Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
68 Cards in this Set
- Front
- Back
|
wooden relief panel of the scribe hesire |
Saquara, Egypt 2650n BCE fractional representation conceptual representation - out of time and space, therefore eternal |
|
|
ti watching hippo hunt vs landscape with swallows |
ti: relief painting in mastaba of Ti, Saqqara, Egypt, Old Kingdom, 2450 - 2350 BCE, focus on human form Thera, Greece (Minoan), 1650 BCE, celebrating quality of natural world but not purely naturalistic |
|
|
citadel of Mycenae |
1400-1200 BCE Cyclopean masonry Lion Gate 1250 BCE warrior civilization |
|
|
kouros |
type of Greek sculpture: explore human form Egyptian influence monumental art distinguished through nude form 480-490 BCE changed |
|
|
Kroisos kouros |
modeling introduced - muscles more pronounced 530 BCE |
|
|
doryphoros |
originally bronze, Roman copy from Pompeii victory statue chiastic composition (calm control) looks like in action but really in rest 450-440 BCE |
|
|
Kritios boy kouros |
introduces weight shift (contrapposto) influences future of art 480 BCE classical Greek |
|
|
warrior |
Classical Greek, 460-450 BCE chiastic, contrapposto bronze - lost wax technique copper overlaid lips, silver teeth, glass eyes - greater freedom of movement |
|
|
discobolus of myron |
Classical Greek, 460-450 BCE Roman marble copy, front view and in between motions formed by contrasting lines |
|
|
stele of Hegeso |
Classical Greek, 400 BCE formal elements to unify & give sense of calm and control architectural frame, internal frame: chair's back, servant's cloak continuous line from servant's arm, across jewelry box and through arm line of sight |
|
|
lyssipos |
Roman copy of Greek bronze 330 BCE Hellenistic Greece foreshortening of space, movement into the third dimension/that of viewer (more personal) |
|
|
hermaphrodite |
Roman marble copy Hellenistic Greek 1st-3d c BCE development of sensuality changing states of reality (expectation/surprise, conscious/dream world) |
|
|
Barberini faun |
Hellenistic - 200 BCE Roman copy combination of human & animal sexual eroticism changing states of reality (potency vs impotency, dream vs reality, power vs lack of power) |
|
|
dying Gaul |
Hellenistic Greek - 230-220 BCE Roman copy realism introduced defeated but still has valor |
|
|
old market woman |
150-100 BCE |
|
|
temple of hephaistos |
Athens, 450 BCE colonnade and cella, post and lintel Doric order |
|
|
Doric order |
simplest, earliest order architrave frieze cornice column has no specific base canonical order |
|
|
ionic order |
column with base and scroll capital entablature: architrave, frieze, cornice more "feminine" column shaft more attenuated frieze has sculpture detail introduces pediment (bridges difference between horizontal and vertical, not as boxy |
|
|
corinthian order |
same as ionic but with inverted bell shape decorated by floral leaves and volutes most popular |
|
|
temple of Athena Nike |
Athens 420 BCE ionic order |
|
|
dry masonry in Greek architecture |
juxtaposition of squared blocks on limestone or marble carved with chisel held by clamps and dowels extreme precision |
|
|
Parthenon |
Iktinos and Kallikrates Acropolis, Athens 448-432 BCE curvature of stylobate extended to crepis and foundations inclination of columns, 9000 meters |
|
|
parthenon symmetria |
controlling ratio 4:9 lower column diameter : axial spacing height of order : stylobate width stylobate width : length |
|
|
parthenon ionic frieze |
Panatheniac procession, Horseme, parade to honor Athena's birthday ideal naturalism 447-438 BCE |
|
|
parthenon doric frieze |
metopes Centauromachy- civilized Greek against uncivilized rest of the world |
|
|
Parthenon pediments |
east pediment: birth of Athena, detail: Horses of Helios, Horses of Selene figures of gods and goddesses reacting to the news of the birth of Athena |
|
|
portraits of the four tetrarchs |
305 CE Porphyry - color reserved for royalty two rulers representing the east and two representing the west, look the same and embracing to show unity but still have their hands on their swords (troubled unity) |
|
|
ceiling painting of a cubiculum in the Catacomb of Saints Peter and Marcellinus |
Rome, early 4th the Good Shepard, the story of Jonah being thrown overboard, and orants |
