APAH movements and vocab

syncretism

the attempt to reconcile contrary beliefs, often while melding practices of various schools of thought

ex. adding pagan artistic styles/images into early christian art

spolia

“spoils;” reuse of building materials (often from older cultures/civilizations) in new monuments

arcade

series of arches

nave

main aisle of church, intended to accommodate most of congregation

apse

semicircular eastern termination point of many churches, often containing altar

hieratic

formal and stylized (often in byzantine art)

continuous narrative

multiple scenes of narrative in one frame

transept

cross section of a churcha

ambulatory

semicircular aisle winding around the apse; allows crowds without disturbing ceremonies in the apse

radiating chapels

chapels radiating out from the apse/ambulatory, allow more space to stand + often contain reliquaries (holding remains/relics of saints)

barrel vault

half cylinder; series of connected arches

tribune

balcony-like structure opening out to nave from the upper story

tympanum

semi-circular lunette above doorway

jamb

side post of door

hierarchical scale

indicating importance of individuals through relative size

groin vault

two rib vaults intersecting at a right angle

rib vault

groin vault with pointed arches, allow for taller/lighter structures. exclusively gothic

flying buttress

exterior arches/bracing supporting the buildingt

triforium

arcade above church nave/transept

rose window

smaller windows forming an oculus

bay

wall sections of a window, door, etc

clerestory

upper part of nave containing windows

chiaroscuro

single light source

orant figure

figure in prayer posture

cubicula

small underground room in catacomb that serve as mortuary chapels

basilica

(christian) church w nave, side aisles, apse for altar

arabesque

flowing, intricate, infinite symmetrical + floral pattern. symbolize uncentralized creation of god

tessellation

covering a surface with repeated geometric shapes without any gaps or overlaps

contour rivalry

two images share parts/outlines

aniconism

avoiding imagery of divine beings, prophets, other respected religious figures

hypostyle hall

filled with many columns

mihrab

niche in mosque qibla wall (pointing toward kaaba in mecca); must face towards this wall during prayer

minarets

tall towers w internal staircase

iwan

vaulted rectangular recess opening onto a courtyard

humanism

emphasis on man’s abilities

sfumato

smokiness

atmospheric perspective

background fades and cools, becomes blurry

trompe l’oiel

illusion of subject coming out of the surface

poesia

painting operating in a similar manner to poetry (rich colors, beauty, myth, lyrical/sensual); sensuous instead of intellectual

venetian..?

mannerism

pontormo (entombment of christ)

• exaggerated/expressive, elegant, elongated/elastic

• unusual lighting/coloring, composition, balance

• architecture: unorthodox use of classical elements (ex. il gesu except its actually baroque but yeah)

part of late renaissance

pilaster

“fake” column

common hindu beliefs

• polytheistic

• karma, reincarnation

  • endless cycle of birth, death, rebirth (samsara)

legalism

people are inherently evil, must control w strict laws and strict punishment

ukiyo-e

japanese printmaking, “floating world”

daguerrotype

• shiny surface, clear finish and detail

• no negative (not reproducible)

• named after Louis Daguerre

calotype

• grainy quality

• positive and negative image; can be reproduced

ancient near east conventions

art serves religion/state

• assyrian: lamassu

• persian: audience hall

• sumerian: votive figures, white temple, standard of ur

ancient egypt conventions

• canon: rectilinear, ideal proportion, twisted perspective

• amarna: started by akhenaten; more curvilinear/informal but still used ideal depictions

old kingdom egypt works

• seated scribe

• great pyramids/sphinx

• menkaure and queen

new kingdom egypt works

• temple of amun re / hypostyle hall

• akhenaten relief

• mortuary temple of hatshepsut

• tut tomb

• judgment of hunefer (book of the dead)

greek periods and conventions

• archaic: rigid kore/kouros figures, archaic smile; egyptian influence (rigid stance, ideal proportions)

• severe period: transition from archaic to classical (niobedes krater)

• classical: heroic, idealized, restrained

  • architecture: acropolis

  • sculpture: hegeso, doryphoros

• hellenistic: larger variet of works; expressionistic, elicit emotional response, movement

