Advanced Placement Art History
The Advanced Placement Art History class is offered as an introductory college-level elective
course. The discipline's content material is presented in a chronological format with an emphasis
on the Western tradition of art and architecture. Students will additionally analyze the formal,
cultural and contextual aspects of art forms in a variety of cultures outside the European manner.
The primary objectives for students in the Advanced Placement Art History course are as
follows:
I.
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Culture and Context in Art
ability to recognize the historical and cultural context of works of art
explore the lives of artists, impact of their patrons and the creative process
ability to understand and recognize the aesthetic differences between European and nonEuropean art
• identify the major themes in the history of visual art, i.e., sacred image, the narrative, power
and authority, etc.
II. Formal Aspects of Art
• ability to analyze the formal elements of art works, i.e., color, movement, texture, line
• understanding and employing artistic vocabulary
• knowledge of different artistic media and techniques; impact on subject
• ability to recognize art period styles and their particular iconography/symbols
• ability to write analytical and comparative essays in art
Daily lecture presentations include slide and/or powerpoint images. Students are required to:
1. complete investigative short answer/short essay homework assignments for
each chapter
2. Extra credit: art and architecture 4 x 6 flash cards for chapter review purposes
(images provided)
3. Curve packet: traditional chapter homework questions
3. End of course "main lesson book"; a notebook of all their course lecture notes and
content handouts for course review.
Course evaluations will also include periodic reading/lecture quizzes as well as chapter objective
and essay exams.
1
Primary Text:
Kleiner, Fred G. and Christine J. Mamiya,
Gardner's Art through the Ages, 12th ed.,
Thompson/Wadsworth, 2005
AP Art History Syllabus: First Semester
First Quarter/9 Weeks
Unit 1:
Introduction to Art History/Pre-Historic Art
(Week 1)
1. Learning a visual language
2. Aesthetics, purposes, styles, themes
3. Vocabulary of art
4. Video: How Art Made the World, BBC
Chapter 1: The Birth of Art
Concepts/Objectives: Gain understanding of the themes of spiritual power
and stylistic changes that accompanied the transition from the Paleolithic
to the Neolithic periods in art.
1. Reading: pp. 15-28 (Gardner's)
2. Main Lesson Book: Be sure to keep all lecture notes/handouts
organized in 3 ring-binder
Images:
Europe/Paleolithic:
1-4 Nude Woman (Venus of Willendorf), 28,000 BCE; women in
prehistoric art
1-8 Bison, fragment (sculpture), 12,000 BCE
1-10 Spotted Horses & negative hand imprints; cave paintings,
France, 22,000 BCE (signs and hands)
1-11 Hall of Bulls, Lascaux (mural painting), 15,000 BCE
• twisted perspective: frontal view + profile view); more
descriptive than optical…
1-13 Rhinoceros, wounded man (narrative art)
Ancient Near East (Turkey, Israel, Iraq) /Neolithic:
1-14 Great Stone Tower, Jericho (architecture), 8,000 BCE
1-16 Catal Huyuk, Turkey (town construct), 6,000 BCE
• composite view: descriptive view; head: profile/torso:
frontal
1-18 Landscape with volcanic eruption, Catal Huyuk, Turkey, 6150 BCE
(true ‘landscape’: a picture of a natural setting in its own right
without any narrative content)
2
Europe/Neolithic:
1-19 Stonehenge, Wiltshire, England, 3550 BCE
• megaliths: great stones
• cromlech/henge: huge stones in a circle
lintel: “beam” to span opening
Unit 2:
Chapter 2: Ancient Near East
(Week 2)
Concepts/Objectives: Gain understanding of close relationship among
political, religious, and artistic trends in the art and architecture of the
Ancient Near East (Sumer, Akkad, Babylonia, Assyria; ziggurats
and the votive figure).
1. Reading: pp. 31-52
2. Chapter 2 HW; short answer questions
Images:
Sumerian Art:
2-1/2-2 White Temple, mud brick, Iraq, 3200 BCE (city planning)
• ziggurat: high platform for a temple
• cuneiforms: Ancient Mesopotamian wedge-shaped writing;
early business transactions
• cella: central hall of temple
2-4 Warka Vase, Iraq, 3200 BCE (religion)
• registers/friezes: ground line or band for figures
• conceptual figures: “real” most descriptive viewpoint
2-5 Votive figure statuettes, Tell Asmar, Iraq, 2700 BCE (religion)
2-7 Stele of the Vultures, Syria, limestone, 2600 BCE (narrative art; war)
• stele: upright stone
2-8 Standard of Ur, Royal Cemetery, Iraq, 2600 BCE, historical narrative (war
and peace)
2-9/10 Bull-headed lyre, Royal Cemetery, Iraq, 2600 BCE
2-11 Cylinder Seal, Royal Cemetery, Iraq, 2600 BCE
Akkadian/Neo-Sumerian/Babylonian:
2-13 Victory Stele of Naram Sin, Iran, 2254 BCE (royal power)
2-15 Seated statue of Gudea, Iraq, diorite, 2100 BCE (royal power)
2-16 Stele of law code, Hammurabi, Iran, 1780 BCE (royal power)
Assyrian Art:
2-20 Citadel of Sargon II, 720 BCE
• citadel: fortified palace
2-21 Lamassu, limestone, citadel of Sargon II (guardian figure)
2-22 Assyrian archers pursuing enemies, 875 BCE (narrative relief)
2-23 Ashurnasirpal II with attendants, palace, Iraq, 875 BCE (painting)
2-24 Ashurnasirpal II hunting lions, Iraq, 645 BCE (royal deeds)
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Neo-Babylonian
2-25 Ishtar Gate, Babylon, Iraq, 575 BCE
Early Persian Empire
2-26 Persepolis – royal audience hall, 521 BCE
- fortified complex: citadel
2-27 Processional frieze – royal audience hall, 521 BCE
2-28 Palace of Shapur I, Iraq, 250 CE
2-29 Head of Sasanian King, 350 CE, silver
2-30 Triumph of Shapur I over Valerian, rock-cut relief, Iran 260 CE
Unit 3:
Chapter 3: Egyptian Art
(Week 2/3)
Concepts/Objectives: Architecture as authority (temples, tombs);
traditional Egyptian style v. Amarna style; importance of afterlife beliefs;
close relationship between Egyptian art and religion; understanding of
basic artistic divisions from Pre-Dynastic to New Kingdom periods
1. Reading: pp. 55-82
2. Chapter 3 HW; short answer questions
3. Organize test review teams; cooperative learning groups
4. Handout: "Tips for Responding to Free-Response Questions"
6. Objective Test; Chapters 2 and 3
Images:
The Predynastic and Early Dynastic Periods:
3-1
wall painting, Tomb 100, 3500 BCE
- heraldic composition: composition that is symmetrical on either side
of a central figure; Mesopotamia?
3-2
Palette of King Narmer, slate, 3000 BCE
- hieroglyphic writing: pictograms
- hierarchy of scale: artistic convention in which greater size indicates
greater importance
3-4
Stepped Pyramid & mortuary precinct, stone, Saqqara, Egypt, 2630 BCE
- Imhotep: architect to pharaoh
- necropolis: city of the dead
- 3-6/3-7 use of columns (‘engaged’ or attached at Saqqara): capitals:
bundles of reeds, bell, bud; shafts: papyrus stalks
- mastaba: early tomb construction
Old Kingdom:
3-8
Great Pyramids, Gizeh or Giza, 2490 BCE
- stone cut in ‘courses’ or ashlar masonry: shaped to fit in rows of stones
- funerary complex: pharaoh’s burial chamber; mortuary temple;
covered causeway or corridor; valley temple
- complex not only king’s tomb and temple but his palace in the afterlife
3-11 Great Sphinx (with Pyramid of Khafre), sandstone, Gizeh, 2520 BCE
4
- sphinx: a lion with human head
Khafre, diorite, Gizeh, seated image, 2520
- ka: Egyptian term for human soul/spirit
- kilt
- royal false beard, linen headdress (nemes) with cobra of kingship on
front
- artistic convention for pharaoh; flawless body, perfect face regardless
of age; generalized representations not portraits
- idea of ideal proportions for representing majesty; godlike
- bilaterally symmetrical; figure is frontal, rigid, no movement
- subtractive method of sculpting results in block-like appearance
3-13 Menkaure & Khamerernebty, greywacke, standing double portrait Gizeh,
2490 BCE
- formalized; left foot forward; fists with thumbs frontal
- queen in traditional marital pose
3-14/3-15 Seated scribe & Ka-Aper, mastaba, painted limestone and wood
Saqqara, 2450 BCE
- example of Egyptian “realism”; lack of ideal proportions
3-16 Ti watching a hippopotamus hunt, relief, Saqqara, 2450 BCE
- continuing conventions of Egyptian figure art; conceptual rather than
optical viewpoint (right angles to the line of vision); *interest in
changelessness…..
- Ti’s figure contrasts with realistic rendering of activities of servants,
birds, animals, etc.
- Ti is “observer” of life not involved in this activity
3-12
Middle Kingdom:
3-18 Senusret III, fragment, red quartzite, 1860 BCE
- unusual realistic portrait….troubled age?
3-19 Rock-cut tombs, Beni Hasan, 1950 BCE
- fluted columns; non-supporting structures
New Kingdom:
3-20
Mortuary temple of Hatshepsut, Deir el Bahri, 1473 BCE
- temples built to honor pharaohs and gods; near Thebes; place for
worshiping their patron gods during their life & temple in their honor
when they die; Senmut, royal architect?
- 3 colonnaded terraces constructed by ramps; long horizontal lines with
vertical supports; good play of light and dark repeat the pattern of the
cliffs above
- pillars: rectangular/flat supports; terraces were decorated with plants;
some walls have relief painted images (Land of Punt?) Subjects:
Hatsheput’s coronation and divine birth; she was “daughter of AmenRe”….first great tribute to a woman’s achievement in the history of
art…defaced after death
5
3-23/3-24 Temple of Ramses II, Abu Simbel, four colossal figures on temple
façade, 1290 BCE
- moved 700 ft. to protect, 1968
- last great warrior pharaoh; rock-cut statues; lack of refinement due to
overwhelming size
- atlantid: male statue-column
- caryatid: female statue-column
3-26
Hypostyle hall, temple of Amen-Re, pylon temples (gateway has
sloping sides), Karnak, 1290 BCE
- hypostyle hall: hall where many columns are support structure for
roof; roof is stone slabs carried on columns lintels (66’ ft tall; capitals
22’ in diameter); central row of columns higher creating a
‘clerestory’*; no cement in construction; bud or bell shaped capitals
- clerestory: wall elevation where light is permitted to enter
- capitals: top of column
- pylon temple: simple massive gateways or pylons with sloping walls
3-28
Temple of Horus, Edfu, 237 BCE
- sunken relief: deep outlines around figures; preserves the contours of
the column; message-bearing surfaces!
3-29
Senmut with Princess Nefrua, (surprising abstraction) 1470 BCE
- block statue covered with inscriptions
3-30
Fowling scene, tomb of Nebamun, 1400 BCE
- fresco secco on tomb wall; recreation in the eternal afterlife
3-31
Musicians and dancers, detail of fresco secco, 1400 BCE
- banquet would have been repeated annually; commune with the dead;
two figures composite view; two frontal; informal!?
Akhenaton and the Amarna Period
3-32 Akhenaton, freestanding statue, 1353 BCE
- new naturalism or rejection of traditional image in pharaoh’s form;
new religion/monotheism; revolutionary and short-lived
3-34 Tiye, wood with gold, 1353 BCE
3-35 Akhenaton, Nefertiti and 3 daughters, ‘royal intimacy’, 1353 BCE
- sunken relief; sun god Aton shines down
Tomb of Tutankhamen and the Post-Amarna Period
3-36/3-37 Innermost coffin and death mask of Tutankhamen, 1323 BCE
3-38
Painted chest; example of hierarchy of scale: important figure larger
3-39
Last judgment of Hu-Nefer, painted papyrus scroll,1290 BCE
- Book of the Dead: collection of spells and prayers
- final judgment of the deceased; left: Anubis god of embalming leads
Hu-Nefer into hall of judgment; weights heart against feather of Maat,
protectress of truth and right; Ammit awaits to devour the sinful;
Thoth records the proceedings; gods of Egypt watch above; Hu-Nefer
is successful brought by Horus to Osiris, Isis & Nephthys
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Unit 4:
Chapter 4: Aegean Art
(Week 4)
Concepts/Objectives: Identify the artistic styles of the Aegean cultures
(Cycladic, Minoan, Mycenaean); importance of archeology and ancient
literature of Homer and the Aegean; vitality of figure representation
1. Reading: pp. 85-102
2. Chapter 4 HW; short answer questions
Images:
The Art of the Prehistoric Aegean/Cycladic Art
4-1 Figurine of a woman, marble, 2500 BCE
4-2 Male lyre player, marble, 2700 BCE
Minoan Art/Crete
4-3/4-4 Palace at Knossos, Crete, 1700 BCE; labyrinth
4-7
Bull-leaping, Palace at Knossos, 1450 BCE, fresco
4-9
Spring Fresco, Thera, Greece, 1650 BCE
4-10 Kamares Ware jar, 1800 BCE
4-11 Marine Style octopus jar, 1500 BCE
4-12 Sarcophagus, 1450 BCE
4-13 Harvester Vase, steatite, 1500 BCE
4-14 Snake Goddess, Knossos, 1600 BCE
Mycenaean Art/Mainland
4-16/4-17 Tiryns, Greece, citadel, 1400 BCE
- corbelled vault: horizontal courses of stones cantilevered inward
until the two walls meet in a pointed arch; no mortar
4-19 Plan of the palace/part of citadel, Tiryns, 1400 BCE
- megaron: reception hall of the king
4-20 Lion Gate, Mycenae, Greece, 1300 BCE
- relieving triangle/stone: triangular shaped stone between corbelled
walls above lintel; relieves weight of stone on lintel
4-21/4-22 Treasury of Atreus, Mycenae and interior vault, 1300 BCE
- tholos tomb: shaped like a beehive/earthen mounds
- dromos: long approach passageway
4-23 Funerary mask, repousse, beaten gold, Mycenae, 1600 BCE
4-24 Inlaid dagger blade, Myceanae, 1600 BCE
4-26 Warrior Vase, Mycenae, 1200 BCE
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Unit 5:
8
Chapter 5: Greek Art
(Weeks 4-6)
Concepts/Objectives: Classical as an art period and attitude toward
life; Greek mythology, conventions of the human form; orders of
architecture; vases and painting; gain understanding of the major
chronological divisions of Greek history (Archaic, Classical, Hellenism)
and examples of art; recognize artistic influence of Egypt, Aegean,
and Mesopotamian traditions; vocabulary
1. Reading: pp. 105-164
2. Chapter 5 HW; short answer questions
4. Test Review teams
5. Objective/Essay Test, Chapters 4 and 5/Images cards due
Images:
The Geometric and Orientalizing (Near East) Periods:
5-1 Geometric krater, black figure, funerary purpose, Dipylon cemetery, 740
BCE
- krater: mixing bowl
- meander: Greek key pattern
- amphora: storage jar
5-2 Hero and centaur, bronze, 750 BCE
- centaur: ½ man and ½ horse
5-3 Mantiklos Apollo, statuette, bronze, 700 BCE
- kouros: youth
5-5/5-6 Plan for Temple A and lintel, Prinias, Greece, 625 BCE
- first stone temple, Mycenaean megaron?