|
|
Parthenon vs Basilica of Constantine |
Basilica draws from Roman architecture. Courtyard called atrium for members who were not baptized long nave and adjacent parts to either side longitudinal church form Apse: where the new emperor (Christ) is focused (triumphal arch) |
|
|
Sarcophagus of Junius Bassus |
detail: Christ with St Peter and St Paul and scenes from the Old and New Testaments 359 CE reflects iconography of Paganism Christianity became legal, opportunity to create new type of art same visual vocab as relief of Constantine (flanked by attendants, distributing largesse) Pagan figure of Coelus (sky god) under Christ's feet - symbolizes that Christ is the new leader of the sky & world as a whole |
|
|
Christ as Good Shepherd vs Miracle of Loaves and Fishes |
Tomb of Galla Placidia, Ravenna, Italy, 425-450CE Mosiac Tessera - little colored class cubes attached to plaster underneath - difficult to achieve naturalism but still reasonably so, illusion of space on pictoral plane (cast shadows, modeling). flock of sheep symbolizes people, dressed mainly in gold, little purple naturalism S. Apollinare Nuovo, Ravenna, Italy 504 CE. mainly in purple, little gold. two dimensionality begins to dominate over 3d (shown frontally, loaves & fish folded out on flat plane abstraction |
|
|
Virgin and child between saints |
Byzantine period (6th or early 7th century) monastery of St. Catherine, Mt. Sinai, Egypt both corporeal and non-corporeal front 3 in 2d, angels in back 3d (active - craning necks, like & shade shown) concentration for meditation - aid in worship |
|
|
Archangel Michael |
similar to virgin and child between saints Diptych, early 6th century - reminiscent of Parthenon (naturalistic corporeal, classical naturalism) floating above steps - lack of corporeal Hesitancy to represent anything that might encourage idol worship (Paganism) Christ corporeal manifestation of God but also heavenly (abstract, spiritual) art must incorporate both Iconoclasm - imagery of Christ banned, Christian imagery destroyed |
|
|
S. Vitale |
Ravenna, Italy 526-547 Court of Justinian Christ in apse in orb, holding wreath to give power to figure at a lower level (Justinian) Justinian flanked by military on one side and clerical officers on the other dominance over military (stepping on general's toe) balance of power with clergy - standing in front of justinian but his arm is in front |
|
|
Graeco-Roman |
classical naturalism |
|
|
Cliosonne technique |
difficult jewelry technique, outlines formed then material poured in animal style: emphasizes wild aspect of nature |
|
|
sutton hoo ship burial purse lid and detail belt buckle |
England 625 Cliosonne technique animal style - man being eaten alive - contrast with Sophocles intertwining snake forms ending in beak or gaping mouth forms, turning around and biting itself |
|
|
Abbey of Lindisfarne Gospels |
England 698-721 non naturalistic, abstract cross interlace style - similar to Pagan belt buckle manuscript illumination |
|
|
Book of Kells |
monogram of Christ late 8th, early 9th century Iona, Scotland X-P-I: first 3 letters of Christ's name in Greek manuscript illumination interlace style |
|
|
Coronation Gospels |
Gospel Book of Charlemange Aachen, Germany 800 |
|
|
Ebbo Gospels |
Gospel Book of Archbishop Ebbo Reims, France 830 |
|
|
Bronze doors of St. Michaels Church |
Ottonian period Hildesheim, Germany 1015 |
|
|
Stone Age |
Paleolithic (Old Stone Age): 35,000BCE-8,000BCE Mesolithic (Middle Stone Age): 8,000BCE-7,000/6,000BCE Neolithic (New Stone Age): 7,000/6,000BCE-3,500 BCE |
|
|
hall of polychromes |
Altamira, Spain Paleolithic Naturalistic, sense of motion, life, clearly had an aesthetic in mind first discovery of cave paintings cave paintings ultimate iconography: only way to know the purpose are the images themselves |
|
|
Great Hall stags great black bull |
Lascaux, France 16,000 - 14,000BCE (Paleolithic) simply images painted at different times, no narrative set on ceiling or near overlapping no sense of composition not totally naturalistic, profile perspective but both horns can be seen for identification (skewed perspective) |
|
|
Hall of the Dead Man |
Lascaux, France 16,000-14,000 (Paleolithic) human representation least realistic - indicates that the human is the least significant |
