmetrical French gardens with ornate fountains that seemed to have "magically" still water. Behind the palace is the Latona Fountain which depicts scenes from Ovid's Metamorphoses The Royal walk extends back with trees lining the path leading to the Fountain of Apollo. Beyond the fountain there is the Grand Canal which Venetian Gondolas traversed The Orangerie is a grove of exotic trees, flanked by raised flower beds. Context: Initially the palace was used as a hunting lodge and private retreat for King Louis XIII and his family. King Louis XIV transformed the residence into the grandiose complex we know today. Vast sums of money, and even lives were lost, in an attempt to bring water for the many fountains and waterways. Water was scarce at Versailles. The Palace of Versailles was declared the official royal residence in 1682, but it was abandoned after the death of Louis XIV. Following the French Revolution the complex was almost destroyed. Versailles acted as the headquarters for the German army besieging Paris in 1870-71. William I of Prussia was crowned German Emperor in The Hall of Mirrors in 1871. Today it is mostly a tourist attraction but sometimes used for visiting heads of state. UNESCO designated the palace and gardens as a World Heritage site in 1989

91. Las Meninas

Identification: Las Meninas. Diego Rodríguez de Silva y Velázquez. c. 1656 C.E. Oil on canvas. 320.5 x 281.5 cm. Form: An immense painting, with a large number of details, figures, and objects depicted. Use of space is present in the painting, with a foreground and background. The foreground is bright and well lit, with the most color of the piece appearing in the Infanta who is positioned at the bottom center of the painting, and who is clearly the center of the piece's attention. Aside from the girls, the background is mostly dull and unlit, with the exception of a door in the background with light coming in and a man looking into the room in which the artist, the Infanta and her attendants are. Lighting sourced from different areas of the painting, both from the door, and from some imagined place in front of the girls and the painter. The work is very lively, each figure seems to be in the middle of a clear action. The work is also very clearly a portrait of the various figures. The Infanta is the most important figure, above the others. Function: The work is for the personal pleasure of the King and his guests. Philip was a collector and patron of European art, and tasked Velázquez in both creating artworks for him, and with helping the King in other tasks related to the management of art. The work was originally meant to be put up in the King's personal palace, not unlike the paintings shown in the background of the work. Content: The work depicts a significant number of people. First and most importantly, the Infanta Margarita Teresa, the King's daughter. Beside the Infanta are her two girl assistants. To the right of the three girls are two dwarves, and below the dwarves there is a Mastiff. To the left of the girls is the painter, Velázquez himself who looks ahead towards the viewer. To the upper right of the girls are a couple of people, who are also attendants to the Infanta. In the far background, a mirror shows the King and his wife. Also, from behind the door in the background is the chamberlain Jose Nieto. Many aspects of the painting, such as what is ahead of the foreground, are debated. Velázquez is shown painting on another canvas, and the King & Queen are shown in the mirror, so the perspective may be from the royal couple. The Infanta and her attendants are clearly moving about doing something, and the dwarves are clearly agitating the Mastiff. Velázquez is also clearly painting something out of view as well, as he holds his tools on hand. Iconography can be more difficult to determine, and is more unclear. While the Infanta is given the clearest attention, there is not clear symbolism of her presence in the painting. She is portrayed as very important and noble. Context: The work was created by Velázquez for the King of Spain at the time, Philip IV. Philip can be seen in the painting as a reflection in the mirror in the background. Velázquez had been working as the court painter for Spain for quite some time at the time he had painted the work. The work was probably seen by the more important figures in Spain at the time. The nobility, the rich, friends of the King. It is unlikely that any common person would have the joy of seeing the painting around the time it was finished, as it was held privately in the palace. The work was probably produced where the painting was set, in a chamber of the King's palace, meant for the holding and making of artworks. The work is considered to be a masterpiece, and one of the most complex and loved works of art in European & Hispanic history.

68. The Arnolfini Portrait

Identification: The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood. 82.2 x 60 cm. Form: Painted, with the illusion of the third dimension given by perspective. More tall than wide, focused on a couple in the center which takes up most of the space of the painting. The point of view and dimensions of the room are confusing. Use of lighting, coming from the window in the painting and illuminating the room. Extensive fine details present throughout the work, all aspects of the painting are given remarkable attention. Mixture of light and dark shading, dull and bright, the color of the room itself is dull in comparison to the couple and their expensive furniture. Function: The function of the painting is still uncertain, there are a variety of theories proposed by historians. Van Eyck was hired in order to create the work, as was common during his period. The event represented in the work could be many things, among them a marriage, or an already married couple posing for a portrait, The work displays the wealthiness of the couple, both in their clothing and in the objects that make up the room. Content: It is almost definite that the man in the painting is the merchant Giovanni di Nicolao di Arnolfini, and the woman is his wife or wife-to-be. They are standing in an expensively decorated room. There is also a well-groomed dog in the room, beneath the couple. The event portrayed has something to do with the couple. Context: Jan van Eyck painted the work, he is considered one of the greatest dutch painters. In his time he was successful, as evidenced by the vast number of works commissioned from him. This work was created during the Northern Renaissance period, which saw a development of detail in paintings. Much of van Eyck's work contains christian religious symbolism. It is one of the most important european paintings ever made, notable for its complexities and perspective.