The Archaic Period (600 BCE – 480 BCE)
Statues:
5-8 Kouros, marble, 600 BCE, funerary purpose (votive images later);
Archaic “smile” (alive); nudity, canonical Egyptian figure format
5-9 Calf-Bearer, marble, 560 BCE
5-10 Kroisos, marble, 530 BCE; interest in motion,
- encaustic: type of painting…pigment with hot wax
5-11 Peplos Kore, marble, 530 BCE
- kore: young female
Architecture and Architectural Sculpture:
Vocabulary:
- agora: city marketplace
- stoa: covered colonnades
- polis: city
Terms of temple Plan:
- naos/cella: the temple core; a room with no windows
- pronaos: porch
- peristyle: rows of columns around temple on 4 sides
- peripteral: single colonnade
- dipteral: double row of columns
Terms of Architectural Elevation:
- entablature: superstructure of a temple (elements above column
capitals; architrave, frieze, cornice (raking)
- Greek orders: Doric and Ionic
- stylobate: part of platform where columns rest
- shaft: part of column marked by vertical channels (flutes)
- capital: decorative top of column
- base: element in Ionic order column
- volutes: decorative top of Ionic order column
- abacus: upper element of column; flat, square block
- metopes: part of Doric architecture; open area for decoration
- triglyphs: part of Doric architecture; vertical elements
- pediment: triangular area formed by cornice for decorative elements
5-13/14 Temple of Hera I, marble Doric temple, Italy, 550 BCE
5-15 West pediment, Temple of Artemis, 9’ ht., 600 BCE
5-16/17 Gigantomachy frieze, 2’ ht., Siphnian Treasury, Greece, 530 BCE
- gigantomachy: Greek Gods v. Giants (popular theme of reason and
order over chaos
- centauromachy: Greeks v. centaurs
- amazonomachy: Greeks v. Amazons
Vase Painting:
5-18 Francois Vase, krater, black figure, Italy; registers/frieze of figures
5-19 Achilles & Ajax playing a game of dice, amphora, black figure, Italy;
single large frame for figures!
5-20 Achilles & Ajax playing a game of dice, amphora, black & red figure sides!
Italy, 525 BCE
5-21 Hercules wrestling Antaois, red figure, krater, figures start to occupy 3-D
space, 510 BCE, Italy
5-22 Three Revelers, red figure, amphora, Italy, 2’ ht., 510 BCE; 3-qtr. view;
- foreshortening: figure/object recedes in visual space
5-23 Girl preparing to bathe, red figure, kylix, Italy, 490 BCE
- tondo: circular picture image
Transition to Classical Period:
5-24-5-28 Temple of Aphaia, Doric, Greece, 500 BCE
- more compact design than Temple of Hera I
- 45 x 95 ft; 6 Doric columns on the façade; 12 on the sides
- columns are more widely spaced and more slender
- double row of columns down center of cella
- pediments have life-size statues; Theme: battle of Greeks and Trojans
with Athena at the center; hierarchy of scale used; unified theme and
consistent size!
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Early and High Classical Periods: (480-400 BCE)
5-30/31/32 East Pediment & metope, Temple of Zeus, Olympia, Greece, marble,
Pediment: 87’ht; metope: 5’ ht; 470 BCE; Severe Style
5-33 Kritios Boy, Acropolis, Athens, Greece, 480BCE, 2’ 10”
- contrapposto: weight shift stance; separates Archaic Period from
Classical Period
5-34 Riace Warrior, Riace, Italy, bronze, 6’6” ht., 460 BCE
- cire perdue: lost-wax method of bronze casting
5-37 Diskobolos (Discus Thrower), Myron, Roman marble copy after bronze
original, 5’ ht, 450 BCE
5-38 Doryphoros (Spear Bearer), Polykleitos, “The Canon”, Roman marble
copy after bronze original, Italy, 450 BCE; use of chiastic or cross
balance!
Athenian Acropolis*
5-40 – 5-48 Parthenon, Acropolis, Athens, Doric Temple, Pericles, 447-438 BCE,
Ikintos and Kallikrates (architects); Phidias (sculptor)
- harmonious numerical ratios; symmetria: x = 2y + 1
- temple’s short sides: 8 columns
- temples long sides: 17 (17 = 2 X 8) + 1
- stylobate’s ratio of length to width: 9:4 (9 = [2 X 4] + 1 (cella has
similar ratio
- deviations:
- stylobate and façade curves upward at the center on both sides creating
a kind of shallow dome (carried all the way up to entablature)
- peristyle columns lean slightly inward; corners have a diagonal
inclination are 2” thicker (would meet 1. 5 miles in the air!)
Architectural Contrapposto!
- mixing of Doric and Ionic elements
- 92 Doric metopes with relief sculpture
- 524’ Ionic interior frieze with figures
- Athena Statue/Cella:
- gold and ivory statue; 38’ ht. (size dictated width of cella, etc.)
- Lapith v. centaur metope:
- high relief
- East Pediment of Parthenon:
- Subject: Birth of Athena on Mt. Olympus, marble figures
- Panathenaic Festival:
- interior frieze; good use of low and high relief; festival every 4 years
in Athens to honor Goddess
5-49 Propylaia, Acropolis, Athens, Doric style, 437 BCE
- entrance to Acropolis complex
5-50-52 Erechtheoin, Acropolis, Athens, shrine, 421 BCE
- asymmetrical plan!
- caryatids: females statues as weight-bearing columns
10
5-53/54 Temple of Athena Nike, Acropolis, Athens, Ionic style, 427 BCE
- amphiprostyle: four columns on both east and west facades
- frieze: representation of the decisive battle at Marathon v. Persians
- parapet: (low protective wall along roof) image of Nike (Victory)
adjusting her sandal, marble, 410 BCE
Painting:
5-56 Achilles Painter, Warrior taking leave of his wife, white ground, lekythos
(flask for performed oil), Greece, 440 BCE
5-59 Youth diving, painted ceiling of Tomb of the Diver, Italy, 480 BCE
Late Classical Period: (400-323 BCE)
Sculpture:
5-60 Praxiteles, Aphrodite of Knidos, Roman marble copy, 350 BCE
- goddess of love completely nude, hydria: water pitcher
5-62 Praxiteles, Hermes and the infant Dionysus, Temple of Hera, Olympia,
marble copy, 7’ht., 340 BCE
5-63 Skopas, Head of Herakles, marble, west pediment, Temple of Athena Alea,
340 BCE; psychological tension!
5-64 Grave stele of a young hunter, Athens, 340 BCE; pathos!
5-65 Lysippos, Apoxyomenos (Scraper), Roman marble copy, 330 BCE
- new more slender figure; smaller head than Polykleitos
5-66 Lysippos, Weary Herakles, Roman copy, 10’ ht. colossal!
Alexander the Great & Macedonian Court Art:
5-67 Head of Alexander the Great, marble, 200 BCE
5-69 Battle of Issus, Roman copy, tessera mosaic after Greek painting, late 2nd c.
Architecture:
5-70 Polykleitos the younger, Theater, Greece, 350 BCE
5-71/72 Tholos, Delphi, Greece, 375 BCE
- circular shrine; use of Corinthian capitals
Hellenistic Period: (323-31 BCE)
Architecture:
5-74 Temple of Apollo, Turkey, 313 BCE
- temple construction lasted over 500 years…never completed
- dipteral plan; 10 Ionic columns and 65’ ht. on façade
- sides: 21 columns (consistent with Classical formula 21 = (2 X 10) + 1
- no pediment; no roof; open to the sky!
- cella elevated by 5’; could not be entered; must have been a ‘stage’
- central courtyard with a small shrine; sacred spring and laurel trees
- lateral entrances; 50’ wide stairway leading to oracular room
- complex spatial plan sharp departure from Classical Greek arch. where
exterior was work of sculpture and the interior relatively undeveloped
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5-77 Stoa of Attalos II, Agora, Athens, 150 BCE
- covered colonnades which housed shops, offices; two story structure;
Doric columns on ground level (deviations); Ionic columns on second
story; mixing of architectural elements popular during Hellenistic
Period
Pergamon (2nd c BCE)
Empire was much of western and southern Asia Minor (eventually becomes part
of the Roman Empire; very wealthy community; royal palace, an arsenal and
barracks, a library and theater; an agora (open square) and sacred precincts of
Athena and Zeus
5-78 Altar of Zeus, Pergamon, Turkey, 2nd BCE
- altar on elevated platform framed by an Ionic stoa-like colonnade with
projecting wings on either side of a broad staircase
- frieze on platform! 400’; 100 over life-size figures
- subject: battle of the Gods; led by Zeus v. giants; best representation of
gigantomachy…defeating the Gauls!
5-79 Athena battling Alkyoneos, Altar of Zeus, Pergamon, Turkey, 175 BCE
- similar subject on Parthenon
- Athena being crowned by Nike; goddess pulls giant’s hair
- lots of violent movement (new!); swirling draperies; subject of death
and suffering; figures writhing with pain
- Enormous difference from Archaic Period friezes!
5-80 Gallic chieftain killing himself and his wife, Roman copy, 3rd c BCE, 6’11”
- previously completed statue group in agora of Pergamon
- artist takes care with features of Gaul chieftain
- noble response to defeat?
- twisting figure; facial expression; limp figure of wife; emotional
intensity of suicide…very theatrical!
5-81 Dying Gaul, Roman marble copy, Pergamon, 3rd c BCE
- trumpeter collapses on his large oval shield/trumpet
- blood from gash; pained expression…dying warrior of Temple of
Aphaia?...more suffering/pathos/drama
- exaggerated masculature as with earlier Hellenistic figures
Sculpture
5-82 Nike of Samothrace, Greece, 190 BCE; marble 8’
- alighted on the prow of a ship
- missing right arm may have been raised to crown victor
- wet sculpting technique; sense of wind!
12
-
placed above a fountain; sound of water! Art and nature combined in
one remarkable sculpture…Hellenistic Baroque! Serious rejection of
Polykleitan concept of the ideally proportioned, self-contained statue
** Hellenistic statues interact with their environment and appear as
living, breathing, and intensely emotive human (or gods) presences
5-83 Aphrodite (Venus de Milo), Greece, 150 BCE
- nude female statues become the norm
- exploration of eroticism….yikes
- large-than-life-size; more modestly draped than Aphrodite of Knidos
(#5-60)…but!
- left arm held apple from Paris…awarded as the most beautiful
goddess; right arm tried to hold up drapery…
5-84 Aphrodite, Eros and Pan, Greece, 100 BCE, marble group
- goddess rejects the semi-goat Pan
- notice slipper!; she son, Eros, pulls on horns…but they is everyone
smiling?.... a parody?
- nothing like the solemn depictions of the gods from Classical times
5-85 Sleeping satyr, Rome, 3rd c BCE, marble 7’
- Greece interest in the world of the unconscious….
5-86 Seated boxer, Rome, 100 BCE, marble 4’
- traditional subject of athlete…however, a older, perhaps beaten figure
- may have been part of a group
- notice hands…powerful; beaten face, ears, nose…no young athlete
(Riace warrior?)
- appeals to emotions NOT intellect; an example of the realistic interest
during the Hellenistic Period
5-87 Old Market Woman, 150 BCE, marble 4’
- AGE! Apparently several sculpted showing age and struggle
- Interest in Social Realism…Hellenistic world now more
cosmopolitan…growing number of foreigners
5-88 Demosthenes, Roman marble copy, 280 BCE , 6’ 7”
- interest in essence of human personalities in likeness
- great orator; had been in Athenian agora 42 years after his death;
sadness at demise of democracy because of Macedonian imperialism;
drank poison
- sculptor did not portray the supremely confident leader with beautiful
physique like Classical age (Pericles bust..)
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5-89 Laocoon and his sons, Rome, early 1st c. CE, marble 7’10”
- Greece became a Roman province in 146 BCE; while Athens
remained a culture center of learning…never regained its political
power; Roman had many statues copied and commissioned new ones a
la greque for homes
- famous group of Trojan priest Laocoon and his sons; unearthed at the
time of Michelangelo
- son on left added (not part of original group)
- serpents sent by Greek gods to punish priest for warning the Trojans
about the danger of the wooden horse within their walls
- plenty of writhing in pain as they struggle to free themselves; does
recall the suffering of the giants on the Altar of Zeus…may have been
inspiration for this work.
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Unit 6:
Chapter 9: Etruscan Art
(Week 7)
Concepts/Objectives: Gain understanding of unique individuality of
culture; influence of Greek and Asia Minor cultures; use of bronze and terracotta
materials; funerary art; temple design
1. Reading: pp. 233-244
2. Chapter 6 HW; short answer questions
Early Etruscan Art
- 9-2 Model of a typical Etruscan temple, 6th c. BCE (as described by
Vitruvius); resembles Greek stone gable-roofed temple with wooden
columns and roof; walls of sun-dried brick; entrance by narrow
staircase at the center front of temple; high podium (made of stone);
columns only on porch; columns resembled Greek Doric style,
unfluted with a base; temples usually had three cellas; narrative
statuary on the roof!