  • seated boxer, pergamon altar, samothrace

etruscan conventions

• temples: mud brick/terracotta, plain pediments, only frontal columns

  • temple of minerva

• sculpture: terracotta, bronze, not nude, dynamic movement

  • sarcophagus of the spouses

roman conventions

• realist, propaganda, convey power/authority

• architectural elements: use of concrete, arches (barrel/groin vaults), dome, oculi

roman periods and respective conventions

• early empire: follows more greek conventions; idealization, contrapposto

• republican roman: head of patrician, alexander mosaic

• imperial roman:

  • colosseum, pantheon, vettii, augustus

• late empire: stylistic shift; crowding, squat proportions, etc

  • ludovisi

islamic conventions

• mosques + mihrabs oriented toward mecca

• use of arabesques+tesselations (patterns), calligraphy bc can’t depict people/divine figures

medieval art sub-movements in order

• late antiquity: priscilla catacombs, santa sabina

• early medieval: merovingian, lindisfarne gospels

• byzantine: vienna genesis, san vitale, virgin and child

• romanesque: st foye, bayeux tapestry,

• gothic: chartres, bible moralisees

• proto-renaissance: arena chapel

byzantine conventions

• flat, frontal, gold, floating

• hieratic: formal, stylized style for figures

• architecture: domes over squares, squinches support

romanesque conventions

• increased emphasis on christian belief; ex. more pilgrimages

• churches made to accommodate more people: nave, apse, ambulatory, radiating chapels

gothic conventions

• rib vault (pointed arch), flying buttress (outer wall support), rose window (around oculus) all allow bigger stained glass windows and more divine looking light

• bays, repeated vertical elements, narrowed vault all emphasize height/verticality

renaissance periods and conventions

• proto-renaissance:

  • beginning of medieval/byzantine tradition rejection

• early northern european: campin, van eyck

  • pioneered oil painting, allows slower painting/build up of color; printmaking

• early italian: lippi, botticelli, donatello

  • balance, symmetry, classical conventions (anatomy, architectural forms), appeal to intellect rather than senses as in gothic

• high italian renaissance: michelangelo, da vinci, raphael, titian (venetian)

• late renaissance

  • mannerism: elastic/elongated/elegant figures, unusual lighting/coloring + composition

  • often associated w protestant reformation; decreased religious influence (durer, cranach)

baroque periods and conventions

• italian/spanish/french: religious, dramatic, emotional, grand

  • tenebrism: dramatic lighting using heavy chiaroscuro

  • dynamic undulating architecture (il gesu)

  • borromini, bernini, porta/vignola/gaulli, caravaggio, velasquez, rubens, vau/hardouin-mansart

• northern european: more protestant influence = more realistic/naturalistic

  • rembrandt, vermeer, ruysch

  • vanitas still lifes: emphasize transience of life

rococo

fragonard (swing), le brun (self-portrait)

• continuance of baroque movement/drama but with (french aristocracy) frivolity/indulgence replacing seriousness

• colorito (painterly, venetian-influenced lush/sensuous color)

  • pastel colors rather than deep and rich

enlightenment/neoclassicism

hogarth (tete a tete), wright of derby (orrery); david (horatii), houdon (washington); jefferson (monticello)

• return to greek/roman classical art/architectural conventions: symmetry, harmonious proportions, dome, oculus

• trend away from rococo frivolity; emphasize knowledge, logic, rationalism, restraint, order, realism

• desegno (emphasis on line/form, invisible brushstrokes); dispute w colorito

romanticism

ingres (odalisque), goya (nothing to be done), delacroix (liberty leading people), turner (slave ship), cole (oxbow)

• focused on exotic, legends (narratives of heroic struggle), violence, emotion, sublime

• diagonal composition, quick brushstrokes

realism

 courbet (stone breakers), manet (olympia)

• depict mundane daily realities + show discontent w the world, paint real people rather than heroes

• positivism (logic, justification, reject theism)

