AP ART HISTORY UNIT 3

Catacomb of Priscilla (48)

- 200-400 CE

-culture: Roman (Christian)

-creates to house dead Christians

-structure: underground tunnel system, w/ shelves for bodies and separate cabiculas/rooms

-two frescoes: Jesus as a shepherd + the woman's life (marriage, motherhood, resurrection at death)

-Greco-Roman style: contrapposto, classical clothes; Late antique: symmetry, not necessarily realistic

-they could express religion here w/o getting in trouble

The Basilica of Santa Sabina (49)

- 422-432 CE

-culture: Roman (Christian)

-3 components: Nave, aisles, apse

-2 layers of Nave: arcade (arches), clerestory (windows)

-axial plan

-Function: to worship/practice religion

-based on Roman Basilica

-adopt: nonsecular and big to hold lots of people

-Christianity was accepted as Roman official religion

Vienna Genesis (50)

- 500 CE

-culture: Roman (Christian)

-codex: a bound book w/ pages

-material: parchment (vellum), tempera (pigment & egg)

-images: Jacob wrestling the Angel, Rebecca & Eliezer at the well

-classical: 3D, foreshortening, naked Goddess

-late antique style: continuous narrative, weird proportions

-dyed purple; color of royalty, book for king

-made by Christian Monks

-to spread Christianity

San Vitale (51)

- 526-547 CE

-culture: Byzantine

-location: Ravenna

-patron: Justinian

-central floor plan (around a center)

-Abse mosiacs: emperor Justinian & Empress

-frontal figures

-Gold everything

-location represents the goals of Justinian to expand westward

Hagia Sophia (52)

- 532-537 CE

-culture: Byzantine

-where: Constantinople/Istanbul

-central floor plan

-pendentives: architectural forms to support a circular dome (huge, gold, clerestory)

-interior decor is gold mosiacs

-function changes: Eastern Orthodox —> Islamic Mosque

-why function change: Ottoman Empire invade Constantinople

-visible change: Islamic figures, minarets (call muslims to pray)

Merovingian Fibulae (53)

- 550 CE

-culture:

-material: metal, precious stones

-Fibula: a pin to hold robe shut

-symbol of status (wealth)

-motif: zoomorphic & birds and fish (barbarian Art)

-art changes: Big/life size —> small, few resources, little motivation

Theotokos and Child Icon (54)

- 600 CE

-culture: Byzantine

-function: an image to pray to

-Virgin Mary & Christ

-material: wood & encaustic paint (pigment and candle wax)

-typical: frontal figures

-iconoclasm: a rejection of creating icons bc they previously broke the 2nd commandment (iconoclasm threatened to destroy this piece)

-culture is struggling (Ottoman Empire/ Roman Catholicism) and the question is "why is God punishing them?"

Lindisfarne Gospels (55)

- 700 CE

-culture: Hiberno-saxons

-material: parchment (vellum), tempera (pigment and egg yolk)

-illuminated manuscript: highly decorative handwritten book

-carpet page: page of decoration to start a religious text (depicts interlacing & zoomorphic(birds) motifs and a cross)

-Saint Luke: unrealistic, he's writing the chapter, has a halo/nimbus

-artist: monk, made where: monastery

-pricey bc important, dominant religion

Great Mosque of Córdoba, Spain (56)

- 785-786 CE

-location: Spain

-function over time: Roman temple —> Islamic mosque —> Catholic Church

-Islamic kingdom in Spain: Al- Andalusia

-Roman influence: Corinthian columns, horseshoe arches (Christian Visigoth)

-Mihrab: a niche in the wall closest to Mecca

-Direction facing Kaaba = Qibla

Pyxis of al-Mughira (57)

- 968 CE

-Pyxis: container for cosmetics

-object made in Spain

-made for the king's sons birthday/ coming of age

-patron: King of Umayyad (Abd Al-Rahman I)

-relief: images of royal power ( lions, bulls, falconers)

-material: Ivory

-currently located in the Louvre in France

Church of Sainte-Foy and Reliquary (58)

- 1050-1130 CE

-period: Romanesque

Church

-architectural elements because lack of concrete: barrel vaults

-material: stone bricks

-transept: perpendicular hall to Nave, crossing square: where transept and Nave cross, cruciform: shaped like a cross, radiating chapels: holds relics