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9-3 Apollo, 6th c. BCE roof-top statue; lively depiction; motion; fanlike musculature; animated face; typical to Etruscan images
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9-4 Sarcophagus with reclining couple, 6th c. BCE, life-size terracotta
statuary; probably cast in 4 sections; monumental in size; contained
ashes (no parallel in Greece at the same time); husband and wife
together is uniquely Etruscan; gesturing figures on banqueting couch;
constructed for elaborate tomb
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9-5-9/7 Image of tumulus tomb (mound); 6th c. BCE, multichambered
tombs cut out of local limestone called tufa; many colossal in size;
intended for extended families; tombs laid out in organized network of
streets (necropolis); resembled the houses of the living; carved beds,
armchairs, tools, etc.
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9-8 Leopards, banqueters and musicians in Tomb of the Leopards,
Italy, 5th c. BCE; heraldic composition (similar to Medusa image from
Temple of Artemis); men and women banqueting together under a
checkered canopy; joyful tone
Later Etruscan Art
- 9-10 Capitoline Wolf, bronze, 6th/early 5th c. BCE, Rome, hollow-cast
of legendary she-wolf who nursed Romulus (founder of Rome on
Palatine Hill) and Remus after they were abandoned; image became
symbol of the new Roman government (although work was produced
by Etruscan workshop!); more fierce image of animal than previously
seen in the animal reliefs of Assyria; powerful and muscular (baby
images added during Renaissance
- 9-11 Chimera of Arezzo, 4th c. BCE, bronze, subject of Greek
invention; lion’s head and body and a serpent’s tail; second head of a
goat from the animal’s left side; tight musculature; open mouth;
fierceness! According to myth involved with Greek hero,
Bellerophon, whose image may have accompanied this work
Etruscan Art and the Rise of Rome
- 9-12 Ficoroni Cista, bronze, 4th c BCE, item for a tomb; engraved
with myth of Golden Fleece; probably utilitarian for women’s toilet
(brushes, etc.); composition may have been based on lost panel
painting (placement of figures in ¾ view and figures on several levels
may be Greek in origin)
- 9-13 Porta Marzia (Gate of Mars), Italy, 2nd c. BCE, upper part of gate
preserved in wall; archway is formed by a series of trapezoidal stone
vouissors (wedged-shaped block used in the construction of a true
arch) held in place by being pressed together; will be used later for
arcuated (arch-shaped) gateways and freestanding “triumphal” arches;
use of pilasters would indicated Greek inspiration
- 9-14 Sarcophagus of Lars Pulena, tufa, Italy, 2nd c. BCE, depictions
indicate a pessimistic view of the future unlike earlier banqueting
couple; relief frieze on side of sarcophagus of underworld; reclining
image of deceased with a scroll of deeds; somber expression; generic
portrait image would indicate poor economic times in later Etruscan
city-states
- 9-15 Aule Metele (Arringatore), Italy, early 1st c BCE, bronze, image
of a confident magistrate or orator; life-size; parents names on the hem
of his garment; short toga and sandals of Rome; close-cropped hair
and signs of age resemble portrait work done in Rome…the orator is
Etruscan in name only!
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Unit 7:
Chapter 10: Roman Art
(Weeks 8-9)
Concepts/Objectives: Political propaganda (art in service of the state);
new building materials/techniques and Roman engineering; compare and
contrast the Roman ideal of architecture and sculpture with the Greeks;
frescoes and early attempts at perspective; Republic to Late Empire
styles
1. Reading: pp. 247-298
2. HW Chapter 7; short answer questions
3. Writing Assignment: Ara Pacis
5. Objective/Essay Test, Chapters 6 & 7; Images
cards due
Republic
The Etruscan basis of Roman art and architecture was never forgotten, and the
statues and buildings of the Roman Republic are highly eclectic—drawing
on both Greek and Etruscan traditions. The mix is distinctly Roman.
Vocabulary:
- barrel vault/tunnel vault: an extension of a simple arch
- groin vault/cross vault: formed by the intersection at right angles of
two barrel vaults of equal size (needs less buttressing/lateral support)
- revetment: facing with many times marble
- piers: large support structures for vault (square in shape)
- clerestory: open area at the top of supporting wall
- fenestrated: openings or windows
- hemispherical domes: ½ circular in shape usually sit on a concrete
cylindrical drum
- oculus: circular opening at the top of vault or dome
Architecture:
10-2 Temple of Fortuna Virilis, Rome 75 BCE; high podium; pseudoperipteral
(engaged columns on sides and back of cella); freestanding columns on deep
porch; flight of stairs on front
10-3 Temple of Vesta, Tivoli, 1st c. BCE; axial arrangement Greek-type tholos
(round temple structure); high podium; narrow stairway leading to cella door; use
of new material: concrete!
10-4 Reconstruction drawing of Sanctuary of Fortuna Primigenia, 2nd c. BCE;
innovation use of concrete; spread over several terraces leading up hillside; tholos
at top; reflects Hellenistic design; means of construction definitely Roman;
concrete barrel vaults to support terraces; symbol of Roman power—subjection of
nature to human will and rational order—didn’t just “crown a hill” but
“transformed a hill” itself into architecture
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Sculpture:
10-5 Funerary relief with portraits of the Gessii, 30 BCE, marble; artwork
commissioned by freedmen and freewomen; living and dead shown together;
element of Roman art that declares that death does not break bonds formed in life
10-6 Relief with funerary procession, 2nd half of 1st c BCE, limestone; similar to
Greek Geometric vase in style and depiction; man props himself up! (similar to
Etruscan sarcophagi (9-4); little regard for rules of classical art (unusual for
wealthy client!)… stylistic tastes were often tied to a person’s political and social
rank.
10-7 Head of Roman patrician, marble, 75-50 BCE; prominent Roman citizen
portrait; literal reproduction of facial features; veristic or super-realistic
depiction; statement of personality? Serious, experienced, determined, loyal to
family and state—virtues that were much admired during the Republic period.
10-9 Denarius (penny comes from this word!) with portrait of Julius Caesar, 44
BCE, silver; first incidence of a Roman placing his own likeness on a coin—
shortly before his assassination. Coin features his likeness and new title “dictator
perpetuus” dictator for life. Image is veristic; idea to mold public opinion
throughout empire—real and fictional accomplishments
Pompeii and the Cities of Vesuvius
Cities buried in 79 BCE; uncovered during 18th c.
Architecture: forum or public square was the center of public life; temple,
basilica or civic building; amphitheater (resembled two Greek theatres
combined) and velarium or awning to shield spectators during sporting events;
barrel vaults formed a giant retaining wall that held up seats and mound
10-13 Atrium of the House of the Vettii, 2nd c. BCE; wealthy homes; included
atrium or opening in the roof—center of home for rainwater and air; homes
organized around the atrium center
Painting: 10-14-10-18 Interior painting styles in homes
- 1st Style or Masonry Style; walls painted stucco walls to imitate stone
or marble panels; was used during Hellenistic period in Greece!
- 2nd Style Illusion; Roman original idea; dissolve a room’s walls into
an imaginary 3D world; purely pictorial effort;
- Dionysiac mystery frieze; may have been used for religious rites that
were popular with women in Italy at this time; illustrates mortals
interacting with mythological figures; figures placed on painted
panels; used shallow ledge for figures across room! Nothing like it in
Ancient Greece;
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-
-
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Detail of Tholos, Boscoreale: mature 2nd style; created a 3D setting
outside of walls; views or vistas of Italian towns, temples—painted
doors and gates—seems to demonstrated an understanding of linear
perspective—favorite tool of 2nd style painters although incorrectly
used.
Gardenscape, Villa of Livia: to suggest recession or space artist used
atmospheric perspective or indicated depth by blurring outlines of
objects in the distance
3rd Style: artist decorated walls with delicate linear architectural
elements (colonettes) which supported tiny canopies (similar to a
pediment). Included floating painted landscapes on a dark
background—no 3D world here.
4th Style: taste for illusion returns—can be a combination of all 3 or
the earlier styles; multicolored marble panels (which have been
painted); large white panels with delicate floral frames and floating
central motifs; some architectural vistas; some cityscape elements like
2nd style.
10-22 Neptune andAmphitrite, wall mosaic, 62 BCE; tesserae or small pieces of
stone or glass; mythological subject; sea god and his wife preside over
running water of a fountain outside of house; earlier ancient times used
mosaics mostly on floors; this extends use—will see during Medieval age
on ceilings
10-23 Portrait of a husband and wife, fresco; in keeping with Roman tradition of
or portraits of ancestors; book, pen indicate education (often used even
if people were illiterate!); would be placed in special clothing; realistic
heads on generic body types—role playing in portraiture was common.
10-24 Still life with peaches, fresco, 62 BCE; part of a 4th style painting; peaches
and a carafe; illusionistic effects of light; shadows and highlights; almost
accidental arrangement like on a cupboard (nothing else like this until 17th
c. Dutch style); ancient seemed to understand function of light!
Early Empire
Historians agree the passage from the old Roman Republic to the new Empire
occurred on the day the Senate conferred the title of Augustus (27 BCE -14 CE)
on Octavian (Caesar’s grandnephew); empire was governmentally the same
except that Augustus was recognized as princeps (first citizen) and occupied all
key positions; ie., imperator (commander in chief; root word: emperor), pontifex
maximus (chief priest of the state religion)—these offices gave Augustus control
of all aspects of Roman public life.
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Augustus brought peace and prosperity to a war-weary Mediterranean world—
known as Pax Augusta or Pax Romana—it lasted approximately 200 years.
Many huge public works were commissioned, ie., roads, bridges, forums, temples,
basilicas, theaters, amphitheaters, market halls and bathing complexes across the
Empire. Portraits and arches which would proclaim the great accomplishments of
the emperors. Purpose: not to provide an objective record but to mold public
opinion. Effective use of art and architecture for propaganda.
Augustus and the Julio-Claudians (27 BCE – 68 CE)
Rule by Roman elders came to an end; Augustus only 32 years old—artists were
called upon to depict a youthful head of state—Caesar had made him a god!
Image should be god-like; a superior being; ageless. No verism here!
10-25 Portrait of Augustus as general, Primaporta, early 1st c CE, copy of a
bronze, marble 6’ 8”; based closely on Doryphoros (overall shape, tight cap of
hair); emperor addresses his troops; right arm extended like Aule Metele (9-15);
cuirass: advertise an important military victory—return of Roman military
standard from Parthians; cupid (Venus his ancestor’s son) proclaims his divinity;
very much a political message.
10-27 – 10-29 Ara Pacis Augustae (Altar of Augustan Peace), 13-9 BCE; figural
reliefs and acanthus tendrils adorn the marble precinct walls; four
panels depict mythological subjects including Aeneas, the son of
Venus and one of Augustus’ forebearers, making a sacrifice,
Aeneid by Vergil, glorifying young emperor, written at this time;
all part of political ideology;
- Tellus panel: depicts a seated mother with two babies on her lap; while
her identify is unclear it is thought to be a Mother Earth image who
represents the ‘fruits of Pax Augustus’ or great bounty of the empire,
animals live peacefully side by side (probably an analogy for different
peoples living peacefully together under Augustus); personifications of
breezes are shown beside her, one on a bird the other on a sea
creature—meaning: earth, sky and water all elements of a picture of
peace and fertility in the Augustan world
- Procession of Imperial Family: imperial family and dignitaries appear
(similar to Panathenaic procession frieze of Parthenon yet actual
personages were shown on the Ara Pacis); this frieze represents a
specific event (inaugural ceremony) not just an which occurred
every four years; families and children highlighted to support
government laws designed to promote marriage, fidelity and raising
children—Augustus concerned with decline in the birthrate among the
nobility! Again political and social agendas being highlighted.
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*Vitruvius and his treatise, The Ten Books of Architecture, (Renaissance
architects will use this work as their ‘bible’) preferred the classicizing
architectural style, like 10-30 Maison Carree, over newer Roman vaulted concrete
technology. (PS: Thomas Jefferson was another admirer of classical
architecture!)
10-31 Pont-du-Gard, France, 16 BCE; great aqueduct-bridge to carry water from
mountain sources to city on the Tiber River; 100 gallons a day—from 30
miles away; continual decline to carry water; series of arches; harmonious
proportional relationship between larger and smaller arches—sense of the
aesthetic and the practical.
10-32 Porta Maggiore; gate to connect two water lines; use of rusticated (rough)
masonry; combined smooth and rough surfaces for more interesting façade
10-33 Nero’s Domus Aurea (Golden House), Severus and Celer, 64 CE, octagonal
hall with dome that rises from 8-sided to a hemispheric form with an
oculus (supported by 8 angled piers); other smaller rectangular rooms
radiate out from this hall—all covered with concrete vaults—may be first
time architects thought of the walls and vaults not as limiting space but as
shaping it; space between the great piers is so large that rooms adjoining
look like extensions of the central hall; complex series of spatial units of
different shapes and sizes with a variety of vaults—no post and lintel here!
The Flavians (69-93 CE)
Nero’s suicide brought Julio-Claudian line to an end; after a brief civil war;
Vespasian (Flavius), and sons, Titus and Domitian ruled for about 25 years.
10-34 Colosseum (Flavian Amphitheatre), Rome, 70 CE, largest arena for
gladiatorial combats and other events from confiscated Nero property (got name
from huge statue of Nero!); seated 50,000; opening ceremony included mock
naval battle; good use of concrete; 160 ft. high; 76 entrances to seats; façade: 4
bands with large arched opening on first 3; Greek orders frame the arched
openings; Doric, Ionic, Corinthian; uppermost band: Corinthian pilasters
with brackets for wood poles for velarium; use of engaged column and a lintel
framing the openings is a variation from the Etruscan Porta Marzia (9-13);
Will be revived during the Renaissance—practice of framing an arch with an
engaged Greek order had no structural purpose—but it added variety to the
surface—a kind of net of horizontals and verticals.
