Art Appreciation Exam 3- TTU Peaslee
3.36 Christ icon, 6th century. Encaustic, 33 × 18". St. Catherine Monastery, Mount Sinai, Egypt
ICON: a small, often portable, religious image venerated by Christian believers; first used by the Eastern Orthodox Church -meant tobe small and carry and kiss, functional object, not meant to praise artist, something for view to connect to and spiritually, suppose to show the divine side of Christ on the left but right side is more human like point -relationship vs. transcended spiritual
2.143 Giambologna, Rape of a Sabine, 1583. Marble,
IN THE ROUND: a freestanding sculpted work that can be viewed from all sides -roman men would abduct women to begin Roman Empire -war scene w/ male and female
Factors that Influence Architectural Design
Location --Relationship with environment: harmony or contrast? --Climate and geography of site Materials Structural system --Load-Bearing Construction --Post-and-Lintel Construction --Arches, Vaults, and Domes --Cast-Iron Construction --Steel-Frame Construction --Sustainable Design Reflection of Function and/or Community
3.35 Good Shepherd, 425-6.
MOSAIC: a picture or pattern created by fixing together small pieces of glass, stone, or tile--in catholic cathedrials or churches, like window -early christian art, church and state, looks high sacred but doing normal things, gold disk on heads means someone sacred, depict worldly place
Some stylistic characteristics of art from the Middle Ages:
Made to support religion and pilgrimages Centered around location of relics and important sites Religious subject matter Richly decorated manuscripts Fantastical animal-like forms Elongated and twisted figures Grand-scale cathedrals *Expresses spiritual concerns rather than humanist ones*
Art of the Middle Ages Intro
Middle Ages - Marks the end of the Classical world - Ends at the beginning of the Renaissance Medieval - End of Roman Empire in the west by 476 CE - The western part of the empire followed the Roman Catholic Church Byzantium - Roman Empire becomes Byzantine empire in the east - Roman capital becomes Constantinople - The eastern part of the empire followed the Greek Orthodox Church
3.54 Cimabue, Virgin and Child Enthroned, c. 1280. Tempera and gold on wood,
NOT MEANT TO BE TOUCHED
The Emergence of Modern Materials and Modern Architecture
-In the nineteenth century, iron, steel, and concrete became both less costly and more widely available, and so came into common architectural use -Buildings could be built taller and in different configurations -New types of building emerged, and new materials made buildings look radically different
Nancy Holt. Sun Tunnels, Great Basin Desert, Utah (four showing). 1973-76. Four tunnels
-MADE 4 LARGE TUNNELS, HOLES PUNCHED IN -RISING IN SUMMER SUN AND WINTER -THE SUN AND STARTS BECOME APRT OF IT, -MOVEMENT OF EARTH AND CALLING ATTENTION TO THE MOVEMENT OF EARTH W/ SUN AND STARS
2.154 Great Serpent Mound, c. 800 BCE-100 CE, 1330 x 3', Locust Grove, Adams County, Ohio
-Native americans made mounds for religious in some way
3.29 Pantheon, interior view, c. 118-25 CE, Rome, Italy
-OCULUS:a round opening at the center of a dome -wanted open space for people to have religious effects -unreinforced concrete-gets narrower towards top -water evaporates before hitting floor if rains -eye of Jupiter as light mores from diff. sides
4.3 Stonehenge, c. 3200-1500 BCE, Salisbury Plain, Wiltshire, England
-Post-and-lintel construction -massive blocks of stone -henge means human made ditch -function: calendar -signal for harvest, movement of sun, maybe ceremonial
2.172 Kallikrates, Temple of Athena Nike, 427-424 BCE, Acropolis, Athens, Greece
-ancient greek world, goddess of Athens -democracy, individual victory, one small temple of Acropolis
2.174 Pont du Gard, first century CE, Nîmes, France
-arch construction -means bridge over river -the top layer leans so water can be over to the other side -authority, army can travel faster
4.5 Colosseum, 72-80 CE, Rome, Italy
-barrel vault construction -76 entries, used for entertainment
2.158 Pablo Picasso, Bull's Head, 1942.
-bicycle seat and handle bars-bronze, readymade -shadows give more of 3-D and lifelike
