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Neolithic Art, Neolithic Period

Stonehenge (aerial view)
Salisbury Plain, Wiltshire, England
ca. 2100 BCE

*Cromlech
*Circles are central to rituals in many societies

*Marked passing of time?

*Holes hollowed out of capstones fit over projections on the uprights (like Legos)

*Taper downward and curve; refined shapes

*What is it for?

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. Stonehenge (aerial view), Salisbury Plain, Wiltshire, England. ca. 2100

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Neolithic Art, Neolithic Period
Jade Cong
Liangzhu Culture.
c. 2500 BCE

*Megalithic (large stone) monuments:
*Dolmen tombs: marked by post-and-lintel construction (two or more upright stones supporting a third horizontal capstone)
*Menhirs: marked by rows of megaliths (huge blocks of upright stone)

Cromlechs: megaliths arranged in circles

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Jade Cong, Liangzhu Culture, c. 2500 BCE

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Figures from Cernavoda, Romania. ca. 3500 BCE 2

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Neolithic Art, Neolithic Period
Figures from Cernavoda, Romania
ca. 3500 BCE

*Pottery originated around 5000 BC (discovered at Catal Huyuk)

*Figurines 4 ½” (11.5 cm)

*2 found together in a tomb

*Represent the deceased? Mourners?

New: negative space under arms and legs

Looks modern! Essence, everyday poses

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Figures from Cernavoda, Romania. ca. 3500 BCE

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Neolithic Art, Neolithic Period
Neolithic plastered skull
Jericho, Jordan
ca. 7000 BCE

*Buried bodies of their dead beneath the floors but later dug up and  removed skulls and displayed them above ground

*Reconstructed with tinted plaster to resemble flesh; inserted seashell fragments for eyes;

*Implication of belief: something survives of a person after death

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Neolithic plastered skull, from Jericho, Jordan. ca. 7000 BCE

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Neolithic Art, Paleolithic PEriod
Woman of Willendorf
ca. 28,000–25,000 BCE

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Neolithic Art, Paleolithic Period
Rhinoceros, Wounded Man, and Bison

Lascaux Cave,
ca 15,000–13,000 BCE

*Abstract human with naturalistic animals

*Human dressed as an animal?

*Bird on stick—shamanism (belief in a parallel spirit world)?

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Neolithic Art
Bear

Recess of the Bears, Chauvet Cave
ca. 30,000–28,000 BCE

*64,000 years ago in Spain (red hand stencil) made by  Neanderthals rather than modern humans

*Earliest figurative cave paintings date to c. 30,000 B.C.

*Hidden by a rock slide for 22,000 years; discovered by three spelunkers who found a narrow crevice in a cliff 1994

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Bear, Recess of the Bears, Chauvet Cave, Vallon-Pont-d’Arc

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Neolithic Art, Paleolithic Period
Wounded Bison

Altamira, Spain
ca. 15,000–10,000 BCE

*First cave art discovered in 1878 by 8-year-old girl (father was looking for bones etc. on the ground)

*Shapes inspired by bumps in the wall

*amateur archaeologist Marcelino Sanz de Sautuola was led by his eight-year-old daughter María [es] to discover the cave's drawings.

* interpreted the paintings as Paleolithic in origin.

*findings were loudly ridiculed at the 1880 Prehistorical Congress in Lisbon on the grounds that prehistoric human beings lacked sufficient ability for abstract thought

*In 1902, when several other findings of prehistoric paintings had served to render the hypothesis of the extreme antiquity of the Altamira paintings less offensive, the scientific society retracted their opposition to the Spaniards.

(first dinosaur 1824 megalosaurus)

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Wounded Bison. Altamira, Spain. ca. 15,000–10,000 BCE

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Neolithic Art, Paleolithic Period
Hall of the Bulls

Lascaux Cave, Dordogne, France.
ca. 15,000–13,000 BCE

*Experience: dark, flickering light from stone lamps with animal fat, musty smells

*Hall=virtual tour of Lascaux Cave

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15th-Century Flanders
*Attention to detail
*Religious symbolism
*Naturalism
*Oil paint: subtle effects of light and dark,   modeling, greater details, glowing colors
*Art can be owned by middle class (especially   prints)
*Mostly religious, also portraiture
*Details of modern life (cityscapes, interiors, etc.)
*Fantastical creatures/demons (Bosch, Schongauer)

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15th-Century Flanders
The Last Judgment
Hieronymus Bosch
c. 1482

*Fantastical monsters
*3 sections: The Creation (Paradise), Angels rebelling/earth life (limbo), Hell

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Hieronymus Bosch, The Last Judgment, c. 1482

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15th-Century Flanders
Buxheim St. Christopher
1423

*Woodcut, technique (relief): flat, little shading

*Influence of printing press; made into popular picture books called block books

*Christopher—patron saints of travelers: a giant who ferried people across rivers; surprised how heavy one specific child was (weight increased a farther across the river St. Christopher walked) - it was Christ (with every step, Christ held more and more of the world's sins and trials)

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15th-Century Flanders
St. Anthony Tormented by Demons
Martin Schongauer
c. 1480-1490

*Intaglio=incised
*Engraving on metal plate (opposite woodcut technique)

*St. Anthony tempted by demons, whom he resisted

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15th-Century Flanders

Descent from the Cross

Rogier van der Weyden
ca. 1435

*Similarities to Van Eyck- Heavy drapery, details of textures, fabrics, symbolism, modeling (oil paint)

*Differences-Shallow space: enhances dramatic, emotional quality (similar to large sculptured shrines)

*Depiction of the agony of loss, grief, sorrow

*Composition: pose of Mary echoes pose of Christ (even arms); visual balance as well as link—shared relationship; Mary also suffers, has fainted, but will be revived; foreshadows resurrection

*3 figures on right, 4 on left: balance; Elaborate dress on right (gives us more to look at)

*Also figures curve inward to direct our eyes

*Skull: tradition that Christ was crucified on spot where Adam was buried: Adam=fall; Christ=redemption (also the Latin word for skull is calvaria = Calvary)

*Different goal:  emotional expression: gestures, faces (all crowded in together)

*Naturalism (brings immediacy to viewer; can relate)
*Almost life-size
*Fit into the architecture somehow (hence strange shape)
*One plane before a wall, not much space
*Emphasized folds and creases in clothing
*Look at tears, pin, creases in headress

*Michelangelo is reported to have said “Flemish painting will please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many.”

*Attention to detail continues to be a quality of northern European art through several centuries

*Possible because of oil paint

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Rogier van der Weyden. Descent from the Cross . ca. 1435

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15th-Century Flanders

The “Arnolfini Portrait.”
Jan van Eyck

1434

*considered a masterpiece of the period (Flemish)

*Signature: Jan van Eyck was here, 1434

*Subject? “Almost every object portrayed conveys the sanctity of the event, specifically, the holiness of matrimony” (Gardner’s Art Through the Ages)

*Giovanni Arnolfini, Italian merchant in Bruges

*Textures, light ; space believable
*Mrs. Arnolfini - Dead? (Christ's death depicted on her side of the mirror while her husband's side shows Him alive; candle gone out above her; died in childbirth - pregnancy, lost child (but is she actually pregnant - debate on that); Patron St. of pregnancy depicted on the back of the chair)
*Marriage portrait?

