Arth 101 final review session

Late Roman Empire - French Gothic

Final Exam: Monday 12:30PM - 2:30 PM

ARTH 101 Final Review

Session

Final Exam

Same as your previous exams!

ONLY DIFFERENCE:

2 mystery images

Do NOT need to know: Oceanic OR Gothic outside France

YOU NEED TO KNOW THE LAST FEW IMAGES FROM LATE ROMAN

( Diocletian’s palace at Split, 300-305 C.E. / Arch of Constantine, Rome, 312-330 C.E.

/ Head of Constantine, 315-330 C.E. / Aula Palatina, Trier, early 4th c. C.E )

Diocletian’s palace at Split

Late Roman Empire

300-305 C.E.

plan inspired from a roman military fort

Arch of Constantine, Rome

Late Roman Empire

312-330 C.E.

took different sculptures and parts from previous “good”

rulers (Trajan, Marcus Aurelius), maybe to associate his rule

with good rulers

Head of Constantine

Late Roman Empire

315-330 C.E.

combines all three sculptural styles

Aula Palatina, Trier

Late Roman Empire

early 4th c. C.E

“palace hall,” shows the use of the basilica form

Late Antiquity Vocab

Late Antiquity: “Early Christian,” 300-500 C.E., Christianity took over large parts of Roman Empire, becomes official religion of

Empire in 4th c., focus on frontality

PARTS OF CHRISTIAN BASILICA

Basilica: neutral architecture/type of building

Atrium: gathering area, large square courtyard

Narthex: where the people who are studying to become Christians sit during congregation

Nave: central aisle, only for clergy

Transept: makes the building like a cross-shape

Apse: where the altar and throne is

central plan: based off a circle plan, has a dome with clerestory lighting

dome: circular bump in a building

pendentive: triangular parts that channel the pressure of the dome into pillars

Dura Europus, synagogue

Late Antiquity

c. 245-56

converted from a house, scenes from the Torah

painted all over the walls

Dura Europus, house-church

Late Antiquity

c. 240-56

worshipped in secret because of a fear of being

martyred, the baptistery was the only room that it

was painted

Good Shepherd from catacombs

Late Antiquity

early 4th c.

most popular subject in catacombs,

symbol of christ

Rome, Old St. Peter’s, Plan

begun 320

Late Antiquity

founded by Constantine, had double aisles

Rome, Old St. Peter’s, begun 320,

reconstruction

Late Antiquity

founded by Constantine, had double aisles

Rome, Santa Sabina

Late Antiquity

422-432, interior: enter through west, look

towards east (towards Jerusalem), example of

a basilica with columns on the interior

Rome, Santa Costanza

Late Antiquity

ca. 337-351, interior

tomb of Constantine’s daughter, central plan, plain brick on

the outside

Ravenna, Mausoleum of Galla Placidia, Late Antiquity c. 425

Exterior: probably in honor of a martyr, plain brick on

the outside

Good Shepherd mosaic: golden halo and robe; now seen in

a higher social status

Vienna Genesis, Rebecca and Eliezer at the

well

Late Antiquity

early 6th century

book depicting stories from Genesis

Diptych of Symmachi

Late Antiquity

ca. 400

roman family that were pagan, ivory carving of a

greeting card

Byzantine Vocab

Byzantine: 500-1453 C.E.,

Icon: image on a flat panel that is venerated, not treated as a holy object; displayed at alter

with candles and could be prayed to

Iconoclasm- 8th century: destruction of images; may be a response to the rise of Islam

Pantocrator: “ruler of everything,” image of Christ that looks fierce and powerful,

emphasis on a sterner side of Christ

CONVENTIONS: Architecture attempts to be more airy, light/real gold used as a

backdrop/frontal view/important person in middle/rulers depicted with halos/figures are

elongated, feet point down and are floating and overlap, oversized eyes, tilted heads

Anthemius of Tralles and Isidorus of Miletos, Hagia Sophia,

532-537

Exterior: built to rival temples in Jerusalem, minarets

added after it turned into a mosque

Plan: was a combination of a basilica and a central

plan building

Interior: windows at the base of the dome, allows for

more light

San Vitale, Ravenna, 526-547

Plan: central plan in an octagon

Interior: covered with mosaics, beautiful, unlike the

plain exterior

mosaics with Justinian and Theodora from San Vitale

has both soldiers and church on his sides

Transfiguration mosaic, Church of the Virgin, St. Catherine’s

monastery, Sinai

Byzantine

ca. 548-560: located in the apse, no depiction of ground

Virgin and Child icon, Sinai

Byzantine

6-7th c.

example of an icon: image on a flat panel that is venerated, not treated as a holy

object; displayed at alter with candles and could be prayed to

Ascension of Christ, Rabbula Gospel

586

Byzantine

shows the rising of Christ, separate

representations of reality and heavens

Hosios Loukas, Greece

Byzantine

first quarter 11th c.