2.152 Riace Warrior A, c. 450 BCE. Bronze, 6'6" high.
-bronze, more durable and permanent, hollow inside, lighter -CASTING, lost-wax casting process
3.38 Theodora and Attendants, c. 547. Mosaic on south wall of apse, 8'8" × 12'. San Vitale, Ravenna
-connection of action and spiritual, she looks dressed like christ
3.55 Giotto, Virgin and Child Enthroned, c. 1310. Tempera on wood
-different dimension of faces and people -depth and shading of faced, depiction of angels
3.137 Donatello, David, c. 1430. Bronze,
-first lifesize, nude, male body since classic era-200 yrs -moment of glory, representation of hero, perfect pose from ancient greek era
3.122 Leonardo da Vinci, The Last Supper, c. 1497.
-halos are gone but window in background depicts halos, -3 windows and groups of 3 represent the trinity
Andy Goldsworthy, Japanese maple / leaves stitched together to make a floating chain..., November 21-22, 1987
-last a day or few hours -natural materials (leaves, flowers, rocks, snow) -contrasting bright colors to rock
0.8 Leonardo da Vinci, Mona Lisa, 1503.
-naturalistic color but gold coloring -portrait of real person-middle class
3.42 The Fifth Vision of Hildegard of Bingen, frontispiece for Liber Scivias, c. 1230.
-not lifelike, can't fit in there, hand are shaped weird -abstract -goal was suppose to look worldly and spiritually
3.40 Cross-carpet page introducing the Gospel according to St. Matthew. Lindisfarne Gospels, fol. 26b
-one page of many manuscripts -suppose to look like a mosaic in a cathedral
1.65 Masaccio, Trinity,
-one point perspective, acknowledgement of person looking at art
2.169b Great Pyramids at Giza, left to right: Menkaure, Khafre, and Khufu, c. 2560 BCE, Giza, Egyp
-pharos were considered alone the line of gods -Khufu is 480 ft tall, perfect square, carved limestone blocks, 2 million bricks -lines demonstrate sun rays coming down, look up and see sun, sun gods being powerful
3.28 Pantheon, entrance porch, c. 118-25 CE, Rome, Italy
-religious temple
2.168 Temple I in the Great Plaza, Maya, c. 300-900 CE, Tikal, Guatemala
-sacred, ceremonial temple, -above the forest -symbolic reaching heaven to people below -no open interior
Nike, from the balustrade of the Temple of Athena Nike. c. 410-407 BCE. height 42 in.
-she looks like a human-god -she's a goddess but doing an everyday thing -marble looks like it transforms to lightweight
Walter De Maria, two views of Lightning Fields, 1970-77
-stainless steel poles 1 mile by 1 kilometer -lightning is attracted to pole, activating natural world -intimate art, was open and free but now controlled
3.118 Portrait of Michelangelo from Giorgio Vasari's Lives of the Great Artists, second edition, 1568
-started to care who artist were -Vasari's was an art historian who wrote books so people knew who artists were
Erechtheion, 421 - 406 BCE, Acropolis, Athens, Greece
-women holding the building -abstract form of humans holding the roof up
2.157 Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991. Glass, steel, silicon, formaldehyde solution, and shark
-you can't know what death is like -he gave a view to have a fear and could cause a death
2.145 Susan Durant, Memorial to King Leopold of the Belgians, 1867, in Christ Church, Esher, England
HIGH RELIEF: a carved panel where the figures project with a great deal of depth from the background -king is dead w/ the live beast of a lion
Some stylistic characteristics of Greek art:
Subject matter: mythological gods, goddesses, and heroes Idealized nudes reflect Greek belief in humanity Use of contrapposto Built temples to the Gods Significant use of marble and bronze
4.10 Tomb mound and complex of Emperor Qin Shi Huangdi, c. 210 BCE. Lintong, Shaanxi Province, China (CGI reconstruction)
clay, individual unique soldiers; 8,000 scultures
San Vitale. Ravenna, Italy. 526-47 CE.
looks simple on outside
2.197 Marcel Duchamp, Fountain, 1917.
readymade: an everyday object presented as a work of art
graphic design
the art or skill of combining text and pictures in advertisements, magazines, or books -is the visual communication of complex ideas in simplest form -can do it on computer or paper
2.156 Naum Gabo, Constructed Head No. 2, 1916. Cor-ten steel
Cor-ten steel--last a long time -exterior gives a wholeness and negative space and 3-D form
2.155 Robert Smithson, Spiral Jetty, 1969-70. Black rock, salt crystals, and earth, 160' diameter, coil length 1500 x 15'. Great Salt Lake, Utah
EARTHWORKS: large-scale, outdoor environments that incorporate natural materials as the artistic media -suppose to last long time and enduring -wanted to make something outside, free -call attention to nature and earthworks -swirl is something natural
3.17 Iktinos and Kallikrates, Parthenon, 447-432 BCE, Acropolis, Athens, Greece
ENTASIS: the slight swelling at the midpoint of a column
Art of Ancient Greece
"Man is the measure of all things" -Valued the achievements and potential of humanity -Portrayed idealized human bodies (mostly nude) -Athletic, democratic, intellectual culture Polytheism -Gods and goddesses often the subject of art -High above each city was an acropolis, a religious center with a temple dedicated to the city's protective deity
Nike of Samothrace. c. 190 BCE. height approximately 8 ft.
