APAH Unit 3 Analysis (copy)

Catacomb of Priscilla

Date: 2nd-3rd century CEArtist: UnknownTime Period: Early ChristianMedium: FrescoThe Catacomb of Priscilla in Rome contains early Christian frescoes, depicting biblical scenes such as the Good Shepherd and the Resurrection of Christ. These images, created by unknown early Christian artists, are among the first Christian depictions of sacred stories. This burial site, used by early Christians, reflects the blending of Roman artistic traditions with Christian iconography, revealing how Christians adapted symbols of salvation and resurrection in their art, often in response to persecution.

Santa Sabina

Date: 422-432 CEArtist: UnknownTime Period: Early ChristianMedium: ArchitectureSanta Sabina is an early Christian basilica in Rome, characterized by its simple yet majestic design, including a wooden coffered ceiling and a spacious, columned nave. It serves as a key example of Early Christian architecture, showcasing the shift from the Roman basilica style to Christian religious spaces. Its spacious design reflects the Christian ideals of openness and inclusion.

Vienna Genesis

Date: Early 6th century CEArtist: UnknownTime Period: ByzantineMedium: Illuminated manuscriptThe Vienna Genesis is a lavishly illustrated manuscript containing the Biblical story of Genesis, with vivid depictions of scenes like the Creation, Noah's Ark, and Jacob's Ladder. This manuscript is one of the finest examples of Byzantine art, combining classical traditions with Christian theology. Its use of purple vellum, gold leaf, and rich colors reflects the prestige of the Byzantine Empire.

Jacob Wrestling the Angel, from the Vienna Genesis

Date: Early 6th century CEArtist: UnknownTime Period: ByzantineMedium: Tempera on parchmentThis miniature from the Vienna Genesis depicts the Biblical scene of Jacob wrestling the angel, capturing a dramatic moment with fluid movement and vivid colors. The depiction of this scene in a manuscript highlights Byzantine art's attention to narrative clarity, symbolism, and the merging of Classical and Christian visual traditions.

San Vitale

Date: 526-547 CEArtist: UnknownTime Period: ByzantineMedium: Architecture, mosaicSan Vitale in Ravenna is a stunning example of Byzantine architecture, known for its centralized plan and richly detailed mosaics depicting the Emperor Justinian and Empress Theodora. This church represents the height of Byzantine architecture in Italy, reflecting both religious devotion and political power. The mosaics emphasize the divine right of Justinian and his court and the close connection between church and state in Byzantine society.

Empress Theodora, Rhetoric, and Byzantine Primary Sources

Date: c. 547 CE (part of the San Vitale mosaics)Artist: UnknownTime Period: ByzantineMedium: MosaicThe mosaic of Empress Theodora in San Vitale portrays her in lavish regalia, holding a chalice, symbolizing her role in supporting the church and empire. Theodora was a powerful empress, and her mosaic is a visual testament to her authority. Byzantine mosaics often emphasized the sanctity and divinity of rulers, reinforcing the concept of imperial power as divinely ordained.

Hagia Sophia, Anthemius of Tralles and Isidorus of Miletus

Date: 532-537 CEArtist: Anthemius of Tralles and Isidorus of MiletusTime Period: ByzantineMedium: ArchitectureHagia Sophia in Constantinople (Istanbul) is a masterpiece of Byzantine architecture, known for its vast dome that seems to float above the central nave. Completed during Emperor Justinian's reign, Hagia Sophia was intended to demonstrate the glory of both God and the emperor. Its innovative dome and massive interior influenced both religious and secular architecture for centuries, symbolizing the fusion of Christian and imperial authority.

Theotokos Mosaic (Hagia Sophia)

Date: c. 867 CEArtist: UnknownTime Period: ByzantineMedium: MosaicThe Theotokos (Mother of God) mosaic in Hagia Sophia depicts the Virgin Mary holding the infant Jesus, with imperial symbols, reinforcing the sacred nature of the Byzantine monarchy. This mosaic, created during the Byzantine Iconoclast period, reflects the religious importance of the Virgin Mary in Eastern Christianity. It also signifies the Byzantine belief in the divine legitimacy of their emperors, who were seen as protectors of the faith.