63. Arena (Scrovegni) Chapel, including the Lamentation

In Padua, Italy Architect: Unknown, Artist: Giotto di Bondone Chapel made 1303, frescoes made 1305 Brick chapel, fresco style artwork (pigment applied to wet plaster) Form: A brick chapel decorated entirely with frescoes on the wall Trompe l'oeil- fake marble pattern in between frescoes, gives the appearance of stone, but actually all paintings Three registers that go downwards that tells narrative biblical story (explained in content) Also used lapis lazuli pigments for the bright blues (this was done with seco fresco, or dry fresco, so it did not stay as well) well done. Function: This was a private chapel of devotion for the Scrovegni family It was commissioned by Enrico Scrovegni, a banker, who wanted to atone for he and his father's sin of usury (charging interest on loans), so he believed that by building a chapel, he could go to Heaven spot on. Content: The frescoes are designed in three registers that tell a biblical story (39 scenes) The top begins with the life of Christ's grandparents (Yoakim and Anna) and the life of Mary, then the middle row is about the life of Christ (including His childhood and the Ministry of Christ), and finally the bottom depicts the Passion- the final part of Jesus's life, ending in the Pentecost Some of the images are not directly in the Bible but rather filled in with the information from a book called The Golden Legend that is a narrative form Jesus is usually depicted moving left to right (narrative) and in profile which was considered the most honorable way to depict someone (from Roman coinage) Unlike the classic Byzantium style of the 2-dimension, Giotto begins to create a sense of depth in his paintings YES! One of the most famous frescoes is the Lamentation- it is a picture of Jesus after he was cut down from the cross and he is surrounded by a variety of individuals including his mother Mary (holding him), Mary Magdalene (at his feet- she anointed them), St. John (arms out in despair), and the disciples. There are also angels flying in the air, representing his divinity The expressions of the people there are of mourning and despair, very human emotions- each figure is grieving in their own way The tree in the background is barren but will also grow leaves again- symbol of Jesus coming back to life On the ceiling is a starry blue sky with images of Christ and Mary's faces Below the three registers are personifications of the 7 virtues and vices (desperation, envy, infidelity, injustice, wrath, inconstancy, foolishness, then hope, charity, faith, justice, temperance, fortitude, and prudence) On the west wall is the scene of the Last Judgement In the center is the largest figure Christ who is the judge, around him are the Elect (people going to Heaven) and there is also a scene of Hell, above him is Heaven There is an image of Enrico Scrovegni giving the chapel to the Virgin Mary, represents him atoning for his sins Another famous scene is the Kiss of Judas Depicts when Judas came to Jesus and turned him in to the Roman authorities, the faces of Jesus and Judas are very close together, shows intimacy The scene is chaotic and violent, the Romans attacking the disciples Context: Next to old Roman Arena, so called Arena Chapel, Scrovegni from the family who commissioned it Was built in order to atone for his sins of usury These frescoes represent a transition from medieval period where the figures were divine (lots of gold, little emotion and contact with each other) to the Renaissance period (emotion in the grief, figures holding and kissing each other, depth to the paintings)

78. Entombment of Christ

Jacopo da Pontormo. 1525-1528 C.E. Oil on wood. Image: Form: Altar painting in a personal chapel room inside of a church Painted oil on wood Lacks linear or atmospheric perspective Anatomically incorrect, Christ torso huge The people do not seem to be weighed down normally, gives elegance to the painting Utilizes mannerist style as it moves away from Renaissance tendencies Elaborate distortion of bodies instead of then being anatomically correct Renaissance paintings accentuates nature/naturalism, while this painting seems self focused Theatrical lighting 123 inches tall, 76 inches wide The subject is disputed among art historians, as to whether this is Christ coming down from the Cross or going into the tomb Christ is held limply by two men, one on left thought to be Saint John the Evangelist All other mourners are women draped in swirling blue and pink cloth, including Mary Magdalen Function: Patron was Girolamo Vittrice, wanted it by Pontormo for his family Chapel within church in Florence Acts as main altarpiece Summons grief over Christ's sacrifice, but also encourages the magnitude of the moment Piece challenges naturalism of Renaissance works Some historians believe the work was connected to the Chapel itself; meant to show Christ being laid to rest in Capponi Chapel Contrasts religious iconography with human suffering at the supposed moment of Christ's death Content: Mary displays "Swooning Virgin" expression Circular composition, no where for one's eyes to really stop and test on Could be implying endless grief Center of piece is a woman's handkerchief and Christ's hand being held up by others Hands could be symbolizing the sacrifice Christ's death was thought to be, gifting humanity the ability to ask God for forgiveness with his death Constant movement of the individuals also plays to the restlessness of the piece, eye cannot rest Exclusion of context clues, like tomb/slab or cross/ladder leaves the actual moment up to interpretation Debated topic of what stage of Christ's sacrifice this was Context: Protestant Reformation in Northern Europe began, Martin Luther popularizing the questioning of transubstantiation, good works, indulgences (1517) The Florentine Republic shaken but reinstated, eventually ends as Medici family takes control and becomes Dukes of Florence Associated with rise of Mannerism and artistic fading of Renaissance naturalism Artificially emphasized, art becomes its on source of meaning and extravagance instead of nature More ambiguous depictions of already created scenes Emotion takes over rationality, exaggerated to the point of contrivance

97. Spaniard and Indian Produce a Mestizo.

Juan Rodríguez Juárez. c. 1715 C.E. Oil on canvas. Form: Spaniard and Indian produce a Mestizo is a casta painting. A casta painting is a painting that typically displays a mother, father, and child (sometimes two). They are often labeled with a text or number inscription to show that mixing occurred. It is 102 x 126 cm in length. It is a simple work and displays a mother and a father looking down harmoniously at their children. This was not the case, however, for all families. Function: Although there is not much information on casta paintings, it can be inferred that the people who commissioned these paintings are elite people who found the dilution of pure-bloodedness and inter-ethnic mixing alarming. They were also possibly commissioned for viceroys. Content: The indigenous mother is dressed in a huipil dress which is a traditional woman's garment worn by indigenous women from Central Mexico to parts of Central America. The husband is wearing a French-style European clothing including powdered wig, gazing down at the children with his either resting on the back of the child or the mother. The young boy looks up to the father and the family looks very loving. The pure-blooded Spaniards which would be the father in this instance are always seen at a hierarchical position in paintings. They also typically have the finest clothing and these paintings contain the notion that your status is tied to your racial makeup. Context: The painting was created 1715 and belongs to a larger series of paintings that document mestizo families. A mestizo is a child between an Indigenous woman and a Spaniard father. The children also become darker as they become more and more "mixed" because they are seen as "less attractive".