• visible/rough brushstrokes, heavy pigment

  • sometimes odd angles or tilts

photography/photo-secessionism

daguerre (still life), muybridge (horse in motion), stieglitz (steerage)

• photo-secession movement: promoted photography as fine art

• daguerrotypes and calotypes

impressionism

• capture effects of light on surface

• fleeting everyday moments (impermanence of images/conditions)

• en plein-air: painting outside in natural light

• japonisme: influence of jp art (flatness, off centered)

• landscape/genre scenes of contemporary life

• evident brushstrokes, rough and painterly

post-impressionism

van gogh (starry night), gauguin (who are we?), cezanne (mont sainte-victoire)

• thought impressionism was too tied to representation

• paint to express emotion/idea rather than mere visual experience

symbolism

munch (scream)

• paint expressively and convey emotions/inner world through abstract symbolism/imagery, not realistically

art nouveau

klimt (kiss), sullivan (goth target)

• eliminate separations between artistic media

• vegetal and floral patterns, complex designs, undulating surfaces

• architecture: curvilinear, elaborate wrought-iron structural elements, curtain wall (support skeleton + exterior “curtain), verticality

• reaction against industrialization

fauvism

matisse (goldfish)

• depict feeling/expression rather than true-to-life depictions, shocking colors, simple design

german expressionism

kirchner (soldier self-portrait), kandinsky (improvisation)

• inspired by fauvism

• abstraction; depict natural world beyond representation

cubism

 brancusi (kiss sculpture), braque (portuguese), picasso (demoiselles)

• depict forms/subjects by “shattering” into fragments

• challenge view of art: no longer understandable or beautiful

de stijl/neoplasticism

mondrian (composition red/yellow/blue)

• abstraction, primary colors, geometry

• create universal harmony/pictorial language

• line/shape/color symbolizes unity of spiritual/natural forces

dada

duchamp (fountain)

• use of readymades and collages

• artistic concept over execution

• question understanding/value of art, reject conventional representation/exhibition

surrealism

oppenheim (fur cup), lam (jungle)

• influenced by dada

• create concrete irrationality through juxtaposition of unrelated items, combination of real/unreal

• xplore dreams/unconscious

international style

le corbusier (villa savoye)

• influenced by bauhaus

• clean, spacious, white lines

• minimalism, less is more, “house is machine for living in”

organic architecture

 frank lloyd wright (falling water)

• harmonization with natural site rather than sticking to historic styles

• natural materials, ex. rough hewn wood

• total design: consider everything in design (including furniture)

modernism

rohe/johnson (seagram)

• form follows function, minimalism/simplicity

• either organic/sculptural (harmonize with surroundings) or geometric box (stand out from them)

postmodernism

venturi/rauch/brown (new castle county)

• playful, accessible, inclusive; combine past/present architecture

• reaction against “inaccessible” modernism

• less is more!!! excessive (form very much does not follow function)

deconstructivism

gehry (bilbao), hadid (maxxi)

• sub-movement of postmodernism

• disorient the viewer, challenge architectural conventions/assumptions

• disorder, imbalance, unconformity, irregularity, haphazard presentation of volumes and masses

• exterior often does not correspond with interior

abstract expressionism

• gestural: emphasis on creative action rather than the product

  • kooning (woman)

• chromatic: silence, reflection, created with both chance and control

  • frankenthaler (bay)

pop art

warhol (marilyn), oldenburg (lipstick) 

• comments on societal changes: industrialization, consumerism, mass media

• alternative to pure abstraction

western art movements in order.. sort of

ancient: egypt, greece, etruscan, rome

medieval: late antiquity, early medieval, byzantine, romanesque, gothic, proto-renaissance

renaissance: early northern, early italian, high italian, late

baroque: italian/spanish, french, northern european

middling.. things: rococo, enlightenment/neoclassicism, romanticism, realism photography, impressionism, post-impressionism

increasing abstraction: fauvism, german expressionism, cubism, de stijl, surrealism/dada, abstract expressionism

modern architecture: international style, organic, modernism, postmodernism, deconstructivism

comments on society: pop art, global contemporary