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15th-Century Flanders

Man in a Red Turban (Self Portrait?)
Jan van Eyck

1433

*Revival of portraiture seen in donor portraits and here; not big since antiquity; looks straight at viewer (first portrait in 1000 years to do so)

*¾ view; eyes return your gaze

*Secular; middle-class; precision in details of skin, texture, stubble of beard

*Als Ich Kan (as I can/ as best I can)—his personal motto

*Self-portrait? Why would they think that? Scrutiny, squint of eye; no other name on frame (Jan van Eyck me fecit—made me)

*Sample/showpiece to show skill to buyers?

*Red turban—reference to ancient world (as well as lettering—Greek and Latin)

*In National Gallery in London

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Ghent Altarpiece (open),
Hubert and Jan van Eyck
Church of St. Bavo, Ghent, Belgium.
Completed 1432

*Ghent Altarpiece (open): considered world’s “most coveted painting” WHY? First great oil painting

*History: 1566 dismantled and detached from elaborately carved frame in order to protect from Protestant iconoclasts (when reinstalled in 1587, frame missing)

-Napoleon’s troops looted after French Revolution and brought to the Louvre

- WWI some panels taken by German forces

- WWII Hitler seized and stored in Neuschwanstein castle and then in salt mines

-recovered by Americans (Monuments Men)

*Why so coveted? Embodiment of Christian faith, especially of Catholic Church

*Main theme - Redemption of mankind through Christ’s atonement

*Plan of salvation - Mercy of God, redemption, adoration of the lamb

*Lamb of God (center) on altar: Christ’s sacrifice; bleeds into golden chalice (wine is blood of Christ)=Holy Communion/Eucharist

*Fountain: eternal life because of Christ (like well of Moses)

*Meticulous attention to detail

*Top: God the Father on throne surrounded by Mary and John the Baptist (all part of my plan): different God than medieval view (wrathful; now God of forgiveness)

*Adam and Eve: Fall, vulnerability; need for a Savior; naked (not idealized as in Italian Renaissance)

*Creation? Details of plants—identifiable by species; clarity and details of natural world: the world around us is a reflection of God and his creations (not viewed this way in middle ages)

*“an eye like a microscope and a telescope at the same time” –God’s vision, all-seeing

*Delicate play of light and shade, extreme details, vibrant colors all possible because of (oil paint)

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Hubert and Jan van Eyck. Ghent Altarpiece (open), Church of St. Bavo, Ghent, Belgium. Completed 1432

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15th-Century Flanders
Hubert and Jan van Eyck. Ghent Altarpiece (closed)
Hubert and Jan van Eyck
Church of St. Bavo, Ghent, Belgium
Completed 1432

*Grisaille - Only using values of black, grey, and white
*Polyptych - many panels
*Credited with “invention” of oil paint by Italians; signed paintings (unusual at the time)

*20 images inside and out; many hinges; (open only on Sundays and special feast days); both brothers worked on; Hubert died 1426, Jan completed (Hubert was the more famous at the time)

*A now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck – calling himself arte secundus (second best in the art) – completed it in 1432

*What is Gothic? Style of architecture/ niches/ sculptures in niches/ New Testament figures (2 St. Johns), altarpiece

*New: (northern Renaissance): rich detail/ velvety shadows (oil); continuous depth in room, cast shadows, realistic portraiture (skin on hands looks old), weighty folds/figures

*Center: Annunciation

*Top: OT prophets and sybils: foretelling Christ’s birth, mission

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Credited with “invention” of oil paint by Italians; signed paintings (unusual at the time)

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15th-Century Flanders
Robert Campin and workshop. Merode (Annunciation) Triptych ca. 1425–1430

*Triptych: a religious picture with one central panel and two hinged sides/wings
*Difference in setting? House interior; effect? brings supernatural event to everyday life (not painted for a church but for fellow citizen--25”x25” ); brings sacred  to terms we can understand; bond between patron and Biblical figures

*Perspective: overly foreshortened, different points of view

*Attention to detail; equality of attention to every detail; every object can have symbolic significance (reason for intense study of everyday objects): candle/Christ, lilies/purity; vessel/Mary as pure vessel; mousetrap;cross (St. Augustine)

*Names of Donors: Peter Ingelbrecht (angel bringer) and Scrynmaker (shrine or cabinet maker)

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Robert Campin and workshop. Merode (Annunciation) Triptych . ca. 1425–30

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International Gothic Style
*some Gothic characteristics
* new naturalism
*rich colors, materials
*symbolism
*many small details
*aristocratic patrons, tastes
*elegant figures, expensive dress
*patterns, repetition

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International Gothic Style
The Wilton Diptych

ca. 1400

*King Richard II (England) and patron saints kneeling before the Virgin Mary, Jesus, and Angels (wearing badges with emblems of King Richard)

*Gothic- gold background, haloes, flat space, floating feet

*International Gothic: sumptuous materials, elegance, patterns, repetition (wings, color, robes, faces), details in flowers

*Contrast in colors=heavenliness?

*Elegant figures-floating
*Blue and gold
*Intense decrative patterns
*John the Baptist with lamb and animal-skin clothes (Left)
*Christ and Mary on the right, surrounded by angels
*White stag pins (King Richard's symbol) on the king and angels

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International Gothic Style
January, Les Très Riches Heures du Duc de Berry
Limbourg Brothers

1413–1416

*Manuscript painting--Book of Hours: collection of prayers for certain times of day; also calendar pages listing religious feast days; first available to aristocracy and later to other affluent people

*3 brothers (Pol, Herman, and Jean de Limbourg); died in 1416 (probably of the plague; same year as Duke) and left unfinished; uncle was Jean Malouel, painter of Claus Sluter’s Moses Well and court painter to the Duke of Burgundy

*For Duke of Berry, brother of Duke of Burgundy and King Charles V of France

*International Style: elegant, sumptuous materials (gold, blue), expensive dress; details of patterns, textures; dogs on table, salt cellar
*Has zodiac animals at the top of the page corresponding to the month
*Figures crowded flatly, depth
*Royal style (comissioned by a royal)
*Gothic: stretched bodies
*Formal, elegant
*Dog
*Rich materials, elegant figures, naturalistic details, love of pattern

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January, Les Très Riches Heures du Duc de Berry

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Good Government in the Country

*First true landscape since medieval times; orderly hillside, fruitful nature, peasants work in harmony, safety all because of justice and good governing

*First 3 decades of 14th century were stable; in 1340’s catastrophes: warfare, bankruptcy, crop failures, famine, and then bubonic plague in 1348

*Wiped out more than half of populations of Florence and Siena

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Italy in the 13th-and14th-Century
Allegory of Good and Bad Government -Good Government in the City

Ambrogio Lorenzetti

Palazzo Pubblico, Siena
1338–40

*Portrait of Siena; everyone busy, productive, harmonious (dancing in front)
*Painted for a town hall
*People stand for ideas: virtue, justice
*Ruled by good government - everything and everyone will do and be what they are supposed too

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Allegory of Good and Bad Government -Good Government in the City

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Italy in the 13th-and-14th-Century

Annunciation

Simone Martini
ca. 1330

*Student of Duccio in Siena; medieval frame not original; meant to be placed near Duccio’s Maesta