64. 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). Content: First page: Preparation for passover Upper right panel filled with several women celebrating the coming of Passover with musical instruments Miriam, Moses's sister, holding tambourine with islamic decoration, Islamic motifs like this thought to represent the language and beauty of life through its geometric presentation Women wearing long, pale colored gowns/dresses Upper right panel features children dressed in same colors of the women's dresses eagerly receiving matzah and haroset their master of the house is giving out Bottom right panel has a group of people preparing the house for Passover; women clean while men inspect the progress of matzah bread Bottom left panel features sheep being butchered for the festival Second page: The plagues of europe Upper right panel features Egyptians and their animals becoming overrun with boils God believed to have instructed Moses to toss soot in the air, which resulted in this epidemic where Egyptians became victim to boils and ulcers Lower left panel features Egyptians' domesticated animals succumb to disease while wild ones begin to take their place Upper right panel features frogs swarming Egypt, specifically a high official's room, most likely the Pharaoh Lower right panel features wild animals frightening the Pharaoh, a phase of the 10 plagues often disputed to include either wild beasts or swarms of flies Third page: Scenes of Liberation Upper right panel features scenes of the most devastating phase of the 10 Plagues, the killing the of the first born (3 parts): a mother weeping over her newborn's death, an angel (some experts believing to be the Angel of Death God sends in some interpretations) hitting an ill man in front of a somber women, and a funeral procession for one of the firstborn killed Upper left panel features the Pharaoh forcing Israelites out of Egypt, the latter doing so with dough in hand and their hands raised Lower left panel features Egyptian knights taking after the Israelites following their exile from Egypt Lower right panel features the aftermath of the belief God responded to Moses's call for assistance while evading the Egyptians in pursuit by parting the Red Sea for the Israelites but letting it crash down on their pursuers, with depiction of the soldiers drowning behind the Israelites Form: As an illuminated manuscript, these pages of the Golden Haggadah are 2 dimensional, with a lack of background depth in the illustrations creating very flat images Pages made from vellum Pages reflect influence of Gothic art, with gold leaf backgrounds and dark red decorative frames illuminating the panels The people have long flowing bodies with pale white skin Not much emphasis for architecture in background of panels, not too proper/realistic scale as homes just behind main figures have second story windows and towers just above their heads Creates little negative space, subjects all appear very close Function: Illustrates the story of Passover from the Book of Exodus, which focuses on the Israelites escape from slavery and oppresion in Eygpt It is read, celebrated, and studied during Seder, a meal marking the beginning of Passover by families This Haggadah would have been used at a private home The Golden Haggadah's decorative nature and fine condition implies its belonging to a wealthy family Judaism condemns "graven images", an idea originating from the second commandment Moses believed to have received from God, but the Golden Haggadah is considered a tool of education Thus its illustrations are allowed, meant to be didactic and help Jewish people better understand the developments of the Book of Exodus Context: The Golden Haggadah was created during the Gothic period Gothic art developed out of Romanesque art, further pushing both sculpture and painting from stiff depictions of people to those more lively and flowing Also characterized by prevalence of curved lines in painting, refined decoration in its features, and more detail given to the faces of individuals such as those in illuminated manuscripts 1300s Spain was multicultural, with Christianity, Islam, and Judasim all having points of influences in aspects of life such as art Islamic geometric pattern seen in Golden Haggadah Sephardic Jews were located on the Iberian Peninsula during this time period, although experiences phases of oppression in Spain Jewish families could rise to wealth through various merchant practices and thus the Golden Haggadah is believed to have belonged to rich Jewish family

62. Röttgen Pietà

Late medieval Europe. c. 1300-1325 C.E. Painted wood. Form: -This piece is sculpted from wood and is painted -1300-1325 C.E, 34.5 inches tall -Shows Mary holding a seemingly dead and suffering christ -Done in a gothic art style -many pieta sculptures from this time were made from different materials, making this sculpture more interesting Function: -Early christian work never showed christ in pain on the cross, to depict him as triumphant and immune to human suffering -In this new era showing christs human side, a devotional era -This depiction of christ is hard to look at and evokes feelings of horror and distaste, this creates intrigue -This piece would probably be on some kind of altar surrounded by similar art and offerings Content: -Only Mary and Christ are shown in this sculpture -Christ is shown to have protruding ribs and a limp frame to hint at a life of suffering and hunger -The wounds are shown as very gory and are hard to look at -In most depictions of the crucifixion Mary seems at peace, like she knows her son will rise again -In Rottgen Pieta, Mary seems extremely sad and angry, this adds humanity to her as well as christ Context: -Earlier works of Christ focused on his Divinity these works were called Christus Triumphans - While this work was part of the new dramatic gothic era, these new works of christ were called Christus Patiens -This form of christian art was meant to elicit an emotional response from the viewer

Last Supper

Leonardo da Vinci. c. 1494-1498 C.E. Oil and tempera. Early Renaissance. Milan Italy 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