10-35 Vespasian, marble, 75 CE, renewed vertistic tradition!
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10-37
Arch of Titus, 81 CE; Domitian erected arch in his brother’s honor;
triumphal arch; freestanding arch usually crowned with gilded bronze statutes
commemorated individual’s greatest accomplishments—typical of early arch with
only one passageway; engaged columns; composite type capitals; spandrels (the
area between the arch’s curve and the framing columns and entablature) reveal
personified Victories (Nike!). Dedication: arch set up to the god Titus—Roman
emperors were usually proclaimed gods at their death—unless they were
“damned” by the Senate! Then the statues of the ‘damnatio memoriae’ were
torn down and their names erased! Look out Nero!
10-38
Spoils of Jerusalem, relief panel from Arch of Titus, 81CE, marble; inside the
passageway an image depicting the conquest of Judaea at the end of the
Jewish Wars in 70 CE. In this relief Roman soldiers are carrying the spoils—
including the sacred 7-branched candelabrum (menorah) from the Temple
of Jerusalem. Convincing illusion of movement—from left background to
center foreground and disappears through arch in the right background. Style
of marching figures suggests speed; artist rejected the classical style of the
Ara Pacis relief for extremely deep relief with strong shadows. Very high
relief of forward figures emphasizes different placements.
10-39
Triumph of Titus, relief panel from Arch of Titus, 81 CE, marble; opposite panel
on passageway shows Titus in his chariot; ‘Spoils’ panels authenticity gives
way here to allegory. Victory or a Nike figure rides with Titus and places a
wreath on his head. Below Victory is a bare-chested youth who is a
personification of Honor; female figure is personification of Valor leads
the horses. These figures create a celebration of imperial virtues or character.
The intermingling of mortal and immortal can be seen in Villa of Mysteries
frescoes (10-15); however this is the first on an official Roman historical
relief—would become a staple of Roman narrative relief sculpture on
monuments honoring living emperors! (Ara Pacis used separate framed panels).
High Empire
Under Trajan (98-117 CE) empire will grow to its greatest geographic extent and height of
itspower. Domitian demanded to be called dominus et dues or lord and god!—made Senate mad
and was assassinated in 96 CE. Trajan then came to power—Spanish and first non-Italian to
become emperor; took military out further and instituted more social programs. Very popular and
was granted Optimus (the Best)—an title he shared with Jupiter! Settlement in Africa…
10-41 Forum of Trajan, Rome, 112 CE (included Temple of Trajan, Column of Trajan, Libraries,
Basilica Ulpia, Forum and Equestrian Statue of Trajan); was twice the size of Augustan forum;
glorified his victories against the Dacians (Romania); forum paid for with spoils of these
conflicts; Apollodorus of Damascus was his chief military engineer—huge basilica not temple
dominated plan with colonnaded open square. Entered with gateway resembling a triumphal
arch; basilica had apses (semicircular recesses) on each short end; two aisles flanked the nave
(central area of the structure); entrances on the long sides; use of clerestory windows (raised
timbered-roofed nave above colonnaded aisles—will be used for early Christian churches).
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10-42 Column of Trajan, Forum of Trajan, Rome, 112 ce; colossal freestanding column with a
continuous spiral narrative frieze; 128 ft.; once topped with nude image of the emperor (now St.
Peter); square base: decorated with captured Dacian arms and armor, served as Trajan’s tomb;
625 ft. band (like an illustrated scroll) depicts two successful military campaigns against
Dacians; 150 episodes; 2,500 figures; band increases in width as it rises to top; low relief; was
painted; imagery similar to coins; not a reliable chronological account of Dacian Wars; emperor
appears many times; enemy NOT demeaned.
10-43/44 Markets of Trajan, housed shops and administration offices; transformation (like
Palestrina, 10-4) of a natural slope into a multileveled complex with the use of concrete; basic
unit: taberna (single-room shop) covered with a barrel vault; opened onto a hemispherical façade
winding around an enormous exedra (recessed semicircular area) onto paved street; lit by
skylights
10-46 Funerary relief of a circus official, Ostia, marble, 110 ce; (circus: chariot racing); relief
panel from official’s tomb; not a product of imperial workshop—illustrates the art commissioned
by Roman’s huge working class; distorted perspective and non-classical figural representations;
continuous narrative (figures shown more than once in a single frame); *this style of
representation will appear later in official art of Rome!
10-48/49/50 Pantheon, Hadrian, Rome, 118 ce; temple to all the Roman gods; most influential
design of architectural history; full potential of concrete as a building material and of shaping an
architectural space; approached from a columnar courtyard; façade: 8 Corinthian columns on
porch; immense concrete cylinder-shaped structure with a shallow dome (hemispherical) and
oculus; design based on intersection of 2 circles (interior like orb of the earth and dome as vault
of heavens!); several layers of concrete of varying composition used in drum; dome’s thickness
decreases as it nears the oculus; weight lessened with the use of coffers (sunken decorative
panels); coffers may have been gilded-bronze symbolizing the starring heavens; marble veneer
floors, walls, niches; *Roman architects were the first to conceive of architecture in terms of
units of space that could be shaped by the enclosures.—Pantheon’s interior is a single unified,
self-sufficient whole, uninterrupted by supporting solids.
10-51 Canopus and Serapeum, Hadrian’s Villa, Tivoli, Italy, 125 ce; design derives from
Egyptian architecture; grotto at the end of the pool is made of concrete and has a pumpkinshaped dome; typically Roman = Greek columns and marble copies of Greek statues lined the
pool—Corinthian colonnade at the curved end of pool would have been unknown in Greek
architecture; colonnade lacks superstructure but has arcuated (curved or arched) linels as
opposed to traditional Greek horizontal lintels = Simultaneous respect for Greek architecture and
willingness to break Greek design rules—so ROMAN of the High and Late Empire!
10-52 “Treasury” of Petra, Jordan, 2nd c. CE; elaborate tomb façade cut into sheer rock of
mountains; again classical architectural elements are used here in a purely ornamental fashion
and with a serious disregard for classical rules—130 ft. high; 2 stories; lower story = temple
façade but pediment only covers some of the columns; upper level = temple-within-a-temple set
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on top of the lower temple; façade and roof split in half to make room for a central tholos-like
cylinder—contrasting sharply with rectangles and triangles of the rest of the design. Visually
both deep projection and indentation—dynamic pattern of light and shade. (Like Pompeiian
painting style #2)
10-57/58 Apotheosis of Antoninus Pius and Faustina, and Decursio, Column of Antoninius Pius,
marble, 161 CE, Rome; two very different figural compositions; Apotheosis still grounded in
classical tradition with well-proportioned figures, personifications and a single ground line which
corresponds to the panel’s lower edge; Decursio relief breaks with classical conventions with
much stockier figures and “panel NOT conceived as a window”onto the world—ground is whole
surface and soldiers and horses alike are shown on floating patches of earth. THIS HAD NOT
appeared in official art before! It seems that after centuries of following classical traditions the
elite Roman patron and artist became dissatisfied with rules.
10-59 Equestrian Statue of Marcus Aurelius, bronze, 175 ce; another break with classical
traditions; emperor possess a superhuman quality and is much larger than any normal human
being in relation to the horse.—was misidentified during Middle Ages for first Christian emperor
Constantine. Image seems to express Roman emperor’s majesty and authority!
Late Empire
10-64 Painted portrait of Septimius Severus and family, tondo (circular format), wood/tempera,
200 ce; example of damnatio; Severus adopted son of Marcus Aurelius here shown with
hair/beard resembles a marble portrait!
10-66 Chariot procession of Septimius Severus, relief from Arch of Septimius Severus, Libya,
203 CE; frieze from the attic (top); Unlike triumph panel from Arch of Titus (10-39) this relief
gives no sense of rushing motion; rather stillness; emperor and sons are detached from the
procession and facing the viewer; figures in second row have no connection with the ground are
are elevated above the heads of those in first row; evidence of frontality and floating figures –
this non-classical trend and figure placement will appear in Christian art; *the emergence of a
new aesthetic is a by-product of a period of social, political, and economic upheaval. The Late
Antique style!!!!
10-71 Battle of Romans and barbarians, Ludovisi Battle Sarcophagus, marble 250 ce, Rome,
scene depicts battle between Romans and Goths; writhing figures spread evenly across the entire
relief with no illusion of space beneath them. Piling of figures if extreme rejection of classical
perspective (more than floating patches of earth!) – increasing dissatisfaction with classical style!
Central horseman stands out; no weapon, no helmet, open hand extended—assured of victory.
There could evidence of a new Eastern religion emblem on the forehead of the young
commander, Mithras, Persian god of light, truth and victory---interesting!
10-72 Sarcophagus of a philosopher, 270 ce, marble, Rome; compositions with a central frontal
figure and subordinate flanking figures will be quite common in Early Christian art—seated
philosopher holding a scroll….
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10-73 Temple of Venus, Lebanon, 3rd c CE; non-classical architecture!; following the “baroque”
tradition of the Treasury at Petra ignored almost every rule of classical design; circular domed
cella set behind a gabled columnar façade; structure varies from what was traditional concrete
architecture in Rome; platform is scalloped; columns are 5-sided Corinthian capitals with
pentagonal bases which support a matching entablature (which supports a shallow stone dome)—
concave forms and niches in the cella which play off the cella’s convex shape. Façade is even
non-traditional—arch within the triangular pediment!
10-74 Portraits of the four Tetrarchs, porphyry (purple marble), Venice, Italy, 305 CE;
Portrayed together (both on coins and in the round); artists did not try to capture their individual
appearances and personalities but sought instead to represent the nature of the tetrarchy itself—
four equal partners in power—each has lost his identity as an individual and been lost into the
larger idea of the tetrarchy. All tetrarchs are identically dressed; each grasps his sword in the left
hand and right arms embrace each other—large cubic heads and squat bodies; drapery is
schematic and bodies are shapeless—faces are expressionless masks—distinguished only by
beards—8 centuries after Greek archaic rigidity, again the human figure is conceived in iconic
terms. *Idealism, naturalism, individuality and personality now belonged to the past!
10-75 Model of the Palace of Diocletian, Split, Croatia, 305 CE; abdication Diocletian returns to
homeland and builds fortress-like palace—10 acres was laid out like a Roman castrum (military
encampment) with watchtowers; sense of security.—huge domed tomb was a type that would
become very popular in Early Christian times for mausoleums and churches especially in the
Byzantine East.
Constantine
Constantinian art is a mirror of this transition from the classical to the medieval world—would
be patron of the city’s first churches, St. Peter’s.
10-76/77 Arch of Constantine, Rome, 312 ce; after victory at the Milvian Bridge, erected a great
triple-passageway arch near Colosseum; largest erected in Rome in more than 100 years;
sculptural decoration taken from early monuments (Trajan, Hadrian and Marcus Aurelius);
columns also date to an earlier era. Sculptors refashioned the 2nd c. reliefs to honor Constantine
by recutting the heads of the earlier emperors with the features of the new ruler. Some new
reliefs were added. The reuse of statues and reliefs on the arch has been cited as evidence of
a decline in creativity and technical skill in the years leading to the end of the pagan
empire. However it ignores that the art was carefully selected for meaning.
In the Distribution of largess, detail of the north frieze, the emperor is shown with attendants
distributing largess to grateful citizens who approach him from right and left—Constantine is
frontal and majestic presence, elevated on a throne. Figures are squat in proportion like
tetrarchs; do not move with any classical principle of naturalistic movement but rather with
mechanical repeated stances and gestures of puppets. Relief is very shallow; all forms are not
fully modeled; details incised. Lack of individuality; frieze is not a narrative of action but rather
a picture of frozen figures. View is able to distinguish who is imperial donor, his attendants
(either side of emperor) and the recipients (smaller and below).
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*This pictorial approach to narrative which once was described as “decline in form” v. classical
traditions however it seems this depiction is in keeping with a new set of values. Now no
interest in window on the world! Perhaps better to remember this style if not better or worse
than classical style—just different like the coming iconic art of the Middle Ages.
10-78 Portrait of Constantine, Basilica Nova Rome, 315 ce; marble fragment of a colossal
enthroned statue; brick core with wooden torso covered with bronze; limbs were marble; seminude seated portrait on Roman image of Jupiter. The emperor held an orb (maybe with a cross),
the symbol of global power in his left hand! Nervous look of 3rd c. portraits is absent replaced by
a frontal mask with enormous eyes set into a broad, simple plan of the head; personality is lost in
this immense image of eternal authority. The eyes seem directed at no person or thing of this
world—all combine to produce a formula of overwhelming power appropriate to Constantine’s
exalted position as absolute ruler!
10-79 Basilica Nova, Rome, 306 ce; Constantine’s colossal image sat in the western apse of the
basilica much like the enthroned statues of Greco-Roman divinities loomed over any mortals
who entered the cellas of pagan images; huge structure with brick-faced concrete walls (20’
thick) supported coffered barrel vaults in the aisles—buttressed (supported) groin vaults of the
nave—115 ft. high. Walls and floors were marbled and stuccoed—groin vaults permitted light
(fenestration = lighting system like a clerestory of a traditional stone and timber basilica).
10-80/81 Aula Palatina (exterior/interior), Trier, Germany, 4th c CE; basilica-like audience hall
of traditional form and materials; very simple exterior will be very popular during medieval age;
flat, wooden, coffered ceiling; interior has no aisles; wide space with two stories of large
windows; narrow north end, main hall is divided from the semicircular apse with a ‘triumphal
arch’ element. May have been covered with marble veneer and mosaics…..
10-82 Coins of Constantine, 307 CE; one side of disk showing Christogram; monogram, made
up of chi (X), rho (P), and iota (I) = initial letters of Christ’s name in Greek (instead of gear of a
warrior); so Constantine is shown on one side as Roman emperor and as a soldier in the army of
the Lord—coin belongs to both the classical world and the medieval world.
Roman Empire is the bridge—in politics, the arts, and religion—between the ancient and the
medieval and modern Western world.