*Gentle gestures; had seen French Gothic mss painting

*Lilies—emblem of purity of virgin

*Words: “Hail Mary, full of grace, the Lord is with you”

(the word became flesh; words going into Mary’s ear become son of God

*Like Giotto: reduces story to simplest terms

*Like Duccio: lyrical elegance; spiritual realm emphasized over physical realm
Flowing lines, fairly detailed and decorative
*Alter piece
*Tempera with gold leaf
*Olive leaf - the peace Christ will bring to the earth

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Italy in the 13th-and-14th-Century

Annunciation of the Death of the Virgin
Duccio

From the Maestà Altar.
Museo dell’Opera del Duomo, Siena
1308-1310

*Annunciation of Death of Virgin (angel Gabriel returns to again Mary to warn her of her impending death): attempt at space, foreshortening (beams); figures framed by architectural space
*Vase of dead flowers
*Where does this tory come from? (not in the scriptures)
*Alter piece, top left from Madonna Enthroned
*Space - which wing is in front? Is Gabriel inside or leaning around the wall? Middle doorway awkward angle, progress of space

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Duccio, Annunciation of the Death of the Virgin, from the Maestà Altar.

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Italy in the 13th-and-14th-Century
Madonna Enthroned, center of the Maesta Altar
Duccio
1308-1313

*protector/patron

*To celebrate, commissioned Duccio to make a huge altarpiece

*“Greek Manner” (Byzantine)—tempera on panel; richer colors than fresco

*Combines with some space (knee, throne)

*Compare with Cimabue (next): Duccio relaxes rigid, angular draperies; softer, more 3-D; modeling of light
*Whole story of Christ on the back
Mary lifesize - major Hierarchal scale
*Throne less decorated, blanket around it (Relaxed Mary?)
*Each angel and prophet more unique
People around her don't have a ton of color
*Mary more nurturing, kinder (Byzantine face)
*Flowing line highlighted in gold
*Symetrical
*Christ - a wise child, more of a baby than a small man

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Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

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Giotto. The Lamentation

*In the Arena
*Master of composition; draws our eye to Christ--(not in center: rocky hill leads, figures surround; figures with backs to us looking in; occupy space, foreshortened (no other function; would not have been in medieval period)

*Emphasis on Christ as human; in lap, on knee, dead

*Solid bodies; modeling, bulk, believable ground, illusion of space; continuation of hill on next panel

*Tree-looks dead (all of nature mourns), symbol of resurrection (also Jonah panel on left)

*Angels mourn, foreshortened; individualism in reactions (as below)
*Shadows - showing depth
*Christ pulled from the cross, laying on Mary's lap
*Painted borders between panels (Typology - connections between the Testaments = Small picture foreshadowing Christ's life, Jonah upside down in water next to Christ dead in Mary's lap

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Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06

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Giotto. Christ Entering Jerusalem

*Fresco in the Arena
*Triumphal entry: fulfills OT prophecy (mounted on donkey);

*Looks close to the viewer

*Events look to be in 3D
*Isolation and dignity of Christ

*Christ in profile (Roman: noble pose); moves forward throughout cycle left to right; shows lapse of time; also figures taking off clothing; like story boards (symbolic representation in group—abbreviated)

*Buon/Truefresco: paint on wet plaster, bonds; but not blue; lapiz lazuli expensive; Enrico wanted to show its brilliance so put on secco fresco (dry fresco); didn’t last

*Modeling of figures new! Shows bulk

*Earthly setting; not gold, shows ground
*Allusion to passing time

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Giotto. Christ Entering Jerusalem, Arena (Scrovegni) Chapel, Padua. 1305–06

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Italy in the 13th-and14th-Century Italy
Arena
Enrico Scrovegni (Commissioned it)
Chapel, Padua
1305–1306

*Fresco paintings by Giotto
*Palace chapel—connected to Scrovegni Palace (located on site of former Roman arena)

*One-room hall covered with barrel vault; built to be Scrovegni’s burial chapel

*Scrovegni: banker; worry about connection to usury (charging interest); built chapel as a good work to atone for usury (Enrico Scrovegni in Last Judgment scene handing church to 3 Mary’s—on right side) = emphasis on repentance

*Floor to ceiling fresco with three registers (even illusionistic marble panels): Cycle of Mary’s life (top), Christ’s life (middle), Christ’s passion (death and resurrection (bottom)

*Altar wall: Annunciation

*Back wall: Last judgment (as you leave); take these things seriously; you will suffer according to your sins
*Built atop a Roman arena

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Arena (Scrovegni) Chapel, Padua. 1305–06 (and fresco paintings by Giotto)

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Italy in the 13-thand14th-Century
Madonna Enthroned
Giotto
ca. 1310

*Giotto student of Cimabue: similarities?

*Body shows beneath clothing, more physical solidity (except flat haloes)

*Loved gold and pattern of Byzantine, but leans to classical tradition of figure
*Larger emphasis on throne (walls, arch, windows)
*Christ blessing hand - more pronounced
*A lot more depth (Shading and modeling, robe, facial features, highlights, Mary has weight and volume)
*Heads/halos of angels overlapping
*Mary and Christ in a separate space than the angels

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Italy in the 13th-and-14th-Century
Cimabue.

Cimabue
ca. 1280–1290

*12 feet tall

*Cimabue=bull’s head; stubborn; from Florence

*Byzantine: gold, long nose, frontal, solemn expression

*Loved Byzantine color, but 3-D throne—shows space

*Oldest of the three "Madonna Enthroned"s
*Robes very vibrant blue
*Angels have similar faces
*Fabric - gold sewn in illusion, stylized
*Old Testament prophets below, concave (some) arches above them

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Italy in the 13th-and14th-Century
South doors, baptistery of San Giovanni
Andrea Pisano
Florence, Italy
1330–1336

*New pair of bronze doors for baptistery at Florence

*3rd Pisano—not related (also from Pisa)

*Life of John the Baptist (patron saint of Florence) (also shows full body of christ with attendants and John, Christ in the river with water being sprinkled on his head)

*Part medieval (Gothic quatrefoil frames) part classical (bronze)

*Volume in the bodies

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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Plan of Santa Croce

*Straightforward basilica plan; proportions broad instead of vertical

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Nave and choir of Santa Croce, Florence.

*Roman roots; only vague reference to Gothic: basilica plan, proportions broad instead of vertical, wooden trussed roof;

*Gothic: pointed arches

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Arnolfo di Cambio Nave and choir of Santa Croce, Florence.

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Italy in the 13th-and-14th -Century, Franciscan Order
Florence Cathedral
Arnolfo di Cambio (?)
Florence, Italy
Begun ca. 1294

*Leading and largest Franciscan church (on the east side of town)
*Inside - Roman basilica plan (pointed arches, nave, aisles, wooden roof)
*Shaped like a "T" - Tao cross (Symbol of St. Francis) (chapels, apse, trancept)
*Burial place of Michelangelo and Galileo (and other famous Italians)
*Gothic Influence

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Arnolfo di Cambio . Santa Croce, Florence. Begun ca. 1295

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Giovanni Pisano.
Nativity, detail of pulpit.
Pisa Cathedral
1302–1310

*Marble

*Same story (nativity, angels and shepherds, symbolic bathing of Christ);

*Differences? Focuses on landscape, animals; more spaced out

*Higher relief (more deeply carved), thus more darks and lights, rounder; less crowded; also more action

*Mary: young mother rather than dignified matron

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Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble.