90. Angel with Arquebus, Asiel Timor Dei

Master of Calamarca. 17th century C.E. Oil on canvas. Form: Oil on canvas/gilded painting Mannerist influence revealed in extended/elongated proportions of body Enigmatic expression, general asexual depiction of the angel lends to the vagueness White, red/black, and white garments painted with minute details and sequins Experts say garments are that of Spanish nobility, but feathered hat lends itself to Andean tribe elites (Incan) Lots of negative space around the angel, the added depth/its faded black makes gold on garments pop Upper left hand corner reads "Asiel Timor Dei fears God" Angel handles gun leisurely, finger not on trigger, gun not on shoulder Elements of Baroque movement as well, theatrical lighting, emphasis on power over indgienous people Function: Made Spain's viceroyalty of Peru in South America, artistic arm of Spaniards' efforts to convert those native to conquered territory to Catholicism Firearms seen as impossible technological feat/borderline divine to the indigneous people of Peru, a Catholic angel wielding one meant to intimidate Inclusion of the inscriptiption in top left "Asiel Timor Dei fears God" adds to the message of Catholicsm's dominance, this gun wielding angel respects and obeys God so intended message is that the newly conquered Andean tribes should as well Depictions of armed angels also previously embodied the army of the Christian Church; in response to the Protestant Reformation, the Counter Catholic Reformation began producing more art with similar armed angels to show that the "true" faithful were protected by divine oversight The addition of new arquebuses gave the notion of protection a tone of realism Experts also believe that Catholic artwork in a viceroyalty like Peru often tried to establish connections between the native religions and Catholicism The Angel's name Asiel Timor Dei is thought to have been related to an angel of the indigneous people's faith Incan god of lightning/thunder/storms Illapa closest comparison to the angel, due to its wings lending it resemblance to nature/elemental deities The identification of one's indigenous religion and associated deities in the conqueror's art would serve as motive to trust the Spainaird's rule Content: Feathered hat worn by Incan nobility, evidence of cultural synthesis and adds to the notion that the native people of the Peruvian viceroyalty should obey Spaniards Harquebus was a proud new European militaristic innovation-first gun to rest on shoulder, best in precision, seen as divine by the Andean tribes The armed angel adds to the popular Catholic concept that the Church came with an army and was ready to resist other religions, especially the rising Protestant movement Wings five Asiel Timor Dei divine look, add to its resemblance to elemental gods of faiths belonging to Aymara and Quechua people Context: One major source of the popular idea of the Catholic Church holding an army came from Spanish priest Francisco de Aliva studying indigenous faiths and customs in Peru, eventually insisting that Jesus would return with army of angels dressed exactly like Asiel Timor Dei 16th century was largely characterized by Martin Luther's Protestant Reformation contesting many beliefs grounded in Catholicism This lead to aggressive suppression of Protestant ideas and the eventual Counter Catholic Reformation, which aiming to solidify the ideals that Martin Luther's followers were trying to discredit Art like Angel with Arquebus was produced as a result of this aggression and tension between faiths, as the armed angel meant to signify that the Church was ready to protect its values and beliefs from those who threatened the faithful José López de los Ríos, or the Master of Calamarca, painter/ head of workshop that created Angel with Arquebus, produced many paintings like this to embody that notion that the Church would remain dominate and was ready to defend its beliefs While the Council of Trent forbade visual arts depicting any angel besides Michael, Gabriel, or Raphael, South American viceroyalties to Spain often ignored the ruling Spanish Inquisition even eventually went after the Cult of Angels

85. Calling of Saint Matthew

Michelangelo Caravaggio 1597-1601 Oil on Canvas Currently in the Contarelli Chapel, San Luigi dei Francesi, Rome, Italy Form: 127 inches by 130 inches Very dark with the light drawing eyes to center towards Matthew (chiaroscuro and tenebrism technique which both use shadows and dark areas to highlight sections of the painting) The style is realism and reflects the Baroque period Function: To portray the moment that Matthew became Christ's disciple Portrayed this moment in a realistic, relatable, human way (in the dark room, the look of disbelief when Christ calls Matthew) A commission for this chapel by Cardinal Matthieu Cointerel left a stipulation in his will that he wanted the chapel to be decorated with paintings of Matthew (who he shared a name with) This painting was one of three of Saint Matthew he did for the chapel The fact that Matthew began as a sinful, greedy tax collector is also meant to inspire hope in the viewer that they too can reach salvation through faith Content: This painting depicts the conversion of Levi into Matthew, a gospel of the Lord (Matthew 9:9) Jesus (figure on the right with his arm extended) is shown entering the room and pointing at Matthew (the bearded man with the black hat pointing to himself) He says "Follow me."- saving Matthew from his life of greed and calling upon him to become one of his disciples The light follows his gaze and point, suggests his divinity along with his halo His hand is painted in an imitation of Adam's in Michelangelo's The Creation of Adam Jesus is sometimes referred to as the second Adam because he too is a creation of God, his second son This hand bridges the gap between Christ and Peter (the divine) with the tax collectors (the human and mundane) Matthew was a tax collector and is depicted around a table counting money with other men The scene is rather shady- some illegal business seems to be going on in a rather grimy, dark backroom with gruff looking, overdressed men (contemporary clothing- the time of Caravaggio, not biblical times), one even has a sword A strong contrast between the tax collectors' clothing and the humble garb of Jesus and Peter who are both barefoot He is pointing to himself, almost in disbelief as if he is saying "Me?" like he can not believe that Christ is looking for him A stark juxtaposition between the disbelief and uncertainty of Levi (Matthew) with the divine call and strength from Christ Peter (a disciple of Jesus) is shown in front of Jesus also pointing towards Matthew and the group of men Various theories as to why this is, one of which is that in order to reach Christ, we must first go through the church, represented by St. Peter Aside from Jesus and Peter, there are five men, two of whom seem rather young and out of place, another who is hunched over still counting the money, almost unfazed that Christ just walked into the room The window pane is also in the shape of a cross, acting as yet another religious symbol Context: Was one of three paintings of Saint Matthew that Caravaggio was commissioned to make in this chapel by Cardinal Matthieu Cointerel His patron Cardinal del Monte helped secure this commission for him which was his first big public work Made during the Counter Reformation, which was a response to the Protestant Reformation, where the church emphasized martyrdom and commissioned various paintings in an attempt to regain church followers This painting was rather controversial when it was first made due to its unique style and setting- not a divine background or Heaven that Christ is usually portrayed in