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SECOND QUARTER (9 WEEKS)
Unit 8:
Chapter 11: Early Christian Art
(Week 9)
Concepts/Objectives: Sacred space: catacombs and Roman basilica;
iconography and mosaics; figure as symbolic image; illuminated
manuscripts; Christ as good shepard
1. Reading: pp. 301-322
2. HW\Chapter 11; discussion questions
4. Image Cards
Chapter addresses the Jewish and Christian art produced under Roman rule. Late Antique
sculptures, paintings, mosaics, and buildings occupy a special place in our account of art through
the ages because they formed the foundation of the art and architecture of the Middle Ages.
Dura-Europos
The “Pompeii of the desert” has the remains of several different cult buildings and shrines;
worship places for the monotheistic religions of Judaism and Christianity (neither an approved
religion in the Roman state before the 4th c.)
11-1/11-2 Interior of the synagogue at Dura-Europos and Reconstruction of the Christian
community house at Dura-Europos; private houses; synagogue with frescoed walls; narratives
from scripture (no image of God); Christian community house; rooms for meeting; raised
platform for congregation leader; canopy-covered font for baptismal rites; communal dining hall
upstairs for the celebration of the Eucharist or communion
Sculpture
11-3 The Good Shepherd; painted ceiling, catacombs of Saints Peter and Marcellinus, Rom, 4th
c.; wheel-shaped design with large circular image of Christ as the Good Shepherd in the center;
arms of the cross terminate in 4 lunettes (semi-circular frames) with story of Jonah and the
monster/whale…subject could be prefiguration of Christ’s resurrection after his death.; motif of
Christ as shepherd could be traced to Archaic Greek art (5-9 Calf-Bearer)….only after
Christianity become official religion of Roman Empire does he appear with ‘imperial attributes’
(half, purple robes, and throne…)
11-4 Sarcophagus with philosopher, orant, and Old & New Testament scenes, marble, Rome, 3rd
c.; motif borrowed directly from contemporary pagan sarcophagi (10-72); some heads unfinished
because workshops often produced sarcophagi before knowing who would purchase them;
universal themes represented
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11-5 Sarcophagus of Junius Bassus, marble, Rome, 4th c.; inscription discusses date of baptismal
just before death (traditional practice); panel is divided into two registers with five niches in each
registers; niches framed by columns in the near eastern tradition; deceased does not appear on
sarcophagus; stories from the Old and New Testament fill niches; *interesting: below Christ’s
image is a personification of the sky god holding a billowing mantle (drape) over his head
indicating that Christ is ruler of the universe and Christ on horseback in niche below…classical
influence?
11-6 Christ seated, Italy, 4th c., marble, 2’; freestanding sculpture statuette; Apollo-like youth;
Roman tunic, toga, sandals; holds an unopened scroll in left hand; unusual at this time because of
2nd Commandment prohibiting ‘graven images’ in Christianity.
Architecture and Mosaics
Rome:
11-7 Diagrams of Old St. Peters, Rome,. 4th c., Constantine; built on spot where Constantine and
Pope Sylvester believed Peter was buried; held 3,000-4,000 worshipers; plan and elevation
similar to Roman basilicas and audience halls rather than a Greco-Roman temple; wide central
nave with flanking aisles and an apse at the end; proceeded by an open colonnaded courtyard
(like the forum) called an atrium; worshipers entered through a narthex or vestibule/foyer; apse
framed by a so-called triumphal arch dividing the nave from the transept or transverse aisle;
relics would be housed in the transept….standard element of church design in the West…later
become symbolic of the Christian cross.
11-8 Interior of Santa Sabina, Rome, 5th c.; no sculpture; brick walls on exterior; inside: frescoes
and mosaics; marble columns; chandeliers and gold and silver vessels on jeweled altar cloths for
use in the Mass; huge marble baldacchino or canopy over an altar suupored by 4 spiral columns
would have marked the spot of Saint Peter’s tomb in Old St. Peters; in Santa Sabina we see
Corinthian columns in the name and the nave receives light from a clerestory set of windows;
timber roof.
11-9/11-10/11-11 Interior, Floor Plan and vault mosaic of Santa Costanza, mausoleum, Rome,
4th c.; central-plan building (usually round or polygonal in the West); used generally for
structures adjacent to the main basilica, i.e., mausoleums, baptisteries and private chapels; for
Constantine’s daughter; plan could be traced back to the Mycenaean beehive tomb or Pantheon
(Diocletian’s mausolea at Split?); ambulatory or ring-like barrel-vaulted corridor; brick exterior
with mosaic on interior walls; at Santa Costanza some use of pagan subjects with Christian
interpretation; on vault portrait bust at the center of a vine motif; putti harvesting grapes and
producing wine….blood of Christ? Mosaics were important in Early Christian interior design to
instruct about church dogma, scriptural narrative and symbolism…to carry the message.
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11-12 Christ as Sol Invictus, vault mosaic, Mausoleum of the Julii, 3rd c.; early depiction of
Christ in guise of a familiar pagan deity, the Invincible Sun, driving the sun chariot thru the
heavens; shown as ruler of the universe as artist borrows symbols from pagan Roman art…more
imperial image than the Good Shepherd.
11-13 The parting of Lot and Abraham, nave mosaic, Rome, 5th c.; Old Testament theme; new
‘shorthand’ technique of “head clusters” to represent a group (from antiquity); simple gestures
from figures now have complex meaning (hand enlarged)…drama indicated only by bodies and
hands. This simplified motion is characteristic of Late Antiquity narrative art. Heritage of
classical art is still apparent in background architecture, massive figures what cast shadows.
Ravenna
11-15 Christ as the Good Shepherd, mosaic, Mausoleum of Galla Placidia, 425 CE; image of
Christ as Good Shepherd in a lunette above the entrance; regal image who sits among his flock
with halo and robed in gold and purple; loose and informal arrangement of sheep with a
landscape that extends into background beneath a blue sky; forms have shadows and bulk; full
Greco-Roman illusionistic devices.
11-16/11-17 Sant’ Apollinare Nuovo; Emperor Theodoric’s palace-church, 504 ce; a threeaisled basilica with relics of Saint Apollinaris; interior nave walls include scenes from Old
Testament and Christ’s life; miracle of loaves and fishes illustrates the style change that was now
occurring; lack of details of narrative/emphasis on power of miracle; story told with fewest
number of figures possible; figures are on foreground as if in a shallow box with a golden screen
behind them; some Roman illusion in figures which still cast shadows and retain some volume;
however, drapery seems to be just a series of narrow lines; faces turned toward viewer with a
simple gesture.
Luxury Arts
11-19 Rebecca and Eliezer at the well, folio (page) from Vienna Genesis, early 6th c. tempera,
gold on purpose vellum; painted manuscript containing biblical scenes; two scenes from same
story illustrated (continuous narration); some Roman illusion in architecture (Nahor) and
personification figure of a “spring”; Rebecca bracing herself on the edge of the well; “everything
necessary for a bare narrative is present and nothing else”.
11-20 Christ before Pilate, folio, Rossano Gospels, early 6th c.; New Testament illustrations;
silver on purple vellum; separate episodes of the same story appear in the same frame (but
without repeating figures); simple ground line separates the two levels; elevated Pilate resembles
art work from Late Antiquity where Roman emperors who shown seated; Christ shown bearded
(will remain the norm throughout Medieval art)
11-22 Woman sacrificing at an altar, panel of the Diptych of the Nicomachi and Symmachi,
ivory, 400 c.; endurance of pagan themes and patrons of the classical style; may commemorate a
marriage of two powerful Roman families; seems to restate faith in pagan gods; woman wears
ivy in her hair and seems to be celebrating the rites of Bacchus; graceful line of form and mood
of serenity reveals an interest in the classical tradition that idealized human beauty as its central
focus.
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Unit 9:
Chapter 12: Byzantine Art/Rome in the East
(Week 10)
Concepts/Objectives: 4 F's of Byzantine art (formal, flat, floating,
frontal); space and light in architecture; visual impact of mosaics;
power and authority: divine image of ruler; new architectural
techniques (pendentives); the icon and iconoclastic controversy;
image of Christ as Pantocrator
1. Reading: pp. 325-354
2. HW: Chapter 12; short answer questions
3. Image Cards
Early Byzantine Art/Golden Age of Justinian
Luxury Arts
12-1 Justinian as world conqueror (Barberini Ivory), 6th c.; emperor shown on horseback center
with a “barbarian” behind him; twisting figure of horse and rider recalls Roman equestrian
statues of emperors; personification of bountiful Earth below the horse; palm-bearing Victory;
also borrowed from pagan art: barbarians/animals in the bottom frieze carry the message of those
‘exotic’ locales which Justinian has conquered; uppermost panel reveals where Justinian receives
his power = youthful Christ with cross and blessing hand seeming to indicate approval of
Justinian’s rule
12-2 St. Michael the Archangel, leaf of a diptych, early 6th c.; evidence of persistence of
classical forms; inscription may indicate lost panel depicted Byzantine emperor who was
“receiving gifts” from the angel; flowing drapery; delicate wings, hair and facial type are
indications artist was working in the classical style; however the Byzantine artist had little
interest in the rules of naturalistic representation…angel too large for setting…does really stand
in the space provided….*a new artistic aesthetic seems to be emerging where the 3-D world is
rejected as well as fully modeled, firm figures whose feet are upon the ground…Michael seems
to float!
Architecture and Mosaics
12-3, 12-4, 12-5 Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Constantinople,
532 ce.; Bzyantium’s greatest building; in size rivals Pantheon, Baths of Caracalla and Basilica
of Constantine; great dome dominates the structure; huge buttresses; four minarets added later
(Ottoman conquest 1453); special mystical quality of light floods the interior; windows at base of
dome create a “halo” of light (40)…creates the illusion of the dome ‘hanging from a golden
chain from heaven’…vaulting covered with gilded tesserae…vast space shot through with light,
and a central dome that aeears to be supported by the light it admits…Light is the mystic
element—reflected off the mosaics. Important use of pendentives to place a dome on a square
base structure…transfers weight from dome to piers and not walls…enabled unobstructed space
and many windows. Architects were able to create a vertically oriented central-plan building and
a longitudinally oriented basilica into one structure. (buttressing, piers and half-domes was
necessary to achieve this structure)…used brick instead of concrete! While Roman in scale not in
organization of masses…
30
12-6, 12-7, 12-8, 12-9, 12-10, 12-11 San Vitale, 526 ce; Bishop Maximianus dedicated the
church in honor of St. Vitalis, martyred in the 2nd c.; patron: Julianus Argentarius (banker)
provided sum money to build structure; structure unlike other 6th c. churches; plain exterior
(brick and mortar); central plan; two concentric octagons (inner octagon domed covered); crossvaulted choir precedes apse interrupting the ambulatory and gives the plan some axial stability;
off-axis placement of the narthex; mosaics that decorate choir and apse are regarded as best of
early Byzantine art; present a unified composition with a theme of ‘holy ratification of
Justinian’s right to rule’; Christ with his orb/Second Coming in the apse vault; Justinian as
priest/king on side wall of apse and Theodora on opposite wall (both take part in the Eucharist;
figures represent excellent example of figural style (Four F’s!); elongated forms; gold sky to
represent divinity
12-12 Saint Apollinaris amid sheep, apse, Sant’ Apollinare en Classe, 533 ce.; artist does not try
to re-create a segment of the physical world, telling the story instead in terms of flat symbols,
lined up side by side; artist carefully avoided overlapping in an effort to omit all reference to the
3-D space of the material world and physical reality; shapes have lost volume and display linear
details…effect is a beautiful ‘pattern’ without illusionistic devices…the new Byzantine style
became the ideal vehicle for conveying the extremely complex symbolism of the Christian
dogma… images are hieratic…helpful for the illiterate.
Painting
12-15 Ascension of Christ, folio, Rabbula Gospels, 586 ce; figures set in a mosaic-like frame
(manuscript page may have been modeled after a mural painting or mosaic from a Byzantine
church)…early example of the coming prominence of the Theotokos (she was according to
Scripture not at Christ’s ascension); consequently, this page is not an illumination of the Gospels
but rather an independent illumination presenting one of the central tenets of Christian faith.
12-16 Virgin and Child between Sts. Theodore and George, icon, 6th/7th c., encaustic on wood;
icons, like manuscript illuminations, played an important role in private devotion (many lost in
the Iconoclasm of the 8th c.; destruction of religious images; iconoclasts [image destroyer] and
iconophiles [image lovers] ); foreground figures are strictly frontal and formal; background
details are few; forward plane of the picture dominates; space is squeezed out…perfect example
of Byzantine hieratic style; traces of Greco-roman illusionism (Virgin’s personalized features,
sideways glance and in the poses of the angel’s heads….saints however in the Byzantine manner.
Middle Byzantine
In the 9th c. destruction of images was condemned as a heresy and restoration of the images
began; the Macedonian dynasty bring to life art, literature and learning again; Macedonian
Renaissance
12-21, 12-22 Christ as Pantokrator, dome mosaic, Church of the Dormition, Greece, 1090 ce.;
Crucifixion, mosaic; Christ as ‘ruler of all’; judge of the world; gigantic icon; may serve to
connect the worshipper with the heaven through Christ; Pantokrator common theme throughout
the Byzantine world; beneath dome Christ on his cross; characteristic of the post-Iconoclastic
Middle Byzantine period…this crucifixion is a blend of the painterly, Hellenistic style; artist
using classicism’s simplicity, dignity and grace into a perfect synthesis with Byzantine piety and
pathos (grief); Virgin and St. John flank Christ; skull indicates Golgotha (place of skulls;
symmetry and closed space combine to produce an effect of motionless and unchanging aspect of
the deepest Christian mystery; Virgin and John point to the figure as if to a devotional object
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12-26 Christ enthroned with saints (Harbaville Triptych, 950 ce; ivory; many ivories produced
in the Middle Byzantine period; after Iconoclasm, the 3-part triptych replaced the earlier diptych
as the standard format; portable shrine with hinged wings that was used for private devotion
(luxury item!); they often replaced icons for use in personal prayer; four pairs of full-length
figures and two pairs of medallions depicting saints; St. John the Baptist and Theotokos appear
as intercessors (praying on behalf of the viewer to the enthroned Christ); 5 apostles shown
below; hieratic formality and solemnity give way a bit here to a softer, more fluid technique;
figures lack true contrapposto but the looser stances and ¾ views of many of the heads relieve
the hard austerity of the customary frontal pose…this more natural, classicizing spirit was part of
the stylistic current in the Middle Byzantine period! (Also present in manuscript illuminations
and mural painting)
Painting
12-27 Lamentation, wall painting, Macedonia, 12th c.; an image of passionate grief; artist
captured Christ’s followers in attitudes expressions, and gestures of quite human bereavement;
the present of some figures (while not correct according to Scripture) heightens the emotional
intensity for viewer…artist tries to make a very convincing emotionally charged realistic staging
of the Lamentation in a natural setting (blue sky!) with full modeled figures.