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Nicola Pisano. Nativity, detail of pulpit

*Nativity on top
- Angel Gabriel, Mary (shows multiple), Christ (shown multiple), Joseph
- Multiple stories fit into one section, crammed together
*midwives bathing Christ below (symbolic of baptism)

*Joseph gazes with wonder

*Left top corner: Annunciation

*Crowded, looks like Roman sacrcophagi

*Mary looks like a Roman matron; dignified

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Nicola Pisano. Nativity, detail of pulpit

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Italy in the 13th-and-14th -Century
Pulpit
Nicola Pisano
1259–1260

*3 Pisanos (means from Pisa): we know artists’ names - Nicola Pisano and his son Giovanni Pisano

*Pulpit=stand for preaching; hexagonal, marble

*Inside baptistery in Pisa; 15 feet tall

*Blends medieval ideas with modern

-Classical: columns, Corinthian capitals

-Medieval: columns on backs of animals; trefoil arches

-Modern: carvings—classical look
*Fortitude (strength, Hercules and lions= Daniel, Christ)

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Italy in the 13th-and-14th -Century
Altarpiece of St. Francis of Assisi/ St. Clare
1280

*Italians loved big painted altarpieces; egg-based tempera

*St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent

*Byzantine influence: Frontal, elongated, gold, large halo, large eyes, long Byzantine nose

*Vignettes at side: stories of her service

*2 trends in Italian painting: : ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy
*Scenes on the sides are mircales
*Stigmata - nail prints in the hands

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Gothic Art, Art Outside France
Roettgen Pietà
Early 14th century

*New kind of religious image; meant for contemplation

*Painted wood

*Pieta=sorrow (pity as well as piety) : gut-wrenching; German expressionism

*Emphasizes personal relationship with God; wants us to share horror of Christ’s suffering and identify with grief of Mary

*Encourages Compassion (“to suffer with”)

*Roots in past (compare with Ottonian Geru crucifix; weightier, more physical than Carolingian)
*Expressive but awkward
*Blood
*Michelangelo took inspiration from this and created the marble version

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Gothic Art, Art Outside France
Ekkehard and Uta
Naumburg cathedral
ca. 1249–1255

*Donors—honored as examples for funding 11th-century cathedral (new fundraising campaign; wanted to encourage new donors)

*From the past, but individualized as if portrayed from life

*gestures, gazes give human quality

*Painted (indoor sculpture, protected from the elements); outdoor sculptures were painted, too, but paint rarely survives
*Fairly realistic, portrait sculpture (more correct proportions - naturalistic)
*This couple donated a lot of money to the cathedral, so they were immortalized in it

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Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

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Gothic Art, Art Outside France
Chapel of Henry VII
Westminster Abbey, London
1503-1519

*Fan vaulting—architectural pageantry; complex vault patterns unrelated to structure of walls or vaults but have life of their own; obscure rather than clarify architecture

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Chapel of Henry VII, Westminster Abbey, London. 1503-19

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Nave of Salisbury cathedral

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Plan of Salisbury cathedral, England. 1220–65

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Gothic Art, Art Outside France
Salisbury Cathedral, England
ca. 1320-30

*Double transept common in England

*Apse different: not round, no ambulatory (no relics or pilgrims)

*1 huge transept tower instead of two west towers

*Cloister (usually with monastery)

*Lower and broader, but longer (long, low, sprawling look)

*Flying buttresses not really needed; just for show

*More spread out—park like
*Shorter; column clusters don’t go all the way up the wall (less upward thrust)

*Horizontal divisions dominate

*Ribs rise all the way from triforium level; create steep curve, clerestory tucked in among vaults (like Durham Cathedral—now by choice)
*Spires
*Repeated patterns
*More emphasis on the crossing, cathedral itself is not incredibly tall
*Piercing and detail within the square space (flat, not jutting out)
*Cloister
*columns don't go all the way up
*2 transepts, 3 levels
*Ribbed groin vaulting
*Triphorium, no gallery
*

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Salisbury cathedral (from the southwest) (spire ca. 1320–30)

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Gothic Art, Courtly Style
Virgin of Paris, Cathedral of Notre-Dame, Paris
Early 14th century

*Stone
*Same "S" (Gothic) sway; elegance becomes an end in itself; less interested in naturalism

*Disembodied? Sway doesn’t support body, free standing

*But naturalism in details: child plays with mother’s veil—more like a real child

*Graceful, expressive quality essence of Gothic art—not naturalism or classicism
*Only a foot or so tall
*Once painted gold
*"Older" Christ Child

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Virgin of Paris, Cathedral of Notre-Dame, Paris

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Gothic Art, Courtly Style
Melchizedek and Abraham, from the Psalter of St. Louis
1253–1270

*Abraham paying tithes to Melchizedek, but in Gothic chain mail, in front of Gothic cathedral

*(like statue in Reims Cathedral)

*Abraham and troops: crusader armor (holy by association); Louis organized two crusades and died in one in Tunisia

*Gold background; painted architecture modeled after Sainte-Chapelle; looks like niches

*Heavy dark outlines like stained glass (lead strips)

“court style”; “elegant style”: sway, graceful, smiling; exemplifies refined taste of the court art in Paris
*Elegance, curving
*Gothic Sway (curved body)
*Imitating stained glass (strong outlines, filled with color)
*Chainmail - crusades

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Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70

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Annunciation and Visitation, west portal
Cathedral of Notre-Dame, Reims
ca. 1230–65

*Not columns! Standing in front of columns on plinths

*Annunciation and Visitation

*Visitation scene (right) energetic like Ebbo gospels (also in Reims); knees sticking out, drapery emphasizes bulk of bodies; more classical (possibility that they had Roman models—built over Roman baths)

*Actually tells a story, interaction; S-curve even more than St.Theodore from Chartres

*Left: different sculptors; not intended as a pair;  Gabriel carved at least a decade after Mary (straight, tubular); Gabriel graceful, gentle, smaller head, sway, smile, strong S curve: “elegant style” or “court style”

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Annunciation and Visitation, west portal of cathedral of Notre-Dame, Reims. ca. 1230–65

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Gothic Art, High Gothic Period
Cathedral of Notre-Dame, Reims
1211-1345

*Reims Cathedral the coronation cathedral of the kings of France; kings held court in Paris

*Façade physically light

*Pierced walls—full of light
*Replaced the tympanum sculpture with the Rose window
*Pierced stone - lets more light in
*Everything points upward
*Slimmer and taller than Notre Dame Paris
*Stained glass
- 3 different artists
+ Simple, winged, knee pointing out
+ Straight, column-like
+ Looks like a classical Greek statue
- Mary visiting Elizabeth, Angel visiting Mary

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Reims Cathedral the coronation cathedral of the kings of France; kings held court in Paris

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Nave and side aisle of cathedral of Notre-Dame, Amiens

*Breathtaking height—144 feet (holy number); stretching everything to limits; height and lightness of supports; emphasis on verticality and translucency