Merovingian looped fibulae

Mid sixth century. Worked silver 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

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 Our Lady of Guadalupe holds a special place in the religious life of Mexico and is one of the most popular religious devotions. Her image has played an important role as a national symbol of Mexico. Form: -based upon the original -oil on canvas on wood inlaid with pearls Content: -artist signature -traditional view -story of Juan Diego (Aztec man) -roses with her image -radiating light off Mary -indigenous coming to Roman Catholic Church -dark-skinned people portraits FunctionL -tribute to Mary and show her as divine Context: -1698 CE, Spanish Colonial -Mexico City, Basiclia of Guadalupe -artist: Miguel Gonzalez

83. Hunters in the Snow

Pieter Bruegel the Elder. 1565 C.E. Oil on wood. Form: It is interpreted by most as a genre scene which is an image of daily life. The painting is set in a town with a snow covered landscape. The world from a glance looked as if it is locked in winter, however, at a closer look one can see that life is bursting at the seams. The painting develops smoothly from the foreground to the background and draws the eye of the viewer diagonally into the depths of the work. Bruegel's amazing skill of using line and shape along with his use of tonal harmony has made this one of the greatest landscape paintings in Western art. It is 162 x 117 cm. Function: This painting was created to show the triumphs and hardships of life in the severe winter of 1565. The hunters which are the largest figures on the painting had an unsuccessful hunt as seen by their body position leaning forward in a look of defeat. They only have caught a small fox which shows how difficult it could be to find food in the dead of winter during this time. This is a sharp contrast to the people down below enjoying a fun winter day skating on the ice. The distant mountains represent Bruegel's travels to Northern Europe against the backdrop of typical winter activities in the Netherlands. He shows the world on a large and small scale while wanting to show everyday activities while expressing the beauty and magnitude of the world at the same time. Content: This painting was a part of a six part series that Bruegel did representing seasonal changes with each painting representing a few months and not just a single season. The landscape is drawn as much from his imagination as it is from his surroundings. The figures and the homes are all depicted in very warm colors and tones whereas the sky and surroundings are in very cool tones. He focuses on the depiction of peasant life and represents the months of December/January. He wants to represent a solemn mood with the group on the left desperate for warm and huddling around a fire. However, there is also a mood of happiness at a life downbelow that those up on the hill could only yearn for. Context: Hunting rights and dogs were often associated with the Northern Renaissance. Bruegl was from Holland, but Bruegel did not set his scene there since Holland is a flat country without any mountains. This leads the viewer to believe that the painting takes place somewhere in the alps. Nicaels Jonghelinck was a merchant and art collector in Antwerp who commissioned this painting to be done by Bruegel. You can see the painting today in the Kunsthistorisches Museum in Vienna.

#96: Fruit and Insects

Rachel Ruysch Oil on wood 1711 CE Ruysch is from the Netherlands, painting currently held at Uffizi Gallery in Florence, Italy Form: "Still-Life" style of painting Ruysch specialized in this style, especially of flowers Dark borders and bright central colors draws the eye immediately towards the center Incredible detail in the flower petals and vegetables 44 cm x 60 cm Function: 1648 Netherlands gained independence from Spain, and a flourishing new economy followed. Increased trade allowed a wealthy merchant class to rapidly grow, so Ruysch's paintings were made to sell directly to wealthy buyers (not commissioned by the Church or a monarchy) Also speculated that flowers used to send message of the mortality of humans and beauty Content: Depicts a large bunch of flowers, vegetables, and small insects Squash, plums, peaches, chestnuts, grapes, wheat (autumnal) In a Christian context, the grapes (wine) may represent the blood of Christ and the wheat (grain, bread) the body, or Eucharist A small butterfly, lizard, flies, and small ant A bird's nest with eggs Represents the microscopic natural world in great detail Context: During this art period, the paintings in highest demand included still-lifes, landscapes, or realistic life scenes, a movement away from earlier periods of grand religious depictions Around this time, the horticulture industry was rapidly expanding in the Netherlands, and flowers (especially tulips) were a symbol of wealth (aforementioned economic rise following Netherlands' independence) Her father was a scientist and specialized in botany, and he possessed various different plant specimens Rusych's paintings reflect these small aspects of the natural world and the ability to study it very closely, learned from her father Made around the time the microscope was invented, and new emphasis was placed on this new world and microscopic things This painting represents a microcosm of the new environment that was being discovered in science with the microscope Ruysch was a very prolific an well-known artist, specialized in still-lifes of flowers Her art pieces were widely coveted and very expensive At 15 she started an apprenticeship with well-known artist Willem van Aelst who also specialized in flowers