12-28 David composing the Psalms, folio, Paris Psalter, 950 ce.; example of classicizing style of
period; Greco-Roman past seen in depiction; setting appeared in Pompeian murals; allegorical
figures accompany image of David in this rocky landscape with a town in the background;
reclining male figure points to a Greek inscription that identifies him as presenting the mountain
of Bethlehem…allegorical figures do not appear in the Bible..they are the regular stuff of GrecoRoman painting! Perhaps the artist had seen a work from late antiquity? In such works,
Byzantine artists keep the classical style alive through the Middle Ages.
12-29 Virgin and Child (Vladimir Virgin), icon, late 11th, tempera on wood; stylistic abstraction;
characteristic traits of the Byzantine icon: the Virgin’s long, straight nose and small mouth; the
golden rays in the infant’s drapery; the decorative sweep of the unbroken contour that encloses
the two figures and the flat silhouette against the gold background….naturalism: depiction of
Mary pressing her cheek against her son’s in an intimate portrayal of Mother and Child as she
considers her son’s future sacrifice….this work is an example of Byzantium’s religious and
cultural mission to the Slavic world.
Late Byzantine Art
12-31 Anastasis, apse fresco, Church of Christ, Constantinople, 1310; theme: human mortality
and redemption by Christ and of the intercession of the Virgin; Christ trampling Santan and all
the locks and keys of his prison home, Hell; raises Adam and eve from their tombs; action and
graceful moving figures; figures seem to float in a spiritual space; no material mass or shadowcasting volume
12-33 Annunciation, icon, tempera and linen on wood, early 14th c.; Gabriel announces to Mary
she is with child; may have been intended to be carried in a religious procession (two-sided);
Virgin responds with a simple gesture conveying both astonishment and acceptance; these
gestures and attitudes are conventional as is the very simplified architectural props; inconsistent
perspective derived from classical past; 3-D forms set against a gold sky (sacred place)
12-34 Andrei Rublyev, Three Angels (Old Testament Trinity), tempera on wood, 1410 ce.; vivid
color; light linear play of the draperies sets off a tranquil scene
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Unit 10:
Chapter 13: In Praise of Allah; Islamic Art
(Week 11)
Concepts/Objectives: Islamic sacred site - Mosque; life and times
of Mohammed; Islamic decorative pattern style; sacred and
secular texts; the Koran
1. Reading: pp. 357-378
2. HW Chapter 13; short answer questions
5. Objective/Essay Test, Chapters 11, 12 and 13;
Image Cards Due
The religion of Islam (“submission to God”) arose among the peoples of the Arabian peninsula
early in the 7th c. By 8th c. Islamic faith had spread throughout the Middle East, Northern Africa
and into Spain/southern France (stopped by Charles Martel, grandfather of Charlemagne at
Poitiers, France). Muslim rulers remained in southern Spain until 1492 when expelled by
Ferdinand and Isabella….Muslims did finally capture Constantinople in 1453. Muhammad, the
prophet, native of Mecca; received his revelations around 610 ce.; moved his teachings to
Medina (the Hijra) and returned to Mecca in 630 to retake city. Preserved the Kaaba (“cube”
which Arabs had associated with the time of Abraham and Ishmael (had held pagan idols);
Muhammed died in Medina in 632 ce. Essential teachings include acceptance of and submission
to Allah’s will; need to live according to teachings of the Koran (received when the Archangel
Gabriel revealed himself to Muhammad); 5 obligations include profession of the faith in the one
God, Allah, worship 5 times a day facing Mecca, give alms to the poor, fast during Ramadan,
and once in a lifetime made a pilgrimmage to Mecca. Much in common with other monotheistic
faiths of Judaism and Christianity.
Early Islamic Art
Largely around the fertile crescent of ancient Mesopotamia
Architecture
13-1 Dome of the Rock, Jerusalem, 687 ce; structure on a platform known as the Noble
Enclosure on the traditional site of Adam’s burial, of Abraham’s attempted sacrifice of Isaac and
the Temple of Solomon the Roman’s destroyed in 70 ce.; the structure houses the rock Muslim
came to believe Muhammad ascended to Heaven; architects borrowed and transformed design
much like existing structures in the Middle East; domed octagon resembling San Vitale in
Ravenna; Constantine’s Great Rotunda of the Holy Sepulchre may have influenced design (as
well as Santa Costanza mausoleum); double-shelled wooden dome 75’ high, 60’ across; exterior:
tiling from the 16th c. has replaced original mosaics; contrasts greatly with Roman brick and
mortar.
13-3 Great Mosque, Damascus, Syria, 706 ce; owes much to the architecture of the GrecoRoman and Early Christian East; masonry blocks, columns and capitals salvaged from the
Roman and Early Christian structures on the land acquired for mosque; courtyard is bounded by
pier arcades like Roman aqueducts; minarets are modifications of the pre-existing Roman square
towers; main entrance used on façade a pediment and arches recalling classical and Byzantine
models; façade faces a courtyard like Roman forum temple (a plan maintained throughout the
long history of mosque architecture); unique blend of elements from other cultures and the new
Islamic elements of mihrab, mihrab dome, minbar and minaret.
33
13-7, 13-8 Great Mosque, Tunisia, 836 ce; the hypostyle mosque most closely reflects the
mosque’s supposed origin, Muhammad’s house in Medina; lateral entrances on the east and west
lead to an arcaded forecourt; large minaret on the north-south axis and two domes over the
hypostyle prayer hall (first dome over the entrance and second dome over the area that fronts the
mihrab set in the quibla wall); raised nave connects the domed spaces; 8 columned aisles flank
the nave on either side providing space for a large congregation.
13-9 Malwiya (‘snail’s shell’) minaret of the Great Mosque, Samarra, Iraq, 848 ce.; 165 ft. tall
(originally a bridge linked it a mosque); brick spiral ramp which increases in slope from bottom
to top; has been compared to ziggurats of ancient Mesopotamia (but really little resemblance);
this minaret did inspire some later European depictions of the biblical Tower of Babel…too tall
to have been used to call Muslims to prayer…it was visible from a considerable distance as an
“announcement of the present of Islam in the Tigris Valley.
13-10 Mausoleum of the Samanids, Uzbekistan, early 10th c.; an impressive domed brick
mausoleum; monumental tombs were virtually unknown in the early Islamic period; Muhammad
had been opposed to elaborate burials and instructed his followers to bury him in a simple
unmarked grave (eventually his resting place was enclosed with a domed structure); by 9th c.
caliphs were using dynastic mausoleums; baked brick, forms a cube with slightly sloping sides
capped with a dome; shaped the bricks to create a vivid and varied surfaced pattern; bricks form
engaged columns at the corners and a blind arcade (a series of arches in relief with blocked
openings) runs on all sides; “dome-on-cube” concept will have long future in Islamic funerary
architecture!
13-11, 13-12, 13-13 Great Mosque at Cordoba, Spain, 961 ce; Spanish Umayyad dynasty from
8th c. lasted almost 300 years; capital: Cordoba…exerted major influence on the civilization of
the Christian West; mosque begun in 784 was continuously enlarged through the 9th and 10th
centuries; became one of the largest mosques in the Islamic West; additions continued unity of
structure with arrangement of columns and arches; hypostyle prayer hall has 514 columns topped
by a unique system of double-tiered arches that carried a wooden roof; the two story system was
the builder’s response to the need to raise the roof to an acceptable height using short columns
that had been employed earlier in other structures; lower arches are horse-shoe shaped, a form
adapted from earlier Near Eastern architecture (or of Visigoth origin); these arches contribute to
the light and airy visual effect of the Cordoba mosque’s interior; elaborate maqsura (the area
reserved for the caliph and connected to his palace by a corridor in the qibla wall); good example
of Islamic experimentation with highly decorative multilobed arches; walls of marble and
mosaics with tesserae brought to Spain from Constantinople; dome: that covers area in front of
mihrab rests on an octagonal base of arcuated squinches and is crisscrossed by ribs that form an
intricate pattern set on two squares set at 45 degree angle to each other.
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Later Islamic Art
13-17 Muqarnas dome, Hall of the Two Sisters, Alhambra palace, Granada, Spain, 1354 ce.;
dome rests on an octagonal drum supported by squinches and pierced by 8 pairs of windows but
its structure is difficult to see because of the intricate carved stucco decoration; covered with
5,000 muqarnas—tier after tier of stalactite-like prismatic forms that seem aimed at denying the
stucture’s solidity; intended to catch and reflect sunlight as well as form beautiful abstract
patterns; meant to symbolize the dome of heaven; flickering light and shadows create the effect
of a starry night sky as the sun’s rays move from window to window; wall have inscriptions
which reinforce concept with “the heavenly spheres whose orbits revolve”.
13-18 Madrasa-mosque-mausoleum complex; Cairo, Egypt, 1356 ce.; madrasa (place of study in
Arabic); theological college but also a mosque, mausoleum, orphanage, hospital, bath and shops;
large central courtyard with a large fountain in the center and four iwans (rectangular vaulted
recesses); gigantic dome-on-a-cube form
Sinan the Great
13-20, 13-21, 13-22 Mosque of Selim II, Edirne, Turkey, 1568 ce.; central-plan mosque;
concept of domed unit that could be multiplied, enlarged or contracted as needed; created a
structure that made it possible to seethe mihrab from almost any spot in the mosque; massive
dome, set off by 4 minarets (each more than 200 ft…tallest ever); mosque preceded by a
rectangular court covering an area equal to that of the building; porticos formed by domed
squares surround the courtyard; height surpasses Hagia Sophia; ingenious organization of the
interior: mihrab is recessed into an apselike alcove deep enough to permit window illumination
from three sides, making the colored tile panels of its lower walls sparkle; plan of the main hall
is a fusion of an octagon with the dome-covered squre; octagon, formed by the 8 massive dome
supports, is pierced by the 4 half-dome-covered corners of the square; the fluid interpenetration
of several geometric volumes that represents the culminating solution to Sinan’s lifelong search
for a monumental unified interior space….Sinan’s forms are clear and legible, like mathematical
equations. Height, width, and masses are related to one another in a simple but effective ratio of
1:2…..his masterpiece.
13-25 Mihrab from the Madrasa Imami, Iran, 1354 ce.; perfect union of ornamental calligraphy
and arabesque design; pointed arch that frames the mihrab niche bears an inscription from the
Koran in Kufic (script used for the early Koran page #13-16); Muhaqqaq (another calligraphic
style) fills the mihrab’s outer rectangular frame; the mosaic tile ornament on the curving surface
of the niche and the area above the pointed arch are composed of lighter and looser networks of
geometric and abstract floral motifs
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Unit 11:
Chapter 16: Europe After The Fall of Rome
(Week 12)
Concepts/Objectives: Hiberno-Saxon animistic traditions; the illuminated
manuscript and new northern style; monastic life and migrating tribes;
portable art objects; interlacement patterns; Charlemagne and a classical
revival; church organization and square schematism/crossing square
1. Reading: pp. 421-444
2. Chapter 16 HW; short answer questions
3. Image Cards
The Art of the Warrior Lords
As Rome’s power neared an end in late antiquity, armed conflicts and competition for political
authority became commonplace among the non-Roman peoples of Europe—Huns, Vandals,
Franks, Goths….Art historians do not know the full range of art and architecture these nonRoman peoples produced. What has survived is mostly “status symbols”—weapons and items of
personal adornment.
16-1 looped fibula, France 6th c., silver gilt with filigree and inlaid garnets and other stones, 4”
long; most characteristic of the prestige adornments; a decorative pin used to fasten the garments
of men and women; almost whole surface covered with decorative patterns adjusted to shape;
often zoomorphic elements were integrated into this abstract decorative design that became
almost unrecognizable.
16-2 Purse cover, Sutton Hoo ship burial, England, 625 ce, gold, glass and enamel cloisonne
with garnets and emeralds, 7-1/2”; 4 symmetrical groups of figures; man between 2 beasts;
heraldic grouping; above 3 figure groups are geometric designs…interlace pattern; these
interlacements turn into writhing animal figures.; the use of metalcraft with the vocabulary of
interlace patterns and other motifs…the art of the early Middle Ages in the west.
16-3 Animal-head post, Viking ship, Norway, 825 ce; from ship burial; swirling lines which
express dynamic energy; a composition of image of a roaring beast with large eyes and carved,
controlled and contained pattern of tightly interwoven animals in a serpentine fashion….the
union of two fundamental motifs of the art of the warrior lords “animal form and interlace
pattern”.
16-4 Wooden portal of the stave church, Norway, 1050 ce; “staves” are wedge-shaped timbers
place vertically; elongated animal forms intertwine with plant stalks and tendrils in spiraling
rhythem…the effect of natural growth
Hiberno-Saxon Art
Christian monasteries in Ireland, Scotland and England became great centers of learning in the
6th c. The most distinctive art work from period if illuminated manuscripts of the Christian
Church…liturgical books were the primary vehicles in the effort to Christianize the British Isles.
36
Most of the books were housed in libraries and scriptoria of monasteries of major
churches…evidence of a brilliant artistic culture in the 7th and 8th c.