Deësis Mosaic (Hagia Sophia)

Date: c. 1261 CEArtist: UnknownTime Period: ByzantineMedium: MosaicThe Deësis mosaic, located in Hagia Sophia, shows Christ Pantocrator flanked by the Virgin Mary and St. John the Baptist, interceding on behalf of humanity. This mosaic highlights the theological shift towards the centrality of Christ in the Byzantine worldview, and the importance of intercession in Orthodox Christianity. It also demonstrates the continued role of Hagia Sophia as a spiritual and political center.

Merovingian Looped Fibulae

Date: c. 6th century CEArtist: UnknownTime Period: Early MedievalMedium: Silver gilt, inlaid garnetsThe Merovingian fibulae are intricately designed brooches made of silver and garnets, typical of early medieval Germanic art. These fibulae were used by the Merovingian aristocracy and represent a fusion of Roman, Celtic, and Germanic artistic traditions. They reflect the wealth and status of their owners, as well as the persistence of ornamental traditions from the Roman Empire.

Virgin (Theotokos) and Child between Saints Theodore and George

Date: c. 6th-7th century CEArtist: UnknownTime Period: ByzantineMedium: Encaustic on woodThis icon features the Virgin and Child flanked by two warrior saints, Theodore and George, and is a prime example of Byzantine religious iconography. This work is part of the Byzantine tradition of iconography, where the Virgin and Child were central figures of veneration. The inclusion of warrior saints emphasizes the role of saints as intercessors and protectors, which was a central aspect of Byzantine spirituality.

Lindisfarne Gospels: St. Matthew, Cross-Carpet Page; St. Luke Portrait Page; St. Luke Incipit Page

Date: c. 715-720 CEArtist: Eadfrith of Lindisfarne (attributed)Time Period: Anglo-SaxonMedium: Illuminated manuscriptThe Lindisfarne Gospels are an illuminated manuscript featuring intricate religious scenes and decorative pages, including the famous cross-carpet page and portraits of the Evangelists. This work represents the fusion of Christian and Celtic artistic traditions, as seen in the detailed geometric patterns and vibrant colors. It also highlights the importance of manuscript illumination in early medieval Christianity, used to teach and preserve the faith.

Great Mosque, Córdoba

Date: 785-786 CEArtist: Abd al-Rahman I (commissioned)Time Period: Islamic, Umayyad CaliphateMedium: ArchitectureThe Great Mosque of Córdoba, also known as the Mezquita, is a masterpiece of Islamic architecture, featuring a vast prayer hall with red-and-white striped arches and an intricate mihrab. Built by the Umayyad Caliphate in Spain, the mosque is an architectural symbol of Islamic power and sophistication. It incorporates elements from Visigothic and Roman architecture and later became a cathedral after the Reconquista, reflecting the layered religious and political history of the region.

Pyxis of al-Mughira

Date: c. 968 CEArtist: UnknownTime Period: Islamic, Umayyad CaliphateMedium: IvoryThe Pyxis of al-Mughira is a cylindrical container made of ivory, intricately carved with floral and figural motifs that are reflective of Islamic art. Commissioned for a member of the Umayyad royal family, this piece represents the luxurious craftsmanship and attention to detail characteristic of Islamic art during this period. It illustrates the blend of cultural influences in al-Andalus, showcasing both Islamic artistry and the regional craftsmanship.

Church of Sainte-Foy

Date: c. 1050-1120 CEArtist: UnknownTime Period: RomanesqueMedium: ArchitectureThe Church of Sainte-Foy is a Romanesque church known for its distinctive architecture, featuring a barrel-vaulted nave and an impressive façade adorned with sculptural reliefs. This church exemplifies the Romanesque style with its emphasis on solid construction and decorative sculpture that conveys biblical narratives, reflecting the spiritual and communal aspects of medieval life.

Bayeux Tapestry

Date: c. 1070-1080 CEArtist: UnknownTime Period: RomanesqueMedium: EmbroideryThe Bayeux Tapestry is a long embroidered cloth depicting the events leading up to the Norman Conquest of England and the Battle of Hastings. This tapestry serves as a vital historical document, capturing the Norman perspective on the conquest and showcasing the art of storytelling through visual means in the medieval period.