*See height comparison next slide

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Nave and side aisle of cathedral of Notre-Dame, Amiens

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Nave of cathedral of Notre-Dame, Paris

*3-part nave elevation: nave arcade, gallery, clerestory

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Gothic Art, High Gothic Period
Cathedral of Notre-Dame, Paris
ca. 1200-1250

*Emphasis on harmony, geometric order, and proportion (relation to divine; all things measured)

*Façade still heavy but lightened by lace-like stonework everywhere and window perforations

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*Good Samaritan helps pilgrim; promises to return; above: creation of Adam and Eve, Garden of Eden
*“The man who was going down is Adam. Jerusalem is paradise, and Jericho is the world. The robbers are hostile powers. The priest is the Law, the Levite is the prophets, and the Samaritan is Christ. The wounds are disobedience, the beast is the Lord’s body, the [inn], which accepts all who wish to enter, is the Church. … The manager of the [inn] is the head of the Church, to whom its care has been entrusted. And the fact that the Samaritan promises he will return represents the Savior’s second coming.” (The Samaritan also pays in advance for any more debts concurred; Christ has paid in advance for our sins) 4

*FEBRUARY 2007 THE GOOD SAMARITAN: FORGOTTEN SYMBOLS
*

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Notre Dame de la Belle Verrière (detail), cathedral of Notre-Dame, Chartres.
ca. 1170 (framing panels are 13th century)

*Painting with glass and painting on glass (face, drapery)

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Notre Dame de la Belle Verrière (detail), cathedral of Notre-Dame, Chartres. ca. 1170 (framing panels are 13th century)

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Notre Dame de la Belle Verrière, cathedral of Notre-Dame, Chartres.
ca. 1170 (framing panels are 13th century)

*“Our Lady of the Beautiful Window”

*Assembled with small pieces of glass like mosaic in lead strips; accentuates pattern and decorative effect (like animal style)

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Notre Dame de la Belle Verrière, cathedral of Notre-Dame, Chartres.

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Jamb statues, south transept portal

*Sculpture changing from west portals (see next slide)

*Old Testament Prophets

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Jamb statues, south transept portal of cathedral of Notre-Dame, Chartres. ca. 1215–20. Left-most figure (St. Theodore) ca. 1230

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Jamb Statues

*Jamb=representation of human body in western art

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Jamb statues, west portal of cathedral of Notre-Dame, Chartres 1

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Jamb statues, west portal

*Jamb=representation of human body in western art
*South portal with Second Coming of Christ on tympanum, church of Saint-Pierre, Moissac. ca. 1115–30 (not too much earlier)

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Jamb statues, west portal of cathedral of Notre-Dame, Chartres

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Portals, north transept

*Transept arms

*3 deeply recessed portals; 5 lancets (tall, narrow windows with pointed arch); 1 immense rose window (bar tracery window; no longer cut out of wall)

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Portals, north transept of cathedral of Notre-Dame, Chartres. ca. 1204–30

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Nave and choir of cathedral of Notre-Dame, Chartres. ca. 1194–1220

*3 part nave elevation; Gallery is missing

*Feeling of more vertical continuity

*Shafts attached to the piers stress continuity of vertical lines; guide our eyes upward to the vaults
*Triforium (an interior gallery, opening onto the tall central space of a building at an upper level. In a church, it opens onto the nave from above the side aisles; it may occur at the level of the clerestory windows, or it may be located as a separate level below the clerestory.)

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Nave and choir of cathedral of Notre-Dame, Chartres. ca. 1194–1220

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Cathedral of Notre-Dame, Chartres (from the south)

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Cathedral of Notre-Dame, Chartres (from the south)

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Plan of cathedral of Notre-Dame (as rebuilt after 1194), Chartres

*Church burned down in 1194 (except western part); rebuilt the rest as high Gothic; built in 26 years (very fast); interpreted as will of the Virgin to build a new and more glorious cathedral; that the west end and relic (tunic) were spared also seen as miraculous

*Transept more in center; clustered piers

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Plan of cathedral of Notre-Dame (as rebuilt after 1194), Chartres

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Gothic Art
Cathedral of Notre-Dame
Chartres, France
ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

*Bishop of Chartres friend of Abbot Suger; shared ideas

*West façade always last to be built; Romanesque building with Gothic western façade

*Notre Dame=our lady (of Chartres); dedicated to Mary (height of cult of Mary); relic: cloak worn by Mary—not destroyed by fire (miracle) in 1194

*Most of church burned down except western façade; rebuilt as high Gothic

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220

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Plan of the choir and ambulatory (Peter Kidson)

*Gothic period started with one man at one church

*St. Denis in Paris: St. Denis was medieval bishop who was a martyr by beheading; his remains in crypt in basement

*Important Carolingian church; where Charlemagne and his father were consecrated as kings

*Abbot Suger wanted to make it spiritual center of France and to form alliance between the French monarchy and the Church; remodeled church to make bigger and grander

*New geometric order: 7 wedge-shaped units fan out from apse center; chapels not separate but continuous space

*Ambulatory: new—one big open space; dedicated June 11, 1144; concern with light; raise our minds from slime of earth to heavenly Jerusalem

*Light in two ways; looked light in weight and let in light of the sun (allowed for more stained glass)

*Supporting buttresses between chapels (look like arrows) support outward pressure of vaults; interior appears light and airy

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Plan of the choir and ambulatory, abbey church of Saint-Denis, France. 1140–44 (Peter Kidson)

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Ambulatory of abbey church of Saint-Denis

*Open - continuous space outlined by slender arches, ribs, and columns

*Pointed arch could be stretched to reach any desired height regardless of the width of its base; more flexible

*Light in two ways; looked light in weight and let in light of the sun

*Allowed for more stained glass

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Ambulatory of abbey church of Saint-Denis

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Gothic Art
Abbey church of Saint-Denis, West Façade
France
1140–44

*3 portals larger with more decoration

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What is the medium of this (Stele of Naram-Sin) work? What is a stele?

*This sculpture was made from pink limestone around 2254-2218 B.C. A stele is a stone or wooden slab, generally taller than it is wide, erected in the ancient world as a monument (Google). Stele’s generally depict men (or women) of great stature doing something grand in history, something that will make them known through the ages for doing this “great” thing.

What event does this stele commemorate?

*Naram-Sin’s victory over the Lullubi (mountain) people

How does the stele break with tradition in its use of a diagonal ground line?

*Instead of being in a straight line, the figures are diagonal to each other. Naram-Sin stands at the top of the diagonal, while his soldiers march up to him in a diagonal line. Those who have fallen are on the opposite side, kind of all over. Traditional art of this time are shown in registers, horizontal bands with the scenes moving from left to right.

How does Naram Sin, the king, stand out from the other figures?

*He’s atop the diagonal line and stands proudly, noble, with one arm over his chest and a spear in the other hand. He also wears a sort of hat that has horns, which sets him apart from the rest of the figures. He is also larger than the two figures he stands over, which gives a sense of superiority and perhaps a god-like view of this man. This god-like view is also shown through everyone’s gaze, both his soldier’s and the vanquished’ s, is directed to him, as well as having a person under one of his feet.

From what view are the human figures represented in the Stele of Naram-Sin (profile, three-quarter, frontal or a composite view)?