-different Nave: piers (rectangle columns, no clerestory, transverse arches, + gallery)

-westwork: main entrance facing west

-Tympanum: half circle of relief sculpture above door; Christ determining heaven & hell

-function: communicate w/ illiterate public

-church architecture larger: wanted attention so people would come

Reliquary

-materials: wood, Gold, precious stones

-depicts Golden King

-origin of sculptures head: Roman face/sculpture

-valuable bc important pieces to bring money to a church, things are donated

-function: present a relic (Sainte Foy's skull)

-Christians visit to pray and make wishes

-competition between churches bc relics bring in money/attention

Bayuex Tapestry (59)

- 1066-1080 CE

-culture: English/Norman Empire

-period: Romanesque

-material: fabric and thread

-size: 20 in tall, 230 ft long

-historical event: Norman Invasion, Battle of Hastings

-main register: fight and events leading up to fight; top register: animals; bottom register: random events

-patron: Odo (William's half-brother)

-historical rather than religious

Chartres Cathedral (60)

- 1155-1220 CE

-period: Gothic

-Abbot Suger: creates style of architecture

-arches: pointed instead of round

-vaults: rib vaults (same as groin vaults) allowed for clerestory (stained glass windows)

-portals: 3 portals rather than 1

-stained glass: show imagery and produce worldly light

-so large & ornate: was very popular bc of the relic (Mary's cloth)

-different towers: fire in 1194, everything burned except 1 tower

- 3 tympanums: Jesus & 4 evangelists, Christ ascending to heaven, and Virgin Mary w/ Christ

-sculptures: old side= less representational, stretched, new side= more representational, contrapposto

-why change: gothic style changes with time

-flying buttresses: support, allows for clerestory & stained glass

-figure in window is Virgin Mary

Bible Moralisee (61)

- 1234 CE

-period: Gothic

-moralized bible: illuminates manuscript w/ interpretations/illustrations to explain to the reader

-expensive: materials uses (vellum, Gold, blue tempera= lapis lazuli)

-dedication page: King Louis IX + Blanche of Castile

-interpretations: directly how the Bible affects Kong's, trying to teach him morals

Rottgen Pieta (62)

- 1325 CE

-where: HRE

-Period: Late Medieval

-material: wood

-pieta: Mary holding the dead body of Christ

-distorted with large heads and weak bodies to add emphasis on torture/emotion

-first image of Christ suffering, humanizes the figures

-a tool for prayer, worship

Arena Chapel & Lamentation Fresco (63)

- 1303-1305 CE

-artist: Giotto di Bondone

-location: Italy

-patron: Enrico Scrovegni

-created to pray/ forgive sins for interest on loans

-fresco depicts mourning Christ after the cross

-material: plaster & pigment

-background: blue/ to look like sky

-depth: foreshortening, light/shadow

-composition: direct the eye at Jesus and Mary, everyone is looking, rock points too

-more representational, less like a narrative

Golden Haggadah (64)

- 1320 CE

-made in Spain

-religion: Judaism

-use of gold leaf (background)

-story: plagues of Egypt, Liberation, preparation for Passover

-read during Seder (during Passover)

-French medieval art: everyone looks European

Alhambra (65)

- 1354-1391 CE

- function: palace/ fortress

-built for Nasrid Dynasty

-court of lions: animal motifs are acceptable bc it is not a mosque

-unique fountain: food engineering using natural water pressure

-unique Dome in Hall of the sisters bc star shape with decorative texture

-Muqarnas: ornamentation in an Islamic domed/ vaulted ceiling

Annunciation Triptych (66)

- 1425 CE

-artist: Robert Campin

-location: Flanders

-material: oil paint (Flanders origin) & wood

-patrons: rich private patrons, for a home

-oil paint is better bc it has better color, you can blend it when it is wet

-subject matter: biblical story—> angel tells Mary about baby

-symbolism: candle=God, mousetrap=devil trap, white flowers=purity

-setting: contemporary house in Flanders

-Triptych: 3 parts/panels, altarpiece: religious content

-left panel has patrons and maybe Campin

Pazzi Chapel (67)