Chartres Cathedral

Date: c. 1194-1220 CEArtist: UnknownTime Period: GothicMedium: Architecture, stained glassChartres Cathedral is renowned for its stunning Gothic architecture and remarkable stained-glass windows depicting biblical stories. A significant site of pilgrimage, Chartres reflects the advancements in Gothic architecture, with innovations that allowed for higher ceilings and larger windows, enhancing the interplay of light and divine presence.

Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisées

Date: c. 1226-1234 CEArtist: UnknownTime Period: GothicMedium: Illuminated manuscriptThis dedication page presents Queen Blanche of Castile and her son, King Louis IX, alongside scenes from the Apocalypse, highlighting their royal status and divine connection. This work exemplifies the surge in manuscript illumination during the Gothic period, characterized by intricate detail that served to educate and inspire through visual narrative.

Röttgen Pietà

Date: c. 1300-1325 CEArtist: UnknownTime Period: GothicMedium: SculptureThe Röttgen Pietà is a sculpture representing the Virgin Mary holding the dead body of Christ, characterized by its emotional intensity and detailed realism. This piece reflects the Gothic era's focus on human emotion and spirituality, moving away from idealized forms to depict personal grief and the reality of suffering.

Arena (Scrovegni) Chapel, Giotto di Bondone, introduction, fresco cycle, Lamentation, Last Judgment

Date: c. 1305 CEArtist: Giotto di BondoneTime Period: Early RenaissanceMedium: FrescoThe frescoes in the Arena Chapel, including the Lamentation and Last Judgment, are celebrated for their expressive figures and narrative clarity. Giotto's work marks a pivotal transition towards the Renaissance style, emphasizing naturalistic representation and emotional storytelling in sacred themes.

Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)

Date: c. 1320 CEArtist: UnknownTime Period: GothicMedium: Illuminated manuscriptThe Golden Haggadah is a richly decorated manuscript that illustrates the Passover narrative, featuring ornate imagery and calligraphy. This manuscript reflects the importance of visual storytelling in Jewish tradition during the Gothic period, emphasizing themes of liberation and divine intervention in a culturally specific context.

Alhambra

Date: 889 CE; rebuilt in the mid-13th centuryArtist: UnknownTime Period: Islamic, Nasrid DynastyMedium: ArchitectureThe Alhambra is a palatial fortress complex in Granada, famous for its intricate architectural details, serene gardens, and stunning tile work. A symbol of Islamic art and architecture in Spain, Alhambra reflects the cultural and political power of the Nasrid Dynasty, showcasing the sophistication of Islamic aesthetics and engineering.

Annunciation Triptych (Merode Altarpiece), Workshop of Robert Campin

Date: c. 1425-1430 CEArtist: Workshop of Robert CampinTime Period: Northern RenaissanceMedium: Oil on woodThe Annunciation Triptych is a private altarpiece depicting the Angel Gabriel's visit to the Virgin Mary, featuring detailed interior settings and symbolism. This artwork represents the innovation of oil painting in Northern Renaissance, with an emphasis on realism, domestic settings, and devotional themes of private faith.

Pazzi Chapel, Filippo Brunelleschi

Date: c. 1420-1460 CEArtist: Filippo BrunelleschiTime Period: RenaissanceMedium: ArchitectureThe Pazzi Chapel exemplifies Renaissance architecture with its harmonious proportions, domed ceiling, and use of classical elements. This chapel illustrates the revival of classical architecture and reflects the ideals of humanism and clarity that defined the Renaissance.

The Arnolfini Portrait, Jan Van Eyck

Date: 1434 CEArtist: Jan Van EyckTime Period: Northern RenaissanceMedium: Oil on woodThe Arnolfini Portrait is a complex and evocative painting representing a merchant couple, rich in symbolism and detail. This work showcases the technical mastery of oil painting and the Northern Renaissance interest in symbolism, individuality, and domesticity.