Exterior: starting

to get fancier on the

outside

Interior: multiple

domes, change in image of

christ

Christ from dome at

Daphni, Greece

(Pantocrator)

Byzantine

late 11th c.

Christ starting to become

more stern and powerful

Interior of St. Mark’s, Venice, begun

1063: great deal of gold used, which was

typical to be used in Byzantine art

Lamentation over the dead Christ fresco, Nerezi,

Macedonia

Byzantine

12th c.

starting to see their understanding of the body, elongation

and linear

Vladimir Madonna

Byzantine

12th c.

example of an icon,

miniature adult, no

proportions

Rublev, Old Testament Trinity

Byzantine

ca. 1410

three angels that are symbol of holy trinity

Islam notes in separate slide show, SEE

LINK:

http://www.slideshare.net/AlisonThompson10

/art-of-islam-slide-show-for-arth-101-final

Native American Art

Aspects: abstraction, association with rituals (masks), use of

everyday life

Subjects: mother and child, females

Colossal head, Olmec

Mesoamerica and South America

900-400 B.C.E.: considered the mother culture of

Mesoamerica, theory it could be a ruler, used in

ritual, guardians of culture

Temple of Feathered Serpent,

Teotihuacan

Mesoamerica and South America

3rd c. C.E.: sacrifices took place on top most

likely, terraces on each step, layers may represent

levels of underworld, heads on the steps are

probably gods

Goddess from Tetitla apartments, Teotihuacan, Mesoamerica and

South America

650-750 C.E.: see the use of colors, serpent-like face, use of jade that

was for elite

Stele D, Copan,

Mesoamerica South America

736 C.E.: slap with sculpture on both sides,

hieroglyphs carved here,

Ball court, Copan, Honduras, Mesoamerica South America

738 C.E.

wore thick padded costumes with a heavy ball, dont know the rules of the

game but some evidence that losers were sacrificed to gods, may be a

reenactment of underworld story

Temple of Giant Jaguar, Tikal

Mesoamerica South America

c. 732 C.E.