- 1429-1461 CE

-artist: Brunelleschi

-art movement: Renaissance

-Florence, Italy

-Pietra Serena: gray stone; famous during Renaissance

-function: chapter place/ meeting place for monks

-Hagia Sophia: pendentives, clerestory in dome

-Roman reference to the Pantheon

-reason over emotion

-Humanism

The Arnolfini Portrait (68)

- 1434 CE

-portrait: Jan Van Eyck

-location: Flanders

-material: Oil paint

-subject matter: a married couple, a contract (wedding & business)

-symbolism: dog=fidelity, candle=God, oranges=wealth, no shoes=ceremony, window=outside world, bed=domestic world

-back wall reads "Jan Van Eyck was here"

-mirror reflects: Van Eyck and backside of room

-mirror representational: depicts outside of the frame

-size: small, super detailed

-function: proof of a contract of marriage

David (69)

- 1440-1460 CE

-artist: Donatello

-art movement: Renaissance

-Florence, Italy

-material: Bronze

-subject: David & Goliath

-1st example since classical of nude figures

-classical influence: nude, contrapposto, bronze hollow casting

-patron: Medici Family

-function (to Florence): symbolizes Florence against Milan (underdog)

-function: depicts biblical story, decoration for courtyard

Palazzo Rucellai (70)

- 1450 CE

-architect: Alberti

-art movement: Renaissance

- Florence, Italy

-like the Colosseum with 3 types of columns (1 per layer)

-break from gothic: rounded arches, emphasis on width (not height)

-horizontal vs. vertical: horizontal = grounded, connected to earth; vertical = heavenly, reaching to God

Madonna and Child with Two Angels (71)

- 1465 CE

-artist: Fra Filippio Lippi

-art movement: Renaissance

-Florence, Italy

-material: tempera & wood

-background: depth, naturalism, atmospheric perspective

-more representational, not narrative art

-Model: a nun that the artist was in love with/ baby mama

-nimbus changes to a small 3D Halo, to no disrupt background

-Giotto's influence: natural background, obscured figures, light/shadow, composition, foreshortening

-main patron: Medici family

Birth of Venus (72)

- 1486 CE

-artist: Botticelli

-art movement: Renaissance

-Florence, Italy

-material: tempera & canvas

-canvas: more durable/ cheaper

-subject: Roman mythology

-different from medieval: not religious (catholic)

-philosophy: Humanism, quality of life, celebrate excellence

-patron: the Medici Family

Last Supper (73)

- 1498 CE

-Artist: Leonardo Da Vinci

-art movement: Renaissance

-material: plaster & paint (oil & tempera); they did not chemically bond with plaster, faded

-event depicted: after Jesus knows he will be betrayed, his last supper

-meaning: disciples shocked, constructs narrative

-composition: triangle symmetry, linear perspective, surrounding chaos

-chiaroscuro: light & dark to display weight/ volume

-sfumato: soft, without outlines

Adam and Eve (74)

- 1504 CE

-artist: Durer

-origin: HRE

-subject matter: Adam & Eve

-animals represent 4 humors of the body

-results from printing press

-type of printmaking: Intaglio (engraving)

-uses this technology to mass produce work and sell it cheap & everywhere (rich)

-classical influence: nudity and pose

-Durer stayed in Rome and saw classical influence

Sistine Chapel (75)

- 1508-1512 CE

-artist: Michelangelo

-art movement: Renaissance

-Rome, Italy

-patron: Pope Julius II

-subject= Old Testament bible stories

-the Flood: Noah's ark, nude & classical, ideal, complex composition

-ceiling type of painting (The Flood): Quadro Riportato

-the Delphic Sibyl: woman who knew that

Jesus was coming; model was a man (masculine build)

-ceiling type of painting (The Delphic Sibyl): Asotto in su

School of Athens (76)

- 1511 CE

-artist: Raphael

-art movement: Renaissance

-material: plaster & pigment

-location: Rome, The Vatican

-patron: Pope Julius II

-influences by Leonardo Da Vinci

-subject matter: Philosophy & science

-humanism: hides based on skill, reason over emotion (science not religion)

-perspective: atmospheric and linear

Isenheim Altarpiece (77)

- 1516 CE

-artist: Grunewald

-origin: HRE

-material: oil paint & wood

-Christ depiction: intense, withered, dramatic, bloody

-saints: St. Sebastian (healing plague), St. Anthony (skin disease)