David, Donatello

Date: c. 1440-1460 CEArtist: DonatelloTime Period: RenaissanceMedium: BronzeDonatello's David is a life-sized bronze sculpture of the biblical hero, notable for its contrapposto stance and humanist expression. This sculpture represents the revival of classical forms and humanist ideals in Renaissance art, capturing the beauty of the human figure and the spirit of individualism.

Palazzo Rucellai, Leon Battista Alberti

Date: c. 1450 CEArtist: Leon Battista AlbertiTime Period: RenaissanceMedium: ArchitectureThe Palazzo Rucellai reflects Renaissance architectural principles, harmoniously blending classical elements with contemporary design. This building exemplifies the application of classical proportions and ornamentation in Renaissance architecture, reflecting the cultural and social aspirations of the time.

Madonna and Child with Two Angels, Fra Filippo Lippi

Date: c. 1465 CEArtist: Fra Filippo LippiTime Period: RenaissanceMedium: Tempera on woodThis painting depicts the Virgin Mary with the Christ Child and two angels, characterized by a tender interaction and soft colors. Lippi's work embodies the Renaissance's focus on human emotion and individual connection within religious contexts, enhancing the viewer's spiritual experience.

Birth of Venus, Sandro Botticelli

Date: 1484-1486 CEArtist: Sandro BotticelliTime Period: RenaissanceMedium: Tempera on canvasThe Birth of Venus illustrates the mythological scene of Venus's emergence from the sea, celebrated for its beauty and grace. This painting signifies the Renaissance ideals of beauty, classical mythology, and the influence of neoplatonism in art, emphasizing the divine nature of love and beauty.

Last Supper, Leonardo da Vinci

Date: 1495-1498 CEArtist: Leonardo da VinciTime Period: RenaissanceMedium: Tempera and oil on plasterThe Last Supper is a mural depicting the final meal of Jesus and His disciples, renowned for its composition and emotional depth. Leonardo's innovative approach and masterful use of perspective convey the dramatic moment of betrayal, reflecting the Renaissance's revolution in visual storytelling.

Adam and Eve, Albrecht Dürer

Date: 1504 CEArtist: Albrecht DürerTime Period: Northern RenaissanceMedium: EngravingThis engraving illustrates the biblical story of Adam and Eve, highlighting the themes of temptation and innocence. Dürer's work emphasizes the intricate detail and symbolism typical of the Northern Renaissance, showcasing artistic mastery in printmaking.

Sistine Chapel ceiling frescos, Michelangelo

Date: 1508-1512 CEArtist: MichelangeloTime Period: RenaissanceMedium: FrescoThe frescoes on the ceiling of the Sistine Chapel depict various biblical scenes, showcasing Michelangelo's skill in composition and human anatomy. This monumental work represents the peak of Renaissance art and reflects the theological aspirations of the Catholic Church during the period.

School of Athens, Raphael

Date: 1509-1511 CEArtist: RaphaelTime Period: RenaissanceMedium: FrescoThe School of Athens is a fresco that depicts famous philosophers and scholars from antiquity, celebrating classical learning. Raphael’s work illustrates the Renaissance reverence for classical antiquity and the harmony between philosophy and theology, reflecting the era's intellectual pursuits.

Isenheim Altarpiece, Matthias Grünewald

Date: c. 1512-1516 CEArtist: Matthias GrünewaldTime Period: Northern RenaissanceMedium: Oil on woodThe Isenheim Altarpiece is a complex, multi-panel altarpiece illustrating the life and suffering of Christ with intense emotional expression. This artwork reflects the Northern Renaissance's interest in personal piety and the human experience of suffering, deeply tied to the religious beliefs of the time.

Entombment of Christ, Jacopo da Pontormo

Date: c. 1525-1528 CEArtist: Jacopo da PontormoTime Period: MannerismThe Entombment of Christ depicts the moment of Christ's burial, characterized by its emotional expression and the dramatic use of color. Pontormo's work exemplifies Mannerism through its complexity and emotional impact, reflecting a departure from the balanced compositions of the High Renaissance.