16-5 Man (symbol of St. Matthew); Book of Durrow, 660 ce; ink and tempera on parchment;
displays one of the most characteristic features of Insular or Hiberno Saxon book illumination:
full pages devoted neither to text nor to illustration but to pure embellishment or decoration; only
human parts shown by the monk are the frontal head and two profile feet; rest of the body is
enclosed within a checkerboard like cloak of yellow, red and green squares filled with intricate
abstract designs and outlined in dark brown or black; frame around figure resembles cloisonné
decoration…this page brings together the abstraction of early medieval personal adornment with
Early Christian pictorial imagery.
16-6 Cross and carpet page, Lindisfarne Gospels,698 ce; carpet pages resemble textiles or
carpets made up of decorative panels of abstract and zoomorphic forms; In the Cross page the
serpentine interlacement of fantastic animals devour each other, curling over and returning on
their writhing, elastic shapes. The rhythm of expanding and contracting forms produces a vivid
effect of motion and change…the zoomorphic forms intermingle with clusters and knots of line
and the whole design moves with energy. The artist adjusted shape and color to achieve a
smooth and perfectly even surface.
16-7 St. Matthew, Lindisfarne Gospels, 698 ce.; unlike the cross page of the same book artist
seems to be following the tradition o Mediterranean manuscript illumination; curtain sets the
scene indoors as in classical art; figure shown at an angle using classical idea of perspective.
Figure behind the curtain maybe Moses with closed books of the Old Testament (in contrast to
Matthew’s open book of the New Testament; artist seems uninterested in emphasis on volume,
shading and perspective but rather conceives of the figure in terms of line and color only;
drapery a series of sharp lines.
16-8 Chi-rho-iota page, Book of Kells, Scotland, late 8th c.; initials occupy nearly the entire
page; initial letters along with two words at lower right read: “ Now this is how the birth of
Christ came about”; artists transforms the holy words into an intricate abstract design that recalls
Celtic and Sanglo-Saxon metalwork….figures also used as decorative pattern.
16-9 High Cross of Muiredach, Ireland, 923 ce.; freestanding and unattached to any architecture;
the high cross has the monumentality of a structure…architecture and sculpture combined; an
inscription on the bottom of the west face of the shaft asks a prayer for a man named Muiredach;
concave arms are looped by four arcs that form a circle; arms expand into squared terminals;
circle intersecting the cross identifies the type as Celtic; later crosses use scenes from the life of
Christ rather than interlace pattern…Christ center as ‘risen’ and ‘judge of the world’.
Carolingian Art
16-11 Equestrian portrait of Charlemagne, France 9th c.; inspirations for statue may have been
Theodoric or ultimately Marcus Aurelius; unlike Roman original, emperor sits upright; quiet
dignity; Charlemagne on ‘parade’ wearing imperial robes rather than a general’s cloak; imperial
crown and globe symbol of world dominion…proclaiming Roman Empire’s power.
37
The Art of the Book
Charlemagne was an admirer of learning, the arts, and classical culture; high value on books,
both sacred and secular.
16-12 St. Matthew, Coronation Gospels, 800 ce.; full page illumination of St. Matthew at work;
illusionistic brushwork defines the drapery folds wrapped around the body; used color and light
and shade not line only to create shapes; used Roman elements like lectern, chair and toga;
background is based in classicism; framed filled with acanthus leaves on found on Roman
temples (capitals, friezes, etc.)
16-13 St. Matthew, Ebbo Gospels, France, 816 ce.; court schools and monasteries employed a
wide variety of styles from Late Antiquity; while it resembles the Coronation Gospels in pose
and brushwork, this artist replaced the classical calm and solidity with an energy that amounts to
frenzy (even landscape); this illustration is an example of a new Carolingian style type…a
merging of classical illusionism and Northern linear tradition.
16-15 Crucifixion, cover, Lindau Gospels, Switzerland, 870 ce.; Charlemagne commissioned
many works employing costly materials using gold and jewels; gold and gems not only to glorify
the Word of God but also to evoke the heavenly Jerusalem; youthful Christ on his cross
(repousse); four angels and personifications of the Moon and Sun above; crouching figures of
Mary and John.
Architecture
16-17 Palatine Chapel, Charlemagne, Aachen, Germany 792 ce; wanted to reestablish imperial
past so encouraged Roman building techniques; reinterpretation of earlier Roman Christian
sources; models: Rome and Ravenna; imported porphyry (purple marble) columns from
Ravenna; first vaulted structure of the Middle Ages in the West; Aachen plan is simpler than San
Vitale and he omitted San Vitale’s apse-like extensions reaching from the central octagon into
the ambulatory; structure has more geometric clarity/
16-18 Torhalle (gatehouse), Germany, 9th c.; inspired by Roman architecture; triumphal arch;
decorative treatment of the flat wall surfaces used colored inlays of cream and pink stone to
imitate a Roman method of facing concrete walls…columns support a decorative stringcourse
(raised horizontal molding or band) instead of a full entablature…no parallel in classical
architecture
16-19 Monastery of St. Gall, Switzerland, 819 ce.; monastery design and purpose was to separate
the monks from the laity or nonclergy who inhabited the community; included dormitory,
cloister, refectory, kitchen storage rooms, etc.,; church as laid out using a module (standard unit);
and parts or multiples of this module were employed throughout the plan; this systematic buildup o the plan from a prescribed module parallels the Carolingian invention of that most
convenient invention of dividing books into chapters and subchapters!
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16-20 Westwork of the abbey church, Corvey, Germany, 873 ce; Carolingian basilicas had
towers that were incorporated in the fabric of the west end of the building creating a unified
monumental façade.
* Adoption of the alternate-support system..heavy square piers alternate with columns, dividing
the nave into vertical units and eliminating the tunnel-like horizontal feel of Early Christian
basilicas. The division continued up to the gallery level, breaking the smooth rhythm of an allcolumn arcade…”verticalization” of the basilican nave.
16-22/16-23 St. Michael’s, Hildesheim, Germany, 1001 ce; Bishop Bernward was patron and
builder; had traveled to Rome; church as double-transcept plan, tower groupings and a westwork;
lateral entrances; not true orientation toward east! (similar to Basilica Ulpia of Trajan)… adopted
a modular approach; crossing square basic unit; piers alternate with columns as wall supports.
Sculpture
16-24 St. Michael’s of Hildesheim, bronze doors, 16’, 1015 ce; similar to Santa Sabina in Rome
(Early Christian church known for its wooden doors); episodes from Genesis and life of Christ;
Original Sin to Redemption; doors could be compared to medieval book covers; panel
compositions derives from manuscript illumination; expressive figures.
16-25 Column, St. Michael’s Hildesheim, bronze, 12’, 1015 ce; similar to Trajan’s Column but
band/episodes unfold in opposite direction; story of Jesus in 24 scenes…once again Roman art
an inspiration…both the bronze doors and column support the idea of Ottonian emperor’s claim
to the heirs of Charlemagne’s Holy Roman Empire.
16-26 Crucifix, Archbishop Gero, Cologne Cathedral, painted wood, 6’, 970 ce; Christ nailed to
a cross (back of the head held the Host); not the youthful Christ of Early Christian art; but a
suffering Christ bearded (Byzantine?); emotional power with blood streaking down his forehead;
agony of the Middle Ages.
The Art of the Book
16-27 Abbess Uta dictating her codex to the Virgin; Germany, 1025 ce; illustrates the important
role that women could play both in religious life and as patrons of the arts during the Early
Middle Ages; Uta brought Benedictine reforms to her convent; folio shows Mary with Christ
Child in a central medallion (labeled Virgin of Virgins); Uta shown presented the Virgin with
this book!...Uta’s head touches the Virgin’s medallion but does not penetrate it…suggesting a
relationship but separation between the divine and human spheres.
16-28 Annunciation to the Shepherds, Lectionary of Henry II, Germany, 1002 ce; framed page
reveals some classical tradition, including the rocky landscape setting with grazing animals
common in Early Christian art; golden background reveals knowledge of Byzantine book
illumination and mosaic decoration.; emotional impact of angel gesture to the shepherds; forceful
like God pointing in Hildesheim doors.
39
16-29 Otto III enthroned, folio, Gospel Book of Otto III, Germany, 997 ce; illuminator presents
the emperor enthroned, holding the scepter and cross-inscribed orb that represent his universal
authority, conforming to a Christian imperial iconographic tradition that went back to
Charlemagne…at his sides clergy and the barons showing support…could this be a clear political
link to the Justinian mosaic in San Vitale?
Unit 12:
Chapter 12: Romanesque Art
(Weeks 12-13)
Concepts/Objectives: New architectural vocabulary (tympanum,
historiated capitals, voussoirs, archivolts); Romanesque sculpture
style and ornament; Bayeaux Tapestry as historical document; Saint
Bernard and papal authority; pilgrimmage as social event
1. Reading: pp. 447-476
2. HW Chapter 12; short answer questions
Architecture
Although widespread use of stone vaults in 11th and 12th c churches inspired term “Romanesque”
the architecture of the period is highly varied and not always vaulted. Especially Italian churches
retained the wooden roofs of their Early Christian predecessors. However despite regional
differences, most churches of the period reveal a logic of design and construction. The increase
in church building is greatly due to the increase in pilgrimage traffic in Europe. Pilgrim were an
important source o funding for monasteries that possessed relics. *Pilgrimages were the primary
economic and artist motivation for the art and architecture of the Romanesque Period.
France
17-4/5 Saint-Sernin, Toulouse, France, 1070 ce; had galleries or tribunes over the inner aisle and
opening onto the nave for overflow crowds on special occasions. These tribunes or galleries
played an important role in buttressing the continuous semicircular cut-stone barrel vault; groin
vaults in the galleries as well as in the ground floor aisles absorbed the pressure exerted by the
barrel vault; geometric floor plan is reflected in the nave walls where the piers with attached
half-columns mark the corners of the bays (compound piers); here these engaged columns rise
from the bottom of the compound pier to the vault’s springing (the lowest stone of the arch) and
continues across the nave as transverse arches.
Germany
17-9 Speyer Cathedral, Germany, 1030 ce; example of groin vaults used over the nave…daring
the successful engineering experiment; alternate-support system used here all the way up to the
vault (most complex compound piers mark the corners of the groin vaults.
40
Italy
17-11 Interior of Sant’ Ambrogio, Milan, Italy, late 11th c.; retains atrium of Early Christian
period; nave and two sides aisles but no transepts; main vaults look like domes rising higher than
the transverse arches; building does not to height of French or German churches; proportions are
low and broad and remain close to those of Early Christian basilicas; Italian architects never
accepted the verticality found in northern architecture even during the Gothic Period.
Normany and England
17-13 Interior of Saint-Etienne, France, 1115 ce; some believe this abbey church is the
masterpiece of Norman Romanesque architecture; begun by William of Normany (The
Conqueror!) he was buried here in 1087; west façade design rooted in Carolingian an Ottonian
westworks; four large buttresses divide the façade into three bays that correspond to the nave and
aisles; towers also display a triple division and greater and greater piercing of their walls from
lower to upper levels; use of compound piers with simple engaged half-columns alternating with
piers with half-columns attached to pilasters; piers rise to the vault’s springing with branching
ribs which divide the large square-vault compartments into 6 sections making a sexpartite vault
(making room for an efficient clerestory).
17-15/16 Interior of Durham Cathedral, England, 1093 ce; conceived from the outset as a
vaulted structure; pattern of the ribs of the nave’s groin vaults is reflected in the design of the
arcade below; each 7-part nave vault covers two bays; large, simple pillars ornamented with
abstract designs alternate with compound piers that carry the transverse arches of the vault; floor
plan is typically English = long, slender proportions; it does not employ the modular scheme
with much interest…however more inventive with use of ribbed groin vaults placed over a 3story nave..some rib vaults were combined with slightly pointed arches before 1130…two key
elements that determined the structural evolution of Gothic architecture…notice as well the use
of simple quadrant arches (arches who curve extends from one quarter of a circle’s
circumference) are the ancestors of the Gothic ‘flying buttresses’ to solve stability issues on very
tall supporting walls.
Tuscany
17-17 Cathedral complex, Pisa, Italy, 12th c; cathedral large with nave and four aisles;
resembling basilica but with broad transepts, crossing dome, a façade with multiple arcaded
galleries (all of which describe it as typically Romanesque); beautiful marble incrustation (wall
decoration with bright colored panels); detached campanile.
Sculpture
Architecture Sculpture:
Stone sculpture with some notable exceptions such as great crosses of the British Isles had
almost disappeared from the art of western Europe during the early Middle Ages. The revival of
stone carving is one of the hallmarks of the Romanesque age.
41
17-20 Cloister of Saint-Pierre, Moissac, France, 1100 ce.; example of carved capitals; important
stop on pilgrimage route; expresses the idea of seclusion of the spiritual life; enclosed garden for
meditation (early look at “Paradise”); historiated capitals/piers (ornamented with figures), some
biblical some fantastic (animals from bestiaries)
17-21 Bernardus Gelduinus, Christ in Majesty, relief in the ambulatory of Saint-Sernin, 1096 ce;
Christ sits in a mandora, right hand raised in blessing; left hand resting on knee with Bible
inscribed with Pax vobis (peace be unto you); signs of the 4 Evangelists I the corners…may have
come from book cover…incised lines and design are characteristic of pre-Romanesque
metalwork.
17-22 Wiligelmo, creation and temptation of Adam and Eve, frieze, façade, Modena, Italy, 1110
ce; scenes from Genesis against an architectural backdrop similar to Late Roman and Early
Christian sarcophagi.
17-23/25/26 Tympanums, Second Coming, Saint-Pierre, Moissac, France, 1115 ce; Gislebertus,
Last Judgement, Saint-Lazare, Autun, France 1120 ce; Ascension of Christ and Mission of the
Apostles, narthex portal, La Madeleine, Vezelay, France, 1120 ce; figures are generally
elongated, overly thin, angular, expressive; jerky movement by some figures to show power of
God and emotion; zigzag and band-like lines of the drapery; bending back of the hands against
the body, wide cheekbones are common features of this medieval style. According to Bernard of
Clairvaux…one was to “read the marble”; the illiterate very frightening pictorial message in
Second Coming representations of Christ judging the world and vivid representations of Hell and
the Devil; at Vezelay, church as constructed to honor the great victory of the Third Crusade by
Richard the Lionhearted; depicting one of Christ’s commandments to his apostles to become the
witnesses of the truth of the Gospels throughout the world…rays of lights come from his hands
over the heads of the apostles (power of the Holy Spirit); apostles hold gospel books and receive
their spiritual assignments..the world’s heathen’s are depicted in lintel and 8 compartments
around the tympanum (many represented in distorted images, hunchbacked man, mutes, blind
men, etc. some with animal heads!). Here again as the faithful entered the cathedral they were
reminded of God’s all-powerful presence and presented with the idea that the Church as the only
road to salvation.