tall and narrow, wanted it to be higher than the jungle

trees, used to be painted with bright colors

Bonampak mural, c. 790 C.E.: depicts a sacrifice of

captured soldiers in honor of a royal family/elite, elite

wore jaguar robes and headdress,

Shield Jaguar and Lady Xoc, c. 725 C.E.: rulers/elite also made their

own sacrifice, Lady Xoc cuts blood from tongue and burns it to brings it

to gods

El Castillo, Chichén Itzá, 800-900 C.E.: 9 levels that may

represent underworld, on a certain day of the year, a shadow from

the sun creates a serpent

Caracol, Chichén Itzá, c. 800-900 C.E.: “snail shell” building, could be

an observatory used by the Mayan

Hummingbird, Nasca, Peru, c. 500 C.E.: Nasca lines, created

from clearing the earth, large abstract animals only viewed from

high hills

Moche portrait-head bottle, Peru, 5th-6th c. C.E.: ceramic

vessels, unsure who they represent/purpose

Coatlicue, Aztec, c. 1487-1520: female serpent, cut up hand necklace,

depicted a sa fierce, powerful goddess

Machu Picchu, Inka, Peru, 15th c.: thought to be a summer palace for

the elite, used sophisticated architecture of irregular stones stacked

together

Chilkat blanket, Tlingit

North America

early 20th c.: robes worn by elite, given as gifts during

potlatches, men would make design, women would weave them

Cliff Palace, Mesa Verde,

North America

c. 1150-1300 C.E.: “Green Table,” grow crops on top

of cliff, multiple families would live here, circular

architectures were used for rituals

Martinez, Jar, San Ildefonso Pueblo blackware

North America

c. 1940: handmade black on black pottery, women made pot, male decorated it,

inspired from traditional designs

Serpent mound, Ohio

North America

c. 1070 C.E.: date is unknown, but the date correlates with Halley's comet

African Art

Aspects: great deal of masks (used for ritual, meant to disguise the

person wearing it), large heads

Running woman, Tassili, Afrian, c. 6,000-4,000 B.C.E.: thought to possibly

be a goddess due to the horns

Nok head, Nigeria, African c. 500 B.C.E.: made from ceramic, convention of

triangular eyes, not found in context so unsure of purpose

King from Ife, Nigeria, 11th-12th c.: this culture had advanced

technology, depicts a king and we know this by his attire and

symbols in hands

Beta Giorghis, Lalibela, Ethiopia, ca. 1220: carved down into the

ground to create this church, evidence of christianity flooding into

african culture

Great Zimbabwe, African, 14th c.: used to be an important trading city,

this one was used for a small group of families,

Ivory belt-mask of Queen Mother, Benin, 16th c.: the king wears these

on his belt, shows Idia who was a military genius, on her headdress are

heads of portuguese soldiers (had alliance with them)

Altar to the Hand, Benin, Nigeria, mid 18th c.: shows the king

larger than his attendants,

Reliquary guardian figure, Gabon, African, 19th/early 20th c.:

reliquary: a place to keep a relique, which is associated with

objects of holy people or dead person, these figures are meant to

“guard” the dead

Nail figure, Kongo, c. 1900: nails hammered is a way to

praying to a deity

Seated couple, Dogon, Mali, African, c. 1800-1850: depicts the ancestry of

the Mali people, relationship seems to be equal

Ngady Amwash mask, Kuba, Democratic Republic of Congo, late

19th/early 20th c.: covered with beadwork and shells, which were meant

to show status of person

Early Medieval European Art

Middle/Dark Ages: negative times, illnesses and plagues,

political instability, could sometimes see a mixture of pagan

art and christian art such as interlacing designs

Sutton Hoo purse cover, Early medieval, c. 625: from a viking burial

ship, interlacing animal-style art

Animal head post, Oseberg ship burial, Early medieval

c. 825: interlacing animal patterns, common in viking art

Symbol of St Matthew, Book of Durrow, Early medieval c. 660-680:

pagan interlacing design, byzantine influence from flatness

Lindisfarne Gospel, c.698-721, Early Medieval

Cross & carpet page: looks like a textile due to the pattern, would have a

collaboration of workers/artists

St. Matthew page: combination of greek and latin writing, theory that the

guy behind the curtain is moses, awkward perspective/depth

Book of Kells, Chi-rho-iota page, early 9th c., Early Medieval:

beautiful interlacing designs called knot-work, influenced by celtic art

Wooden portal of stave church, Urnes, Norway, c. 1050-1070:

celtic knot-work, see animals

St. Matthew from Coronation Gospels, Carolingian Early

Medieval, c. 800-810: starting to see more depth, looking back at

classical art

Odo of Metz, Palatine Chapel of Charlemagne,

Carolingian Early Medieval, 792-805

Plan: central plan octagonal building, use of groin

vaults

Interior: architectural influence: islam, roman

Hildesheim, St. Michael’s, Ottonian Early Medieval, 1001-

1031

View: heavy, rustic,

Plan: example of a basilica, symmetrical

bronze relief with Adam and Eve: scene of god shunning

Adam and Eve, pointing at blames, kicked out of garden of eve,

adam has to be a farmer, eve is given painful childbirth and obey

husband, creature gets legs taken away becoming snake

Otto III enthroned, Ottonian Early Medieval, ca.

1000 C.E.: influenced by byzantine, in middle

surrounded and supported by soldiers and clergy

Uta codex, Uta dedicating her codex to the Virgin, Ottonian Early

Medieval, ca. 1025: woman in charge of other nuns, woman could have to

opportunity to get a high rank

Romanesque

VOCAB

Romanesque: (1050-1200) inspired by Roman art and architecture, vaults and

domes, heavy, show structure, dark subject matter such as demons and hell,

negative vision may have to do with how life is hard (social structure, death and

disease, political instability), avoid using arium (too much space), rounded arches

Bernard of Clairvaux: spoke out against the dark subject matter in the

Romanesque art

Romanesque portal: western doorway of romanesque church, depictions of

second-age christ, dark subjects matter

Tympanum: semi-circular part of doorway

trumeau: central pillar that supports the tympanum and block

St. Sernin, Toulouse, Romanesque, c. 1070-1120

Exterior: does not have an arium, larger apse, shows interior structure

by use of buttresses

Plan: basilica (for processions) and central plan, double aisle so

pilgrims could go through anytime

Interior: pilgrimage church, barrel vaulted ceiling

Bernardus Gelduinus, Christ in Majesty, St. Sernin, Romanesque, c.