|
|
"chinese" horse |
relating to the hunt, spears interpreted Paleolithic |
|
|
Hand print and spotted horse |
"you touch it you own it"-symbolic sense of power over the animal many animals represented not traditionally ones eaten Paleolithic |
|
|
basic methodology of art historical analysis |
observation description (technique, location, scale, concept or style of representation, iconography, composition) interpretation |
|
|
Venus of Willendorf |
Paleolithic iconography simple - female form exaggerated, facial features downplayed |
|
|
Stonehenge |
Salisbury Plain, England bronze age megalithic, post and lintel outer diameter of sarson stones, blue stones inside, inside that horseshoe shape of more sarson stones (trilithon - unit of 3 stones) oriented out to the heel stone, sun rises along this axis during summer solstice potential calendar purposes, more probably attempt to grasp & interact with cosmos, transcends profane into sacred |
|
|
Bronze Age |
3,500-1,150 BCE Mesopotamia, Sumeria and the Greater Near East unequal dist. of wealth in city states led to emergence of empires (unstable age) agricultural revolution followed by urban revolution followed by intro of writing theocracy |
|
|
White temple and Ziggaurat |
Southern Mesopotamia bronze age mud brick faced with plaster, sinking back into ground mud brick: simple, formed and dried in the sun, adaptable, easy to produce and lasting |
|
|
Ziggurat, Ur |
bronze age reconstructed first layer both functional and symbolic center of city (agricultural goods brought & redistributed, link between humans and gods, top room called waiting room) |
|
|
statuettes of two worshippers |
bronze age Square Temple at Eshnunna votive offerings in temple to stand in for worshippers - forms in devotion stylized focus on eyes and hands, concentrating on worship element |
|
|
warka vase |
bronze age Uruk presentation of offerings to Inanna (goddess of love and war) composition based on register relief sculpture bottom wavy line-water. next register plants, then animals, men carrying crops top register most important, most space, offering crops to deities telling story of ziggurat |
|
|
victory stele of Naram-sin |
bronze age ideology of kingship - victory of Naram-sin of Alkkadian relief sculpture |
|
|
stylized |
representation in which the natural figure is simplified to emphasize patterns and geometric shapes |
|
|
Akkadian ruler |
bronze age Sargon copper - expensive material and technique contrast of smooth and etched surfaces recognizable physical elements within an overall abstract, idealized portrait eyes hacked away later |
|
|
Old Kingdom Egypt |
bronze age Golden Age Nile: life blood unifying element from North to South entire Nile controlled by pharaoh, became symbol of river |
|
|
Great Pyramids |
3 generations of pharaohs Khufu: 2,530 BCE Khafre: 2,500BCE (best preserved) Menkaure: 2,460BCE bronze age failure of a grave, tomb robbers ripped everything out within a few generations, success as a monument slaves did not build it, societal honor to work on it |
|
|
Pyramid of Khafre |
bronze age valley temple represents him in life next to Sphinx, causeway to grave (pyramid and mortuary temple): symbolizes passage of life and death basic shape symbolized permanence and immortality, for Egypt to continue the pharaoh must continue life represents presence, death represents absence, base has massive presence, tip has nothing, rises from solidity to infinity veneer of shiny limestone used to cover |
|
|
Khafre in Valley Temple |
bronze age cubic composition naturalistic face ideal naturalism (concept of representation) rigid pose kingship/deity/ unification of upper and lower Egypt iconography smoothly modeled life made permanent through the pharaoh - hard material not from there |
|
|
conceptual representation |
representation of fundamental distinguishing properties of a person or object, not the way it appears ideational and cognitive rather than just visual |
|
|
portrait of Augustus |
Early Empire Primaporta, Italy |
|
|
early christian byzantine |
1-525 525-1453 |
|
|
greek art chronology |
early greek: 8th-6th century bce classical greek: 5th-4th hellenistic greek: 3d-1st |
|
|
old kingdom egypt |
2575-2100bce |