-Athena of victory -looks realistic -this pose is suppose to be the perfect view
3.37 San Vitale, apse,c. 547, Ravenna, Italy
-Christ in center but emperors there too -medium=mosaic- light gives glittery -no separation of church and state
3.22 Statue of a kouros (youth), c. 590-580 BCE. Marble
ARCHAIC: Greek art of the period c. 620-480 BCE -free standing, maybe burial figure or to do with gods -instead of lifelike its abstract (very stiff, eyes weird)
2.144 Dying Lioness, limestone relief from the North Palace of Ashurbanipal, Nineveh, Assyrian period, c. 650 BCE.
BAS-RELIEF, or LOW RELIEF: a sculpture carved with very little depth -small little details on the lion -from scene that depicts a lion hunt -panel of several sculptures on the wall -man vs. nature=King keeping palace safe from nature
The High Renaissance in Italy
Beginning of the 16th century Continued development of making art look "believable" - Rules of perspective - Ideal and real - Religious and mythological subject matter Three great Italian artists dominated this period: - Leonardo da Vinci - Michelangelo - Raphael
4.11 Soldiers from mausoleum of Emperor Qin Shi Huangdi, c. 210 BCE. Terracotta and pigment, figures approximately lifesize. Lintong, Shaanxi Province, China
CASTING: additive method of sculpture, involves adding a liquid or pliable material to a mold -underground tomb for emperor -life size, the soldiers were to serve and to protect emperor in afterlife
3.121 Masaccio, Tribute Money, c. 1427. Fresco, 8'1" × 19'7". Brancacci Chapel, Santa Maria del Carmine,
CONTINUOUS NARRATIVE: when different parts of a story are shown within the same visual space -tax collector wants money -3 peters, pointing, fishing, giving money -more naturalistic depiction of groups-so not spirtual -atmospheric and linear perspective, building is proportional -humanist unique ppl- lifelike, halos fit head and lean -viewers shadow and the paintings shadow shows as same
3.23 Roman version of the Doryphoros (Spear Bearer) of Polykleitos, 120-50 BCE, after a bronze original of c. 460 BCE. Marble
CONTRAPPOSTO: a pose in sculpture in which the upper part of the body twists in one direction and the lower part in another -it was beautiful because its mathematically proportioned -more realistic, potential for movement
3.44 Reliquary of the Head of St. Alexander, 1145. Silver repoussé, gilt bronze, gems, pearls, and enamel
RELIQUARY: elaborately decorated containers to house holy objects or body parts of saints/ holy figures
Introduction to Ancient Greece and Rome and middle ages
Renaissance (1400-1600) -Means "rebirth" -Refers to the time period and the style of art -A renewed interest in Classical thinking, mythology, and art Humanism -Philosophical approach that stressed the intellectual and physical potential of human beings Religion -Reformation (1517) and Counter-Reformation (1545-1648) ---Catholic and Protestant beliefs were reflected in the art of the Italian Renaissance and the northern Renaissance
The Early Renaissance in Italy
Renewed interest in the Classical past - Study of mathematics and science encouraged the systematic understanding of the world Art was a balance of the real and ideal - Realistic depictions of three-dimensional space and perspective - Idealistic portrayal of mythological or religious subjects, and the nude figure
CONCLUSION ON SCULPTURE
Sculpture is art that occupies and defines three dimensional space Sculpture is often categorized as relief, freestanding, or environmental All sculptural processes and methods can be classified as either *additive or subtractive* In the last hundred years, sculpture has changed to reflect our new and complex modern world
Sculpture Introduction
Sculptures exist in three dimensions and occupy physical space in our world They invite audience interaction --by looking at them, viewed from one spot (ex: relief sculpture) --by walking round, examine from all sides (ex: in the round) --by entering them and being immersed in a created environment (ex: installation) Methods of Sculpture --Subtractive: carving, drilling, chiseling --Additive: modeling, casting, constructing