1096: inspired by asian and byzantine, displays the four beasts of the

apocalypse

Old Testament prophet, Saint Pierre, Moissac, Romanesque, c. 1120:

example of a portal, elongated crossed legs, depicted as experiencing a

vision

Gislebertus, Last Judgment, Autun, St. Lazare, Romanesque, c. 1120-1135:

souls being weighed on scale, dark subject matter of judgement, demons trying

to get people into hell

Santa Maria de Mur, Spain, apse fresco, Romanesque, mid 12th c: depiction of

the second coming of Christ, byzantine inspired frontality

Sant’Ambrogio, Milan, Romanesque, late 11th-early 12th c.

Exterior: contains an atrium, one of the last surviving

atrium in the romanesque period, low and solid

Interior: low ceilings, dark interior, clear marking of levels

Hildegard of Bingen, Vision painting,Romanesque, c. 1150: depicted as

seeing a vision (mystic) of god coming down as tongues of fire

Cathedral complex, Pisa, Italy, Romanesque, 1063-1174:

contains a bell tower, a church, and a baptistry; use of the typical

roman rounded arches

St. Etienne, Caen, Romanesque, begun 1067

Exterior: use of buttresses to show it has 3 aisles

Interior: looks Gothic with its vault structure and lightness

Bayeux Tapestry, c. Romanesque, 1070-1080: historical document

showing the Norman Invasion of England, dispute over who will be the

next king

Eadwine the Scribe(?)Eadwine at work, Romanesque, c. 1160-70: shows that

people want to be known as artists, celtic designs in robe

French GothicAbbot Suger: architect that was interested in a new type of pointed vaulting, wanted to

bring more light into the gothic church

Clerestory: level at the roof of the building that lets in light

Triforium: part where the roof comes down over the aisles, right below the clerestory,

aspect of french gothic church

flying buttress: support that is only attached to certain parts of the wall of churches

ribbed vault:

rose window: round window that looks like a flower that allows in a lot of light in a gothic

building

CONVENTIONS: more gentle feel to the sculpture, churches of the virgin mary, better

stability so people are becoming more optimistic in their art, “light,” let a lot of light in,

pointed vault (allows the use of larger windows and openings, more stable and spacious,

aesthetically appealing), gargoyles (some are water spouts, others are guardians)

Ambulatory of St. Denis, France, Early Gothic, 1140-

1144: starting to see the transition from romanesque to

early gothic

Laon Cathedral, Early Gothic, begun c. 1190:

W façade: has oxen to honor the oxen god brought down to

finish the building

Interior: vaults are divided into six vaults, levels divided into

four parts

Chartres Cathedral, High Gothic, begun 1134, rebuilt after

1194: mis-matched towers due to being built in different time

periods, flying buttresses are romanesque inspired, three-part levels

Royal Portal: elongated sculpture, mix of different time periods

as well, sculpture becomes more realistic/detached from architecture

Plan: contains a labyrinth, may be used as a pilgrimage

substitute, vaults now in four parts, more unified

Virgin & child stained glass, Chartres Cathedral, High

Gothic, after 1194: typical blue rob, crown of heaven

Notre Dame, Paris, High Gothic, begun 1163: one of the first gothic

churches to have flying buttresses, portals have sculptures of the virgin

mary

Reims Cathedral, High Gothic, 1225-1290

W façade: as time went on, churches became more light and

airy, pointy

Annunciation/Visitation: both built at different times, right ones are

more focused on what’s underneath the clothes and have looked at

classical contrapposto sculptures “gothic s-curve”

Interior of Sainte-Chapelle, Transition to Late Gothic, Paris, 1243-48:

large windows mostly light, almost no structure, built for the royalty

Virgin of Paris, Transition to Late Gothic, early 14th c.: free-

standing sculpture, example of the use of the gothic s-curve, not life-

sized

Rouen, St. Maclou, Late Gothic, c. 1500-1514: very detailed, lace-

like, pointy, busy exterior “flame-like” which gives this period the

name “Flamboyant style”

Abraham and Three Angels, St. Louis Psalter, Late Gothic, 1253-1270:

from a book of psalms, tells wife sarah that she will have a baby, ideas of

holy trinity, gothic architecture in background