Allegory of Law and Grace, Lucas Cranach the Elder

Date: c. 1530 CEArtist: Lucas Cranach the ElderTime Period: Northern RenaissanceMedium: Oil on woodThis painting presents a theological allegory contrasting law and grace, with scenes illustrating different paths to salvation. Cranach’s work reflects the religious transformations of the Reformation, emphasizing the importance of grace and faith in salvation.

Venus of Urbino, Titian

Date: 1538 CEArtist: TitianTime Period: RenaissanceMedium: Oil on canvasThe Venus of Urbino is a sensual depiction of the goddess Venus, admired for its color and composition. Titian’s painting represents the Renaissance’s celebration of beauty and sensuality, embodying the ideal feminine form while inviting various interpretations.

Frontispiece of the Codex Mendoza

Date: c. 1541 CEArtist: UnknownTime Period: ColonialMedium: Ink and color on paperThe Frontispiece of the Codex Mendoza presents an overview of Aztec society and culture, visually describing tribute and social hierarchy. This piece serves as a critical document highlighting the intersection of Aztec culture and colonialism, reflecting the social structures and tributes in the society.

Il Gesù, including Triumph of the Name of Jesus ceiling fresco

Date: 1568-1580 CEArtist: Giacomo Barozzi da Vignola and Giovanni Battista GaulliTime Period: BaroqueMedium: Architecture, frescoIl Gesù is a Jesuit church in Rome characterized by its dramatic Baroque facade and the spectacular Triumph of the Name of Jesus fresco. This church represents the Counter-Reformation’s emphasis on grandeur and persuasion in religious architecture and art, aiming to engage the faithful through visual splendor.

Hunters in the Snow, Pieter Bruegel the Elder

Date: 1565 CEArtist: Pieter Bruegel the ElderTime Period: Northern RenaissanceMedium: Oil on woodHunters in the Snow captures a winter landscape with hunters returning from their pursuit, showcasing the daily life of peasants. This painting reflects Bruegel’s focus on genre scenes, emphasizing the relationship between humanity and nature within a broader social context.

Mosque of Selim II, Mimar Sinan

Date: 1568-1575 CEArtist: Mimar SinanTime Period: OttomanMedium: ArchitectureThe Mosque of Selim II is celebrated for its large dome, intricate tile work, and harmonious proportions. This structure is a masterpiece of Ottoman architecture, reflecting the empire’s power, artistic ambition, and the synthesis of previous architectural influences.

Calling of Saint Matthew, Caravaggio

Date: c. 1599-1600 CEArtist: CaravaggioTime Period: BaroqueMedium: Oil on canvasThe Calling of Saint Matthew illustrates the moment Christ calls Matthew to follow Him, characterized by dramatic lighting and realism. Caravaggio's technique emphasizes the human aspects of biblical narratives, revolutionizing religious painting with a focus on naturalism and emotional depth.

Henri IV Receives the Portrait of Marie de’Medici, from the Marie de’Medici Cycle, Peter Paul Rubens

Date: 1622-1625 CEArtist: Peter Paul RubensTime Period: BaroqueMedium: Oil on canvasThis painting depicts Henri IV receiving the portrait of Marie de’Medici within an allegorical framework that highlights royal power and unity. Rubens utilizes rich colors and dynamic composition to celebrate the political significance of marriage and royal representation during the Baroque period.

Self-Portrait with Saskia, Rembrandt van Rijn

Date: 1636 CEArtist: Rembrandt van RijnTime Period: BaroqueMedium: Oil on canvasThis self-portrait shows Rembrandt with his wife, Saskia, characterized by its intimate and candid expression. Rembrandt captures the personal and emotional qualities of portraiture, emphasizing the connection between artist and subject during the Baroque era.

San Carlo alle Quattro Fontane, Francesco Borromini

Date: 1638-1641 CEArtist: Francesco BorrominiTime Period: BaroqueMedium: ArchitectureThe church of San Carlo alle Quattro Fontane is known for its dynamic form, dramatic ornamentation, and innovative use of space. Borromini’s work exemplifies the Baroque desire for emotional engagement through architectural complexity and theatricality.