-Ergot (fungus)

-in a church connected to a hospital

-opening altar symbolizes amputating limbs

-function: to pray to, for Ergot patients to relate to/ pray to

Entombment of Christ (78)

- 1528 CE

- artist: Pontormo

- subject: lamentation, Christ is dead, put in tomb

-style: mannerism, altar piece

-Goal is style: to be anti-renaissance

-different composition: crowded with no center/ blank middle

-poses are unrealistic

-space: people floating/ not on ground line

-function: altarpiece, anti-renaissance

Allegory of Law and Grace (79)

- 1530 CE

-artist: Cranach the Elder

-printmaking type: relief

-composition: symmetry; same naked guy in heaven and in hell

-left side=hell, right side=heaven

-religious movement: Protestantism

-why is printmaking used to recreate original? To sell more/ spread the word

Venus of Urbino (80)

- 1538 CE

- artist: Titian

-Renaissance (Venetian)

-patron: Duke of Urbino; a wedding gift for his wife (function)

-subject matter: sexualized lady, touching herself

-different from other nude women= sexualized/ inappropriate

-Venus used in title to make it more acceptable

-material: oil paint and canvas, closest to Flanders (oil) , canvas doesn't warp due to humidity (canvas)

-Venetian painting: color/ composition, material, mannerism

-color balance

-nude but not classical

Codex Mendoza (81)

- 1542 CE

-Antonio de Mendoza's book

-indigenous artists

-intended audience: Spanish king

-French king obtained it from pirates who stole the book

-function: to tell the story of the Aztecs and Tenochtitlan

-frontispiece: divides by 4 quadrants (like Tenochtitlan) eagle of cactus, leaders of Aztecs, border= lake & 52 year calendar

Il Gesù & Triumph of the Name of Jesus (82)

- 1568-1584 CE

-patron: Catholic Church (cardinal Farnese)

-function: counter-reformation, attract people to the church

-exterior: 4 quadrants (6 segments on bottom, and 4 on top); pediment, friezes, Corinthian columns, stylobate

-floorplan: no cruciform, no aisles, Chapel rooms

-ceiling painting: Heaven opening up (sinful angels being cast out), God in middle

-type of fresco: di sotto in su

-Tromp Lòeil: blurs line between 2D image and 3D image

-image is so beautiful, attracts people to it

Hunters in the Snow (83)

- 1565 CE

-artist: Pieter Bruegel the Elder

-type of image: landscape

-series depict: different seasons

-subject matter: snowy village, hunters returning from a hunt, Netherlands hunters

-composition: diagonal layers (hunters, town, background) —> through 3 panels

-Protestant art

-typical Protestant art (not religious at all)

Mosque of Selim II (84)

- 1568-1575 CE

-location: Turkey

-architect: Sinan the Great (the sultan's personal architect, Michelangelo of east)

-Selim III:

-floorplan: centrally planned

-different from typical mosque floorplan, has dome

-based on Hagia Sophia bc the Sultan wanted it to be amazing

Calling of Saint Matthew (85)

- 1597-1601 CE

-artist: Caravaggio

-material: oil paint

-location: Italy

-patron: Catholic Church

-depicts: Saint Matthew in a bar as a tax collector and Jesus comes in and points at him

-he doesn't idealize the holy figures

-Tenebrism: dark setting with high contrast

-goals of counter-reformation: to bring people back to the church

Henri IV Recieves the Portrait of Marie de'Medici (86)

- 1621-1625 CE

-artist: Rubens

-material: oil paint

-origin:

-depiction: Henry IV of France falling in love with Marie de Medici

-figures represent: blue lady=France, Cupid=love, Himen=Marriage, Zeus+Hera= love does not equal weakness

-patron: Marie de Medici

-function of series: tells her life story

-mythological figures: reference to the classics

Self-Portrait with Saskia (87)

- 1636 CE

-artist: Rembrandt

-printing process: etching (wax on metal, scrape image into wax, use acid to carve image into metal

-wno: Rembrandt with his wife (Saskia)

-depicts himself as a Renaissance artist

-origin: Dutch Republic

-function: anniversary present

-Protestant art: portraits (no religion)

San Carlo alle Quattro Fontane (88)