*The bodies are frontal while many of the heads are profile.

What do the two sun symbols stand for?

*The forces that have helped guide him to this victory. Perhaps their gods or even his ancestors, whatever they believed in.

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Akhenaten, Nefertiti, and Three Daughters

The limestone register of Akhenaten, Nefertiti, and three of their daughters was carved sometime around 1350 B.C., in the New Kingdom period of Egypt’s history. This carving is significant because of what it represents. During his rule, Akhenaten changed the state religion from the worship of Amun, to a new god, the god of the sun, Aten. The pharaoh changed his name to reflect this new worship (his name now meant “Aten is pleased”) and had himself, and his wife Nefertiti, commissioned to look almost godlike in works of art, as the two of them would be the only human beings on earth that  could represent Aten on earth, taking that duty away from the priests and priestesses of Egypt (until Aten died and Egypt reverted to the old religion and traditions). This religious change reflected in a change in the artwork of Egypt at this time.

The carving is sunk deep into the limestone, rather than the carving seeming to jump out of the slab. It shows Akhenaten sitting in a composite viewpoint, with sunrays beating down upon him. He wears the crown of Egypt and, as the shape of the eyes contest, has kohl around his eyes. He holds his eldest daughter tenderly and close to his mouth, looking as if he’s giving her a kiss. Nefertiti holds their second daughter in her lap as she points to her father, as the eldest points to their mother. Nefertiti holds her daughter’s hand tenderly as their youngest daughter sits atop her shoulder, playing with her earrings. Nefertiti is also wearing a royal crown. All five figures are unrealistic in their proportions, especially with the heads, bellies, and arms, and many have wondered why this new style had come about. Many more believe it was simply a way to set the new dynasty apart from the rest. There are still traditional elements, such as the composite view of both parents and the depictions of the sun god, showed as a sun disk with a cobra inside of it. The cobra is seen in many places in Egyptian art, and, in this instance, signifies that Aten is the supreme deity. There is only one God in this Egypt. Akhenaten was a monotheist, disregarding the pantheon of gods that existed before, and after, his rule.

We see this even more at the end of the sun rays connected to Aten’s sun disk. Little hands reach towards the parents and children, and the rays that come close to Akhenaten and Nefertiti’s faces, the mouth and nose, are Ahnks, symbols of life. Aten is giving the breath of life to the rulers of his Egypt. The thrones on which the parents sit also show how they rule together, as equals, with Akhenaten’s throne being simpler and Nefertiti’s being more intricate, showing her importance to the pharaoh.

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Mortuary Temple of Hatshepsut and Large Kneeling Statue

The Kneeling Statue of Hatshepsut depicts, as the title suggests, the female pharaoh, Hatshepsut. This granite sculpture was carved between approximately 1479 B.C. and 1458 B.C., in the New Kingdom era of Egypt’s history. King Hatshepsut was one of the few female pharaohs in Egypt’s history. She ruled for over two decades and built a mythology around the logic that made her king. While in power, she commissioned many temples and sculptures, interested in showing her royal authority through art. This really shows in the way she had herself depicted, as sphynx statues in the courtyards of her mortuary temples, and through the statue spoken of in the video.

This depiction of her shows her strength in how straight her back is and how she looks forward, not down. She kneels, but this doesn’t show weakness. Hatshepsut wanted her subjects to realize her power and her rule; one of the ways she did this was having her depiction appear male. Her statue has very muscular arms and legs and fairly broad shoulders. Her chest, while muscular, looks more masculine than feminine, and atop her head rests the headcloth of the pharaohs. The headcloth was only worn by pharaohs (who were traditionally male) and originally had a cobra attached to the middle of the forehead. The faux beard is also carved onto her chin, another symbol associated with the pharaohs, the kings, of Egypt. However, she does let a little of her true nature show through the carving of the hieroglyphs that make up here name at the bottom of the statue. There is also royal artistry in the way her arms are close to her chest, no room between them, and in the symmetry of the statue. The King’s figure was also carved into the stone around and below her, showing her strength for coming out of the earth.

After Hatshepsut’s death, her stepson and nephew, Thutmose III, tried to erase her from history. He ordered her statues, paintings, and hieroglyphs to be destroyed. Fortunately, there were so many commissions of Hatshepsut that it was almost impossible to get rid of them all. And even the ones that were destroyed were able to be put back together due to the large pieces being buried in her mortuary, as well as granite being incredibly hard stone, and so not easily broken. There are a few sculptures of Hatshepsut depicting her as a woman that survived, but most are like the masculine statue depicted in the video.

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Last Judgment of Hunefer, from his tomb

The Book of the Dead, also known as the Last Judgment of Hunefer, was illustrated on a roll of papyrus around 1275 B.C in the New Kingdom era of Egypt. It is split into two sections. The bottom, which shows hieroglyphic text of spells, incantations, and other, is basically an instruction guide to going into the afterlife and going through the judgment process, along with other instructions as to what needed to be done in the afterlife. The top shows illustrations of the scribe (scribes held priestly status), Hunefer, doing just that. Hunefer is shows wearing a white robe going about this process in three parts. In the first, Hunefer sits before a crouching group of other gods and goddesses (including Horus, the king god) as he tells them what a good and ethical life he has led. In the second section right below, is Hunefer being led by Anubis, the god of the underworld, to a scale that will measure Hunefer’s heart against the feather of Ma’at, the goddess of divine order, who is also shown at the top of the scales with a feather atop her head. If Hunefer’s heart weighs more than the feather, he has not lived an ethical life and his heart, will be eaten by Ammit, the creature with the head of a crocodile, the body of a lion, and the hindquarters of a hippo, depicted under the right side of the scales. If the feather weighs more than Hunefer’s heart, which, fortunately, it does, then Hunefer is speaking the truth, and he has lived a good and ethical life. This entire exchange is being recorded by Thoth, the god of wisdom, who stands at the end of this section. The last of the three sections shows Hunefer in his white robe being introduced to the god of the underworld, Osiris, by Osiris’s son, Horus, the king of the gods. Osiris welcomes Hunefer into the afterlife. Surrounding Osiris are symbols that show the royal status and greatness that he had before he was cast to the underworld. Symbols like the lotus flower beneath him, the women behind him (Osiris’s wife, Isis, and his other sister Nephthys), the crown atop his head, the crook and sash in his hands, and the four smaller figures that represent the four cardinal points (which are the animals that were crafted into urns for burial) all show this royal lineage.

This “book” was once only placed in the pharaoh’s tomb, as he was of the gods, and needed to know how to go about the afterlife to dine with Osiris and the other gods, and others of high rank. The pharaoh essentially “rejoined” the great kings of the past. As the years went on, papyrus rolls like this one were placed in more and more commonfolk tombs, to help guide their way into the afterlife.