Ecstasy of Saint Teresa, Gian Lorenzo Bernini

Date: 1645-1652 CEArtist: Gian Lorenzo BerniniTime Period: BaroqueMedium: SculptureThis masterpiece depicts the mystical experience of Saint Teresa in a moment of divine ecstasy, characterized by intricate details and fluid forms. Bernini’s sculpture embodies the theatrical nature of Baroque art, inviting the viewer into a shared spiritual experience that transcends the physical realm.

Angel with Arquebus, Asiel Timor Dei, Master of Calamarca

Date: c. 17th century CEArtist: Master of CalamarcaTime Period: ColonialMedium: Oil on canvasThis painting features an angel armed with a arquebus, symbolizing the protection of the faithful along with divine intervention. The work reflects the fusion of European and indigenous influences in colonial Latin American art, conveying religious themes within a localized context.

Las Meninas, Diego Velázquez

Date: 1656 CEArtist: Diego VelázquezTime Period: BaroqueMedium: Oil on canvasLas Meninas presents a complex composition depicting the Infanta Margaret Theresa, surrounded by her attendants, with Velázquez himself included. This painting explores themes of perception and representation, challenging the viewer's understanding of reality and the nature of art itself during the Baroque period.

Woman Holding a Balance, Johannes Vermeer

Date: c. 1664 CEArtist: Johannes VermeerTime Period: Dutch Golden AgeMedium: Oil on canvasThis painting depicts a woman weighing gold, contemplating moral and spiritual values in a serene setting. Vermeer’s work reflects the Dutch emphasis on domesticity and the interplay of light and color, encouraging viewers to ponder on the weight of material versus spiritual matters.

The Palace at Versailles

Date: 1661-1688 CEArtist: Louis Le Vau, Jules Hardouin-MansartTime Period: BaroqueMedium: Architecture, gardensThe Palace at Versailles is an opulent royal residence demonstrating the absolute power and grandeur of the French monarchy. This monumental estate reflects the Baroque ideals of spectacle and control, serving as a symbol of Louis XIV's reign and an architectural marvel that influenced European palatial construction.

Screen with the Siege of Belgrade and hunting scene

Date: c. 1697 CEArtist: UnknownTime Period: ColonialMedium: Oil on canvasThis folding screen features scenes of a battle and leisurely hunting, illustrating the duality of conflict and peace. The artwork serves as a reflection of colonial power dynamics and the cultural interplay between Europe and the Americas during the Baroque period.

The Virgin of Guadalupe (Virgen de Guadalupe), Miguel González

Date: 1698 CEArtist: Miguel GonzálezTime Period: ColonialMedium: Oil on canvasThe Virgin of Guadalupe is a detailed depiction of the patron saint of Mexico, known for her miraculous appearances and cultural significance. This painting represents the synthesis of indigenous and Spanish Catholic traditions, emphasizing the Virgin's role in Mexican identity and spirituality.

Fruit and Insects, Rachel Ruysch

Date: 1711 CEArtist: Rachel RuyschTime Period: Dutch Golden AgeMedium: Oil on canvasThis still life painting showcases an assortment of fruits and insects, demonstrating Ruysch’s skill in rendering natural detail. Ruysch's work exemplifies the flourishing of still life painting during the Dutch Golden Age, reflecting the artist's engagement with nature and the material world.

Spaniard and Indian Produce a Mestizo, attributed to Juan Rodríguez Juárez

Date: c. 1715-1720 CEArtist: Juan Rodríguez Juárez (attributed)Time Period: ColonialMedium: Oil on canvasThis painting portrays a Spanish father and indigenous mother with their mestizo child, reflecting the complexities of race and identity in colonial Mexico. This work exemplifies the colonial caste system and the blending of cultures, highlighting the social dynamics and tensions of post-conquest society.

The Tête à Tête, from Marriage a la Mode, William Hogarth

Date: 1743 CEArtist: William HogarthTime Period: RococoMedium: Oil on canvasThe Tête à Tête depicts a couple in a domestic setting, filled with symbolic elements highlighting their marital discord. Hogarth’s painting critiques the marriage customs of the time, blending social commentary with narrative storytelling in the Rococo style.