76. School of Athens

Raphael. 1509-1511 C.E. Fresco. Content: This mural is not an actual school, but instead a place where great philosophers and scientists of the ancient world congregated Raphael wanted to display the people sharing ideas, especially since it was during the time of the Renaissance Plato and Aristotle are the central figures in this piece. They are very important to Western thinking and in different ways, their philosophies impacted Christianity Plato, who is a lot older and was actually Aristotle's teacher, is seen pointing up because in his philosophy. He believed the constantly hanging world that we live in is just a shadow of a higher, truer reality that is unchanging and eternal. For Plato, this other reality seats all truths, beauty, justice, and wisdom. There is a realm based on mathematics and pure ideas that is more true than the everyday world we see. The book Plato holds is his own called the Timaeus The colors each of these philosophers wear also contrast: Plato is wearing red and purple- the purple refers to the ether (air), red to fire- neither of which have weight; Aristotle wears blue and brown that are the colors of water and earth, which have gravity, which has weight Aristotle on the other hand, holds his palm down because his philosophy supports that the only reality in this world is the one that we can physically see and experience by sight and touch. The book he is holding called Aristotle's Ethics emphasizes the justice, friendship, relationships, and government of the human world and the thought that people need to study this The division continues in this artwork- on the side of Plato there are philosophers who are concerned with the issues of the ideal. For example, Pythagoras, a great ancient mathematician, who is seen on the lower left, who discovered laws of harmony in music, in mathematics. He taught others that each of the planets produce a music note as it moved based on the distance it was from the Earth. As these planets moved they created a perfect harmony called "the harmony of the spheres" On the other hand, Euclid, who is seen on the lower right, is drawing a geometric diagram for students. He is interested in measuring and the idea of the practical. There are representations of classical sculptures in the niches on the left and the right. On the platonic side- there is Apollo, the God of the Sun, Music, Poetry- ideas that support his philosophies. On the other side, Athena, the God of War and Wisdom, who is presumably involved in the more real, practical affair of a person Form: Euclid is actually reincarnated as a friend of Raphel's and that's Bramante- the architect asked by Pope Julius II to provide a new model for a new Saint Peter's. Bramante's design for St. Peters was based on a perfect geometry of circles and squares. This carries over to the School of Athens. It is very Bramatian, but also very ancient Rome Coffered barrel vaults, Pilasters- praises the figures it contains Raphael has parted both groups to the left and right, so that the middle foreground is fairly empty- there is linear perspective at the bottom of the painting to balance the strong details at the top of the painting Illusion of space- the decoration of the Greek meander looks as if it goes back in space Rapheal overall uses Greek models for calculating the proportions, although being surrounded by Roman architecture like the Baths of Caracalla and the Basilica of Manutius and Costantine. Context: In Stanza della Segnatura in the Vatican in Rome The same time Raphael was painting this fresco, Michelangelo, a big influence on some of Raphel's pieces of art, is painting the Sistine Chapel's ceiling a few doors away This room was originally a library part of the papal apartments, the apartments where the Pope lived There are four other walls that Raphael painted representing the four branches of human knowledge. School of Athens represented philosophy; on the opposite wall was theology having to do with issues relating to God; on the two other walls is poetry and justice Theology is overall represented by showing the prophets, sybils, and allegorical figures, which is huge for the High Renaissance due to Pope Julius II Function: This fresco overall represents the change of only getting knowledge from authority and that one had to accept it- New image of sharing knowledge and the history of the accumulation of knowledge. It demonstrated the Renaissance influence Also a tribute to the wisdom of the great philosophers of this time The four frescos Rapahel painted were arranged for the holy Pope. Raphael has hope that his frescos will give Pope Julies II and the other artists and citizens of Italy some knowledge of the other ancient philosophers

San Vitale

Ravenna, Italy. c. 547 C.E. Justinian Mosaic. Early Byzantine Europe. Form: Centrally planned basilica Octagonal in shape Byzantine church Function:Obviously primarily to worship the Christian god (This is a church)and Glorify the Byzantine Emperor Justinian and Empress Theodora Serves as a reminder for the power of the Byzantine Emperor Content 8 sided Church, plain exterior. Large windows, thin interior columns and arched spaces. Dematerialize the mass of the structure. Context:Built after the split of the Roman empire

87. Self-Portrait with Saskia

Rembrandt van Rijn. 1636 C.E. Etching. Content: The seventeenth- century Dutch artist, Rembrandt van Rijn etched him and his wife wearing historical clothing. Rembrandt is wearing a fanciful 16th- century style plumed beret and a fur trimmed overcoat, while his wife, Saskia, is wearing an old- fashioned veil. The two figures are in half- length, seated at a table before a plain background. Rembrandt is larger and in the front with a serious expression. On the other hand, Saskia is drawn as a smaller scale, sitting behind him. This etching marks the first time that Rembrandt presented himself as an artist at work. In his left hand, he holds a porte -crayon and drawing on a piece of paper Context: Rembrandt, who has made over 75 self portraits, is known for showing himself in a variety of different imagined roles This small etching can be seen as a marriage portrait. The young woman seated with 30 year old Rembrandt is his wife, Saskia van Uylenburgh. They most likely met through Saskia's cousin, Hendrick Uylenburgh, an art dealer in New Amsterdam The couple got married on June 22nd, 1634 and remained together for thirteen years until Saskia had an unaccepted death. It's surprising that this is the only portrait of these two together Rembrandt is the first to popularize the etching technique as a major form of artistic expression. His artwork varies of subjects popular at the time such as history, landscapes, still life, and everyday life as well as portraits Form: Etching is a printmaking process where a metal plate, usually copper, is coated with waxy, acid- resistant material. He draws through this with an etching needle to expose the metal. After, the plate is dipped in acid, which then goes into the exposed metal, leaving behind lines in the plate By being in control of the time the acid stays on the plate, the artist can make fine, deep, shallow, or heavy lines. After the coating is removed, the plate is inked and then put through a high pressure printing, pressed together with a sheet of paper to make a print Rembrandt uses a soft ground to allow him to draw freely on the plate Rembrandt first etched Saskia in this artwork to create the illusion of being behind himself and most likely etched himself in a mirror The figure of Rembrandt is more deeply bitten than Saskia's, placing a greater emphasis on him Function: It is believed viewers are being let in on a private moment between the couple and highlights the nature of the relationship More of a private side of Rembrandt showing off his wife