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The Amphora of Ajax and Achilles Playing Dice is a Greek-Etruscan pot that depicts the heroes Ajax and Achilles playing dice between difficult battles. Evidence of these battles can be found in the armor that both of these men are wearing, as well in the spears they hold and the helmet still upon Achilles' head. Each man shows similarities in design, but also subtle differences that tell what they are thinking and allude to their individual myths. Achilles, on the left, is relaxed; his brow is smooth and his feet rest firmly on the ground. He's also not leaning as forward and intently as Ajax. This tells of his more care-free personality. He is sure of himself and doesn't worry too much. This becomes his fatal flaw when his carelessness with his weak point, the point where his mother held him in the river Styx, his ankle, gets hit with an arrow and he dies. Ajax, on the right, is more tense. His brow has two lines instead of one, giving it a furrowed look. Both of the pads of his feet are the only part of it that are touching the floor, showing his calves are clenched and he is tense. This can also be seen in how low he leans over the dice game. This alludes to Ajax's myth of tense times. He carries Achilles off of the battlefield and fights for the rights of the dead man's armor (armor forged by Hephaestus, god of the forge and fire). When he looses, he attacks and kills many of the Greek men around him, and then he falls on his own sword, dying in humiliation and in a way not fit for a hero.

This Amphora vase is fairly large, with long, sloping handles, and a long neck. Black-figure style can be seen in the use of thick black lines used to depict the heroes, and again around the mouth and handles. This specific vase was created by Exekias, who signed his name (one of two of his works that actually received a signature) along the bottom, as well as painted words next to Achilles and Ajax (five and three) to give hints that Achilles is winning this game. It is also another allusion to their mythos.

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One of my favorite periods of history and art are the Egyptian Dynasties. There is so much rich culture and storytelling to be found within the many centuries in this period, it's hard to choose just one. So I'm going to cheat a little and do a group: The Pyramids and Sphinx of Giza. I absolutely adore these artifacts and find so much history and culture within their stone walls. I believe both the pyramids and the sphinx are a testament to what human beings can do when they 1. put their minds to something and 2. don't hold back or allow others to hold them back. These pharaohs said they wanted great tombs and a guardian built, and so it was done. The tombs guard the remains of the pharaohs and testify of their greatness while the sphinx guards the king's tombs and the rest of Egypt. I feel like society is held back by criticism, money, and angry or jealous minds, and that is why we can't do even more amazing things with the technology we have. The Egyptians didn't have chainsaws, dynamite, or forklifts to help them build these monuments, they had to make due with the materials and tools they had. But where they differ from the modern world is they new they had no limits. The Pharaohs demanded the best and they made sure to get it. To sum it up, to me, these four amazing structures represent the determination and honest creativity of the human race. They inspire me to shut down my insecurities and concerns and let my mind become limitless, helping me to better understand, hone, and enact my craft (telling stories through words). I will forever love and be grateful for the Egyptians and the incredible monuments and art they left behind.

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Identification
*The Colosseum

*Funded/commissioned by the Flavian Family

*c. 72-80 AD

Stylistic Period
*Empire Period

Formal Qualities
*HUGE!

*Giant circular arena once layered with sand for easy cleanups

*Concrete (inside), blocks of travertine (outside sections)

*Three stories of arches (bottom floor arches: Tuscanic; Second story: Ionic (made more feminine) with volutes on top;  Third Story: Corinthian with capitals based on local flora (leaves, leaves of grass); then a fourth floor with windows)

*Unarticulated columns border the sides of the arches

*Tuscanic: a local (Italian), simpler style of columns, unfluted with a base

*Used to be statues that stood under the arches and large, bronze  shields on the top floor, alternating windows

*Seating on a flat surface

*Roman numbers above the arches – assigned seating (the numbers would appear on the people’s tickets)

Iconography
*50,000-80,000 seats!

*Built in ten years

*A show of money?

Social-Historical Influences
*Provided entertainment for people of all classes and stations (brought the social classes together for a time) (still had division though: seats were assigned based on class)

What makes it special?
*Greek name meaning “a double theater”

*It’s amazing that the Romans were able to build a building so huge and functionable! The seats alone are incredible but when you get down to it, it had plumbing, water fountains, a removable/moveable floor… This building is truly one of Rome’s biggest accomplishments that withstand the tests of time.

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Identification
*Augustus of Primaporta

*c. 20 (1st century) AD

Stylistic Period
*Empire Period

Formal Qualities
*Marble; possibly a copy of a bronze statue

*Gods depicted as a child and in Augustus’ breast plate

*Incredibly detailed and intricate clothing (folds of the waist sash, shoulder pads, skirt)

*Fairly Naturalistic – probably close to his actual features/look

*Possibly idealized (a younger version of him) – Godlike

Greek ideal-Contrapposto pose

*Visual propaganda

Iconography
*Authoritative air with the raised hand, confidence
*Cupid (son of Venus, who Augustus claims he can trace his lineage back to through the emperor Aeneas, his ancestor; also related to Julius Caesar (adoptive father), whom Augustus has deified) pulls at his skirt and looks up at him
*Other gods on the breastplate: Caelus (sky god), Apollo, Diana, Tellus (earth goddess)
*Dolphin: a symbol of Augustus’ naval victory over Mark Antony and Cleopatra
*Sphinx

Social-Historical Influences
*Being surrounded by the gods in an authoritative stance gives evidence that the god’s support your rule, which in turn gains you support from the people.

*All people would be able to see their emperor

*Became Rome’s first true emperor

What makes it special?
*It may have been done before, but this Is the first time I’ve ever seen so many scenes and gods/goddesses on a breastplate. There’s so much fit into a tiny section of this statue, and yet it’s the most important part of it (and cupid riding the dolphin). It’s truly amazing and I love the symbolism.

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Identification
*Arch of Constantine

*Commissioned by Constantine

*c. 312-315 AD

Stylistic Period
*Late Empire Period

Formal Qualities
*HUGE!

*Artwork from other Roman monuments and works have been placed upon the arch (Trajan, Hadrian, Aurelius, Constantine) (old works were recarved to have the face of Constantine) as well as new works carved into it

*Angel processions (victory), prisoners (defeated), families, hunters (providers), sacrifice to the gods, respect to the older emperors, freestanding statues of prisoners (foreign people)

Iconography
*Arches were dedicated to retired generals to celebrate their victories, usually over another country

*”An expression of a point of turmoil in [Roman]” history coming to an end in unity

*A unified Rome through Constantine

*Celebration, pride

Social-Historical Influences
*Send a message of victory and the strength of Rome

*Constantine won the throne over other romans who fought for power

What makes it special?
*One of very few arches that still stand today

*The major figures in the art are in frontal and are also bigger than the others

*The art returned to a kind of middle-class style

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Identification
*Equestrian Sculpture of Marcus Aurelius

*c.176-180 CE?

Stylistic Period
*High Empire Period

Formal Qualities
*Bronze, red stone

*Left arm lightly holding reins, right hand raised to address troops or other citizens of Rome, straight back, gazing out towards his people

*The folds in his clothing

*Huge!