- 1638-1646 CE

-architect: Borromini

-location: Italy

-function: counter reformation, attract people to Catholicism

-facade different: curving lines (engaging)

-floorplan: center oval, 2 triangles, ovals at all points (represents the holy trinity)

-interior dome: geometric shapes, hidden windows (represent God)

-architecture/baroque style: dramatic, curvy lines

Ecstasy of Saint Teresa (89)

- 1647-1652 CE

-artist: Benini

-location: Cornaro Chapel (Rome)

-material: marble

-depicts Saint Teresa about to be penetrated

-light: hidden window above sculpture

-ceiling paintings: clouds & dove (God's spirit)

-figures in balconies are the patrons (bishops of the church)

-counter-reformation: inspire people to come/stay

Angel with Arquebus (90)

- 1700 CE

-artist from Perú

-materials: oil paint on canvas

-arquebus: type of gun

-angel clothes: Spanish aristocracy

-feathered hat: indigenous South American

-popular in counter-reformation because Catholics thought they were the army of God

-intended purpose: convert South American indigenous mythology to catholic mythology

Las Meninas (91)

- 1656 CE

-artist: Velazquez

-material: oil paint

-original location: bedroom of King & Queen

-patron: king of Spain

-Figures: Velazquez, her servants (nanny & guard), princess margarita

-mirror: reflects King & Queen

-depicts Velazquez painting them

-intended audience: king & Queen

-blue the line between inside & outside of painting: stairway in back, mirror, back of canvas

Woman holding a Balance (92)

- 1664 CE

-artist: Vermeer

-origin: Dutch Republic

-Genre painting: everyday images

-type of genre: domestic scene

-clothes: rich person

-jewelry: wealth

-painting in painting: catholic, Jesus and Heaven&Hell

-scales: needing a balance between wealth and religion

-composition: 4 quadrants; upper right(painting), loser left(jewelry), middle (hand & scale)

The Palace at Versailles (93)

- 1669 CE

-built for Louis XIV

-location: Versailles, France

-built here to attract the aristocrats out of Paris

-fancy decor: attract the aristocrats, distract them from challenging the king

-gardens represent: power, king is stronger than nature

-main streets converge on Louis' bedroom, he is the center

-Hall of Mirrors: room of windows and mirrors, super expensive

-classical influence: 3 stories, columns

Screen with the Siege of Belgrade and hunting scene (94)

- 1701 CE

-artist is from mexico

-function: furniture to separate sections of a room

-materials: tempera paint, wood lacquer & enconchado

-Japanese influence: screen & lacquer (ideas traveled from japan —> Philippines —> Spain—> Mexico

-made for the viceroy of New Spain

-hunting scene: European landscape influence

-battle scene: Siege of Belgrade (ottomans & Hapsburgs)

The Virgin of Guadalupe (95)

- 1698 CE

-artist from viceroyalties of Spain

-materials: oil paint, enconchado, lacquer (frame)

-influence of materials from indigenous americas, Europe, and Japan

-Mary is depicted as a queen

-story of Juan Diego (his relation with Mary)

-function: object of devotion

-why important to Spanish and indigenous? Mary becomes the focal point of Catholicism and she helps Mexico through a flood, plague, etc.

Fruit and Insects (96)

- 1711 CE

-artist: Riyadh

-origin: Dutch republic

-material: oil paint

-still life: image of inanimate objects

-Christ symbolism: grapes & wheat (wine/bread)

-vanity's still life: celebrates valuable objects but reminds that life is temporary

-Memento Mori (death reminder): dead/ eaten leaves

-artists background: Botanist father

-little composition

-no patron, paint to sell

Spaniard and Indian Produce a Mestizo (97)

- 1715 CE

-artist from viceroyalties of Spain

-materials: oil paint in canvas

-depicts caste painting: potential mixes of races (look & behavior)

-mestizo: mix of European Spaniard and indigenous person

-name: caste painting

-patron: upper class, racist purposes

-during enlightenment

The Tête à tête (98)

- 1743 CE

- art movement: Natural Art

-artist: Hogarth

-origin: England

-series: Marriage a la Mode

-Narrative: how current day marriage is for the rich

-besides oil paintings, this series was made into engravings and prints

-intended audience: middle class

-inspired by Rousseau's natural goodness of man