Bayeux Tapestry

Romanesque Europe c. 1066-1080 C.E. Embroidery on linen. Form: This is not a true tapestry since it was not woven into cloth; instead the inscriptions and imagery are embroidered using wool yarn sewed into linen cloth This tapestry suggests that they were Anglo- Saxon embroiders who made it were skilled because of the high quality of the needlework, but the identity of the artists are unknown At this time, Anglo-Saxon needlework was prized throughout Europe The artist skillfully organized the tapestry so it leads the viewer's eye from one scene to the next: The main events of the story are in larger middle zone, the upper and lower zones contain images of people and animals Unrealistic figures 1 dimensional, flat It is is split into three sections in an attempt to show foreground and background The top and bottom can also function as borders Function: This tapestry was used as a way to remember and commemorate the win of the Normans This is also a semi- accurate description of war when during these times writing down information was not common; important visual sources for eleventh century textiles that have not survived in the twenty first century Provides information about civil and military architecture such as castle mounds, armour such as a nasal helmets and oblong shields, and seafaring Content: There are 75 scenes filled with latin inscriptions: tituli Presents a continuous narrative to the events leading up to the Battle of Hastings and the battle itself From the first meal, dining practices and battle preparation is seen. Examples of armor used, servants serving the food such as preparing bread over a fire, a stew being cooked is all there William and his nobles sit down to enjoy a feast as Bishop Odo says grace Servants load the food on their shield and then serve it to the people The scene with the war: calvary, which means sending in men on horseback is seen with William Using calvary allowed the soldiers to easily retreat or advance quickly Scattered the defense, so it was easier to invade The men wore conical steel helmets with a protective nose plate, mail shirts, and carried shields and spears The foot soldiers carried spears and axes The horses had no armor There are wounded men and horses along the tapestry's mid and bottom The English soldiers are on foot as they protect themselves with a line of shields. The Normans attack from both of the sides. The lower boarder of the tapestry is filled with dead and injured soldiers Context: Was probably made in Canterbury around 1070 Shows the Battles of Hastings in 1066, but shows the events leading up to that Begins in 1064 when Edward the Confessor, King of England, instructs his brother- in- law, Harold Godwinson to travel to Normandy to offer his cousin, William, the succession to the English throne In 1064, Harold's ships sail towards the coast of Normandy. After many difficulties, he sends a message to William Duke of Normandy that the King of England has designated him as his heir to the throne. When the old king dies though, Harold has himself crowned instead William decides to cross the channel to reclaim his throne On October 14th, 1066, the decisive battle between Norman and Anglo- Saxon troops begin: Many people die In the end, Harold is hit in the eye by an arrow and dies in battle. The English troops retreat The textile is missing, probably showing William as king.

San Carlo alle Quattro Fontane

Rome, Italy. Francesco Borromini (architect). 1638-1646 C.E. Stone and stucco. 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)

II 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. (3 images) 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

55. 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 Form Parchment Ink made from vegetables, animals, and mineral pigments both local and imported St. Matthew page: seemingly endless colorful spirals that criss cross around the page and ues positive space St Luke page: brightly colored text in a intricate design with lost of negative space St. Luke portrait page: a portrait of St. Luke with purple robes and a halo Function Tells the gospel of Mark, Luke, John, and Matthew Content St. Matthews page: the many spirals are actually snakes of different colors, a cross is outlined in red and stabilizes the page as a way to reinforce the idea of christ St. Luke page: the letters are sourned with different types of animals (snakes being a recurring theme throughout this book). Blue spirals draw the reader into looking at the first letter of the sentence on the page St. Luke portrait page: The robe he has one is reminiscent of late Roman philosophers. The halo around his head parents his divinity as he transcribes his gospel. The cow flying above him is from a popular tale in the gospel. Luke is represented as the ox (christs sacrifice), Matthew the man (the human aspect of Jesus), Mark the lion (the triumph of christ) and finally John as the eagle (the second coming) Context The book was rewritten from an italian book around 500-900 ce The isles that it was made on during this time suffered from invasions This books was found in a small chritsan community in the isles of the UK

Henry IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle

The Presentation of the Portrait of Marie de'Medici from the Marie de'Medici Cycle Peter Paul Rubens 1622-1625 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.

Venus of Urbino

Titian. c. 1538 C.E. Oil on canvas. Form: -Oil painting done in 1538 C.E -119.20 x 165.50 cm -Saturated, rich colors -Strong contrast Function: -Patronage was a factor -Duke Urbino Guidobaldo II Della Rovere commissioned this work from Titian for his wife -The woman (who is assumed to be Venus) looks directly at the viewer as if she is waiting for them -Her expression is confident and unfazed by her own nudity -The viewer is drawn in by the intrigue of her expression and reclined pose Content: -The woman was named Venus because this allowed the artist to paint her nude without social repercussions -Though many people have given the woman in the painting several different identities, some kind some vulgar -Many thought she wasn't Venus but just a depiction of the ideal female body type -The two woman in the back of the painting are not as debated over, it is thought the younger and older woman represent motherhood and the dog represents fidelity -The most popular theory of the woman is that Titian blended common women's identities in sixteenth century Italy to create this piece Context: -When this piece was made Venice had a strong government with good trade that was able to invest in artists -This piece helps show the social practices of intertwining marriage, sexuality, and female beauty in renaissance Italy