*The horse is animated and lifelike, naturalistic

*A sense of balance between the horse in motion and the raised hand/moving body of the emperor

*Unity b/w the horse and man – full control

Iconography
*Thought to have been Emperor Marcus Aurelius on horseback looking noble

*Created to celebrate the triumphal return of an emperor

*Shows his authority and confidence

*Shows how accomplished the romans were in their handling of material, as their process has been lost

Social-Historical Influences
*Placed in Campidoglio by Michelangelo (but no one knows where in Rome it originated from)

*Shows the emperor’s authority

What makes it special?
*It’s the only horseback statue to survive from antiquity

*Someone thought it was Constantine, so it wasn’t melted down due to the things he did for Rome

*Influenced Da Vinci and Donatello

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Identification
*The Pantheon

*Commissioned by Emperor Hadrian (the Philosopher Emperor)

*c.118-125 AD

Stylistic Period
*High Empire Period

Formal Qualities
*Empty Pediment (has many holes in it though from previous users) *Unarticulated columns spaced wide apart, marble bases, flourishing capitals (originally Corinthian), single pieces of stone (monoliths)

*Greek-looking front with a circular/barrel back (w/a dome with cement walls)

*Originally had bronze fittings

*Was once raised (you had to step up onto the porch, now it stands at ground level)

*Geometric shapes (circle, square, rectangle)

*Barrel dome is huge, could fit a perfect sphere inside

*Originally contained sculptures of gods and deified emperors

*Colored marble inside the drum

Iconography
*Emperor Hadrian loved the Pantheon and loved to have guests visit him there

*The different marbles come from around the Roman empire, again showing Hadrian’s power

*Earthly sphere meeting the heavenly sphere

*The oculus allows sunlight, in a perfect circle, to move about the dome during the day, showing heaven’s presence/movements

Social-Historical Influences
*Originally a temple to the gods, then sanctified and turned into a church, now a tourist attractions

*The columns were imported from Egypt, showing Rome’s power over most of the Mediterranean

What makes it special?
*Because the dome is so big, there’s a sense of freedom inside it. (Freedom of movement, etc.)

*pan = all, the(ós) = god

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Identification
*Forum of Trajan

*Apollodorus of Damascus

*c.112 AD

Stylistic Period
*High Empire Period

Formal Qualities
*Ceremonial entry way

*Huge (as big as all other forums combined)

*Relief carvings (Column of Trajan)

*Simple columns with bases

*Marble steppingstones

*Supposed to be a temple, but Trajan died before building it

Iconography
*Sculptures of Trajan followed by the goddess of Victory

*Column of Trajan (the only part of the forum that is almost completely intact) with many relief carvings (military exploits and victory) (125 ft. tall)

*Nature bent to man’s will (pillar)

*Ceremonial

Social-Historical Influence
*Administrative, commercial, social, political structure

*Emperor Trajan had it built

What makes it special?
*It had two libraries, one for Greek literature and one for Roman literature

*There were statues of the Dacians (Trajan’s foes) in the forum and they weren’t animalized or anything like that. They were shown respect when carved, to show how formidable of foes they were.

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Recreation of  St. John the Evangelist, from the Gospel Book of Abbot Wedricus. ca. 1147

Subject: Kyo Sohma (Fruits Basket)

Medium: Pen and colored pencil

6 December 2021

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One of my favorite periods of history and art are the Egyptian Dynasties. There is so much rich culture and storytelling to be found within the many centuries in this period, it's hard to choose just one. So I'm going to cheat a little and do a group: The Pyramids and Sphinx of Giza. I absolutely adore these artifacts and find so much history and culture within their stone walls. I believe both the pyramids and the sphinx are a testament to what human beings can do when they 1. put their minds to something and 2. don't hold back or allow others to hold them back. These pharaohs said they wanted great tombs and a guardian built, and so it was done. The tombs guard the remains of the pharaohs and testify of their greatness while the sphinx guards the king's tombs and the rest of Egypt. I feel like society is held back by criticism, money, and angry or jealous minds, and that is why we can't do even more amazing things with the technology we have. The Egyptians didn't have chainsaws, dynamite, or forklifts to help them build these monuments, they had to make due with the materials and tools they had. But where they differ from the modern world is they new they had no limits. The Pharaohs demanded the best and they made sure to get it. To sum it up, to me, these four amazing structures represent the determination and honest creativity of the human race. They inspire me to shut down my insecurities and concerns and let my mind become limitless, helping me to better understand, hone, and enact my craft (telling stories through words). I will forever love and be grateful for the Egyptians and the incredible monuments and art they left behind.

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Nave of Saint-Étienne, Caen, France. Vaulted ca. 1115–20

*Ribbed groin vaults
*Shorter columns/arches
- Two layers of arches
- Grouped columns (cluster, compound)

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Plan of abbey church of Saint-Étienne, Caen, France. Begun 1068

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Romanesque Art, Art Outside France
St. Etienne
Caen, France (façade, plan, nave)

*Stepping into gothic

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Nave (looking east), Durham cathedral

*Columns have designs on them (diamonds, etc.)

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Romanesque Art, Art Outside France
Plan of Durham cathedral
England
1093–1130 (after Conant)

*Sits on a hill-fortress
*Groin vault ceilings
*windows on clerestory
*Cross shape (taking back to Christian art?)
*Buttresses outside

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Romanesque Art, Art Outside France
Bayeux Tapestry
Bayeux, France
ca. 1066–83

*Bayeux is part of a section of France that was settled by Norseman (Vikings) (Normandy)
*Embroidery
*230 ft. long
*Movement - unnatural poses
*Bright colors
*Many animals - (war) horses, (hunting) dogs, birds
*Tells the story of Edward being overthrown by William the Conquerer
*Thought to be commissioned in England by Otto, William the Conquerer's brother

*Designed by one person (the Master Designer) but probably crafted by multiple women (women classically did embroidery)

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Romanesque Art, Art Outside France
Speyer cathedral
ca. 103-61; vaulted ca. 1080-1106

*Long nave and aisles
*Tall arches/columns
*Wooden roof - lighter top so the clerestory would light the room/building
- Later the wooden roof was taken out and replaced with groin vaults - Pressure channeled into the corners of each section (springing) then held in the columns and piers
+ Would lead to ribbed groin vaults

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Romanesque Art, Art Outside France
Baptistery of San Giovanni
Florence, Italy.
Ca. 1060-1150

*Roman arches
*Eight sides - rebirth
*St. Giovani - John the Baptist

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Interior, Pisa cathedral

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Romanesque Art, Art Outside France
Baptistery, cathedral, and campanile (view from the west)
Pisa, Italy
1053–1272

*3 buildings: baptistry, cathedral, bell tower (Campanile)
- Campanile (Bell Tower): The Leaning Tower of Pisa
+2000's ground was stabilized so it would no longer move
*Cathedral covered in Roman Arches (narrow and tall)
- Interior: look's like a Roman building; long nave, wooden roof
*Order: you had to get baptized before you could enter the Cathedral (seat of a bishop), so it was convenient that they were close together; Bell Tower - called church goers to church

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Romanesque Art, Painting
Mouth of Hell, from the Winchester Psalter
Winchester, England
ca. 1150

*Inscription: "Here is Hell and the Angel who locks the door."
*Kings, queens, monsters, monks inside the mouth - anyone can end up in hell, no one is exempt
*Scaring people further - motivate them to come to church and be righteous
*Interlacing around border

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Romanesque Art, Painting
St. John the Evangelist, from the Gospel Book of Abbot Wedricus
ca. 1147

*In a book
*Symbols of his life
- Eagle
- Baptism
- Abbot Wedricus holding the inkwell for John to write
- God giving John the Holy Ghost for revelation and guidance
*Stylized clothes, abstracted, gold background (gold work?; gold brighter than the rest of the colors (not shown here)), bold blue, red, and gold colors
*Border - interlacing