17-24 Lions and Old Testament Prophet Jeremiah, trumeau of the south portal of Saint-Pierre,
Moissac, France, 1115 ce; typical Romanesque figure; elongated, extremely thin, expressive; the
animation of the body revealed the passionate nature of the soul within; flowing lines of the
drapery may derive from manuscript illumination; long locks of hair and beard frame the
mystical figure; 6 lions interlaced fill the trumeau’s outer façade…probably included because
they were thought to be fiercely courageous…people believed lion’s slept with their eyes open!
17-27 Central portal, Saint-Trophime, France, mid-12th c.; The western entrance to the church as
a projecting portal resembling a Roman arch “attached” to the building’s simple façade. The
frieze above the free-standing columns recalls the sculptured fronts of Late Antique sarcophagi;
figures in high relief resemble classical statuary.
42
17-28 Benedetto Antelami, King David, statue in niche, façade, Fidenza Cathedral, Florence,
Italy 1180 ce; seems confined within niche; elbows in; no weight shift; some Classical roots with
freed image from architecture setting; freestanding!
Metalwork and Woodwork
17-29 Rainer of Huy, baptism of Christ, baptismal font, Belgium, 1107 ce; classicizing style;
figures are rounded with idealized bodies and heavy clinging drapery; figures shown in ¾ view;
some figures are nude…lively classical spirit.
17-30 Virgin and Child, Morgan Madonna, 12th c., painted wood; Throne of Wisdom depiction
(Christ on his Mother’s lap)…western European freestanding version of Byzantine Theotokos
theme; idea of Christ as the embodiment of the divine wisdom as stated in scriptures; strictly
frontal figures, emotionless yet intimate with her arms encircling his figure.
Painting
17-33 Entombment of Christ, fresco, nave arcade, Sant’Angelo, Italy, 1085 ce; fully modeled
figures with 3-dimensional architecture; natural blue sky.
Manuscript Illumination
17-35 The vision of Hildegard of Bingen, folio, Scivias, Germany, 1150 ce; figure sits within
the monastery walls with feet on footstool (similar evangelists) while her confessor, Volmar,
takes her dictation; created with visions from God; flames of divine spirit shown within frame of
image; dramatic image of the essential nature of ancient and medieval book manufacture—
individual scribes copying and recopying texts by hand; Hildegard credited with helping to
spread the message of a merciful God and importance of women in society.
17-36 Initial R with knight fighting a dragon, folio, Moralia in Job, France 1115 ce; historiated
initial; prototype Hiberno-Saxon period; reliable picture of medieval baron’s costume, typical
Romanesque banding of the torso and partitioning of the folds.
17-37 Mster Hugo, Moses expounding the law, folio, Bury Bible, 1135 ce; two scenes from
Deuteronomy framed by symmetrical leaf motifs in beautiful color; upper register shows Moses
and his brother Aaron proclaiming the law to the Israelites (notice: ‘rays’ on Moses’ head read
‘having seen God’); lower panel portrays Moses point out the clean and unclean beasts; figures
seem to glide; seem more integrated and smooth than earlier Romanesque representations.
17-38 Eadwine the Scribe at work, folio, Eadwine Psalter, 1160 ce; contains 166 illustrations;
rare picture of artist at work; self-portrait?...probably generic image and not a specific likeness;
exaggerated his importance by placing the figure like an evangelist; inscription in the inner frame
declares him as a “prince among scribes”!...due to his excellence his work will live forever…he
can offer his book to God as an acceptable gift…signed his work; drapery does fall more softly
than the Bury Bible figures; figure subordinated to the frame in the Romanesque style.
43
17-40 Battle of Hastings, Norman Conquest, 1066, Bayeux Tapestry, France, 1070 ce; historical
document produced by the conqueror, William of Normandy; closely related to a Romanesque
manuscript illumination; border are populated by the kinds of real and imaginary animals found
in contemporary books of the time; running Latin text to describe events; 20” high, approx. 70
meters in length; pictorial narrative of a crucial moment in England’s history and the events that
led up to it. The Norman defeat of the Anglo-Saxons at Hastings; probably produced in England
but presented to the people of Bayeux, France; a conqueror’s conception of the events (like
Column of Trajan!) and a proclamation of national pride. Figures are all produced in the
Romanesque manner; linear patterning and flat color replaced classical 3-dimensional volume
and modeling in light and dark hues. All events from preparations for war, depicting the cutting
down of trees for ship construction, loading of equipment onto the vessels, etc. It could be that
the Bayeux Tapestry is the most Romanesque of all of the periods artworks.
44
Unit 13:
Chapter 13: Gothic Art
(Week 13-15)
Concepts/Objectives: Importance of "light" and sacred space/Abott Suger
and St. Denis; Gothic architecture: wall elevations, the pointed arch/vault,
stained glass, architectural relief carvings; the Rayonnant style; Gothic
trends outside of France; new interest in antiquity
1. Reading: pp. 416-461
2. SG: Chapter 13; short answer questions
3. Image Cards
4. Video: Building in the Name of God
5. Writing Assignment: Suger and the "wonderful and
uninterrupted light: of the Gothic style
6. Review test groups
7. Objective/Essay Exam: Chapter 11-13; Image Cards due
Unit 14:
Chapter 14: Art of Indian Asia
(Week 16)
Concepts/Objectives: Images of the "dance of life" and the divine
(Angkor Wat); mandalas; epic works of the Vedas, Ramayana and
Mahabharata; caste system and Krita yuga (Garden of Eden); Hindu
temple and importance of site (idea of "sacred cave")
1. Reading: pp. 470-491
2. SG: Chapter 14; short answer questions
3. Image Cards
4. Writing Assignment: Shiva image and procreative powers
Unit 15:
Chapter 19: Late Gothic Art in Italy (Proto-Renaissance)
(Week 17)
Concepts/Objectives: Giotto and the break with artistic past (ItaloByzantine hieratic style); new sculptural figural style; observation of
nature; innovations in perspective; the dramatic narrative; the
Black Death; Martini and the International painting style; Lorenzetti
and the landscape
1. Reading: pp. 626-647
2. SG: Chapter 19; short answer questions
3. Image Cards
4. Reminder: Main lesson Book at the end of Unit 16
Unit 16:
Chapter 20: 15th c. Art - Northern Europe/Spain
(Weeks 17-18)
Concepts/Objectives: Patronage; oil paint and glazes;
importance of surface appearance; the guild system;
disguised symbolism; Northern engraving techniques
1. Reading: pp. 650-677
2. SG: Chapter 20
3. Main Lesson Book due
4. Objective/Essay Exam: End of Semester Comprehensive
Test/Review of 1st Semester Material
Classical Period to Late Gothic/Image Cards
5. Begin Art History Timeline Project
Second Semester/First Quarter/9 Weeks:
Unit 17:
Chapter 21: 15th c. Italian Art: The Early Renaissance
(Week 1)
Concepts/Objectives: Masaccio and Donatello; naturalism and
concepts in sculpture; development of pictorial space and linear
perspective; Medici and rise of the Florentine humanist patron;
Neo-Platonism; portraits; personal styles of artists and role of the
artist in culture
1. Reading: pp. 680-727
2. SG: Chapter 21; short answer questions
3. Image Cards
4. Writing Assignment: Perugino's Christ Delivering
the Keys to St. Peter and innovations in
perspective
Unit 18:
Chapter 22: 16th c. Italian Art - The High Renaissance and
Mannerism
(Weeks 1-3)
Concepts/Objectives: Leonardo, Michelangelo and Raphael and
the great personalities of the High Renaissance; patronage and
impact of Julius II/Rome; Counter Reformation and the Catholic
Church; new artistic vocabulary (sfumato and chiaroscuro);
sculptural use of architectural components; Venetian painting and color
(Bellini, Titian and Tintoretto)
1. Reading: pp. 730-787
2. SG: Chapter 22; short answer questions
3. Image Cards
4. Writing Assignment: Palladio and domestic architecture
Unit 19:
Chapter 23: 16th c. Art - Northern Europe and Spain
(Weeks 3-4)
Concepts/Objectives: Protestant Reformation; Durer and printmaking
media; Northern realism and monumental figures- Holbein; El Greco and
the court of Spain
1. Reading: pp. 790-815
2. SG: Chapter 23; short answer questions
3. Writing Assignment: Comparative Essay: Italian
and Northern Painting in the 16th century
4. Review for Renaissance Exam
5. Objective/Essay Exam; Chapters 20-23; Image Cards due
Unit 20:
Chapter 15: The Art of China and Korea
(Week 5)
Concepts/Objectives: Daoism, Confucianism and Buddhism; landscape
painting and religion; sacred figure/imagery; art and calligraphy
1. Reading: pp. 494-526
2. SG: Chapter 15: short answer questions
3. Image Cards
4. Writing Assignment: Buddhism and image
Unit 21:
Chapter 24: Baroque Art
(Week 6-8)
Concepts/Objectives: the Age of Theatre; illusion and sacred space;
extreme naturalism and Caravaggio; Poussin/French classicism and
Versailles and imperial power; Baroque style outside of Italy; Velasquez
and experimentation with light in painting; new plasticity in architecture;
the Dutch and portraits/small interiors; Vermeer and Van Ruisdael and
scientific interests
1. Reading: pp. 818-877
2. SG: Chapter 24: short answer questions
3. Objective/Essay Exam; Image Cards due
Unit 22:
Chapter 25: The 18th c.: Late Baroque and Rococo, and the
Rise of Romanticism
(Weeks 9)
Concepts/Objectives: Intellectual thrust of the Enlightenment; basic
tenents of Neoclassicism and Romanticism; rising individualism: David
and the Academy; Canaletto and the vedutista; Romantic architecture
1. Reading: pp. 880-921
2. SG: Chapter 25; short answer questions
3. Image Cards
4. Main Lesson Book due
5. Keep working on Timeline!
Second Quarter/9 Weeks:
Unit 23:
Chapter 26: The 19th c.: Pluralism of Style
(Weeks 1-2)
Concepts/Objectives: Romanticism: Goya, Delacroix and Gericault;
The Barbizon School; birth of Realism and Courbet
relationship between the artist and critic; Manet and the
aesthetic; Impressionism: Monet, Degas, Renoir, Cassatt; PostImpressionism: a return to structure; Seurat and Cezanne;
Post-Impressionism: the Expressionist response; Gauguin and
Van Gogh; Rodin and the birth of modern sculpture; Art Nouveau;
modern architecture - the skyscraper and Louis Sullivan;
1. Reading: pp. 926-1017
2. SG: Chapter 26: short answer questions
3. Video: Cezanne in Provence
4. Take Home Test; Image Cards due
Unit 24:
Chapter 16 - Art of Japan
(Week 3)
Concepts/Objectives: Nature and meditative imagery; Zen Gardens;
and the Japanese palace; shinto shrines; asymmetrical
compositions in painting; woodblock prints and European art
1. Reading: pp. 528-551
2. SG: Chapter 16: short answer questions
3. Image Cards
4. After School Review Sessions Begin!
Unit 25:
Chapter 18 - Art of Africa
(Week 3)
Concepts/Objectives: Ancestor worship and the sacred object;
dance masks; the elongated human figure/semi-abstract forms and
20th c. Cubism; ritual and belief
1. Reading: pp. 596-617
2. SG: Chapter 18: short answer questions
3. Image Cards
4. After School Review Session
Unit 26:
Chapter 27: The Early 20th c. -Establishment of Modernist Art
(Weeks 4-5)
Concepts/Objectives: Symbolism to Cubism/impact of African Art;
Expressionism, Futurism, Surrealism; Dada and new nationalism;
modern architecture/Frank Lloyd Wright; Pop Art and the commercial
image; mass production and the International style of architecture;
social realism and photography; the Bauhaus; Mexican muralists
1. Reading: pp. 1018-1089
2. SG: Chapter 27; short answer questions
3. Take Home Test; Image Cards due
4. After School Review Session
Unit 27:
Chapter 28: The Later 20th c.
(Week 5)
Concepts/Objectives: Abstract Expressionism; Minimalism;
Performance Art; Earth and Site Art; Gehry and Post-Modern
Architecture; Feminism
1. Reading: pp. 1090-1153
2. SG: Chapter 28: short answer questions
3. Objective/Essay Exam; Image Cards due
4. Timeline due!
5. Main Lesson Book due!
AP Exam In-Class/After School Review Sessions
(Week 6)
2010 Advanced Placement Art History
Exam/Wednesday, May 14
Supplemental Texts:
Kleiner, Fred S. and Christine J. Mamiya Gardner's Art Through the Ages, 12th edition,
Thompson Wadsworth
Stokstad, Marilyn, Art History, 2nd ed. revised, Pearson/Prentice Hall
Other Resources:
Attwater, Donald, Dictionary of Saints, Viking Penguin
Barnet, Sylvan, A Short Guide to Writing about Art, Harper Collins
Baxandall, Michael, Painting and Experience in 15th c. Italy, 7th ed.
Pearson Prentice Hall
Berger, John, Ways of Seeing, BBC
Ferguson, George, Signs and Symbols in Christian Art, Oxford University Press
Hall, James, Dictionary of Subjects and Symbols in Art, Prentice Hall
Pierce, James Smith, From Abacus to Zeus: A Handbook of Art History, 7th ed.,
Pearson Prentice Hall
Video Resources:
Building in the Name of God, History Channel
How Art Made the World, BBC
Cezanne in Provence, PBS
Sister Wendy - History of Painting
Sister Wendy - The Grand Tour
Internet Resource:
http://witcombe.sbc.edu/ARTHlinks.html
http://www.artlex.com