Pyxis of al-Mughira

Umayyad. c. 968 C.E. Ivory. Basic Info Form Function Content Context Barons CC ConnectionMade by artists of the Madinat al-Zahra workshops during the Umayyad dynasty c. 968The material is carved ivory with traces of jadeWas likely made in Umayyad-ruled SpainThe Pyxis is 16cm tall and 11cm wide, and made of carved ivory from an elephant tuskThere is inlaid jade and several other precisions stonesIvory was durable, smooth, elegant, and easily carvedThis 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 familySpecifically 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 cosmeticsThe 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 huntedEach medallion has princely iconographyAlthough Islamic art is commonly viewed as an-iconic, human and animal figures play an important role in iconographyA Pyxis is a cylindrical contained for holding cosmeticsThis was a coming of age gift for al Mughira, the 18-year-old daughter of the caliph of the Umayyad dynastyBest surviving example of the tradition of carved ivory in Islamic SpainSpain 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 themesThis comes from the royal workshop of Madinat al-Zahra, which was one of the wealthiest cities in Umayyad-ruled SpainThe work is currently located in the Louvre

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. Form 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 Sistine Chapel Ceiling (general): revolutionary painting style where the figures were so realistic that they looked like sculptures brilliant, rich colors were used Michelangelo's style involved "carving figures out of paint" figures are massive; have gravity, weight and presence are figures of idealized beauty (shows the relative religious optimism of the time; as compared to when Michelangelo paints The Last Judgement above the altar and his style has become more cynical and Mannerist) emphasized musculature and anatomy anatomy displays drama and power (despite the fact that that many of them are in positions of relative peace--for ex. Libyan Sybil) a complex "stage" of connected yet separate scenes strong visible presence of Ancient Roman and Greek sculptural style no images of Christ, but the scenes lay the stage for the coming of Christ the richly colored, monumental figures help convey the emotional impact of the scenes to the viewers gazing up at them from the floor Layout:9 biblical scenes from Genesis that move across the ceiling lengthwise (starts with God dividing light from dark and moves on chronologically)1. Noah is drunk and disgraced2. The Great Flood/Deluge3. Noah and his family make a sacrifice after the flood4. Adam and Eve are tempted + sent from Eden 5. God creates Eve6. God creates Adam7. God divides the water from the Earth 8. God creates the sun and planets9. God divides light from darknessscenes are framed by a painted architectural framework scenes are flanked on both sides by prophets and sybils that sit within the painted architecture in the spandrels, separate from the depicted scenes but connected ideologically sybils: pagan soothsayers that foretold the coming of Christ sitting on the architectural framework of the four architectural corners of each nine biblical scenes are male nude figures, called ignudiscenes from the Salvation of Israel painted in the pendentives The Delphic Sibyl: Form Function the sibyls were said to be future-seers of pagan times who saw the coming of Christvalidates the Christian faith because the coming of Christ was foretold long before Jesus was even born shows a theme of foretelling present in Christian artwork since the Middle Ages; sibyls foretold the coming of Christ, the Old Testament foretold the coming of the New Testament, Mary foretold the death of her son Content her body has a circular composition signifies grace, balance, and harmony of proportion she has a "sculptural weight"--looks as though she is actually coming out of the walls due to the painted contour (contrapposto) of her skin and muscle she has idealized anatomy--by the way her muscles are sculpted, she looks as though she has incredible strength, yet she also possesses a sense of calm elegance (sprezzatura: a deceptive ease)shows close attention to human anatomysome believe that she was modeled after a man (which makes sense looking at the prominent muscles in her arms)--"biblical" beauty instead of sexual, like in Botticelli's Venus Context painted after Michelangelo took his break in 1510, so they show his new style of monumentality some believe that all the sibyls are modeled after the ancient sculpture the Belvedere Torso (see below) The Deluge: Form Highly modeled figures Facial expressions and dynamic poses reveal the sadness and desperation depicted in the scene Figures interact with each other Many hold each other in their arms or on their backs Some figures reach for each other or joste past one another Function Makes viewers question God's justice → why would he destroy the whole population of Earth, spare Noah and his family? Content Physical space of the water and sky separate the 4 parts of the narrative On the right: a group of people find makeshift shelter from the rain On the left: people scale a mountain to escape floodwaters Central: A small boat teeters, about to capsize due to the rising waters Background: men work to build the ark Full of figures → makes the event seem chaotic, large-scale; but also waters down (pun not intended) the emotional intensity of the narrative from a distance

The Tête à Tête, from Marriage à la Mode

William Hogarth. c. 1743 C.E. Oil on canvas. Form: -Oil on canvas -27 ⅗ in x 35 9/10 in -Strong shapes and vertical lines on the columns, walls and fireplace -Very detailed, controlled chaos Function: -Similar to a political cartoon, meant to make fun of the wealthy -A satirical look at arranged marriages, this is done to appeal to the middle class -The people are shown in goofy poses and over exaggerated facial expressions Content: -The piece shows an unmarried couple in the middle of a fight -The artist makes it clear that this is a very wealthy couple by showing them in a a lavish home surrounded by expensive things carelessly strewn across the floor -The man (recognized to be Viscount Squanderfield) seems to be drunk and uninterested -A dog is also sniffing at what seems to be a bonnet in his pocket suggesting he's been cheating -The wife is also shown to be cheating as her blouse is unbuttoned and she seems all too relaxed -The accountant adds to the silliness of the painting by having an over exaggerated expression on his face with his hands in the air -The paintings of saints and christian sculptures and offerings highlight the couples immorality Context: -This is the second piece from a group of 6 works -These works are in chronological order to form a storyline -A story of a marriage for wealth that depicts the flaws of the wealthy and their immorality -Hogarth created these works to profit off of the new middle class by creating art that would be mass consumed

Allegory of Law and Garce

Year: 1529 Context: Destruction of thousands of works of religious art Iconoclasts stormed through churches "How did heaven get to be so controversial?" 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