Apah Test 2 Exam Questions

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Roman Portraiture

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- Roman Portrait Sculpture
o 4 different phases
o Specific ways in which art reflects what’s going on at time
o During Republic Period, referred to as Super Realism
 When sculptures made of beloved and admired ancestors
 Kept on family altars
 Rome still thinks of self as having old-fashioned, hard-working ideals
 Called SUPER REALISM
• Aka Verism, which means “super realistic”
o Phase 2: Early Empire
 1st 200 years of Empire Period
 Pax Romana
 Good times for Rome—empire expanding, study emperors, economy in good shape, etc.
 Patronage of Sculpture
• Previous sculptures heightened affects of age
• But here, emperor important subject and patron for a lot of sculpture
• Leader likes to see himself differentiating from rest of people
• So, still perceptual, but not as naturalistic and showing flaws and age of stuff
• Idealized
o 3rd Phase: Expressionistic
 3rd century
 Things going into some decline, time of tremendous chaos and the empire has already reached its longest extent of borders
 Different groups and tribes try to take borders
 Economy bad—tons unemployed that are difficult to control
 Instability in Roman leadership
 No practice of Governmental succession
 Period in which someone assassinates emperor, then becomes emperor, but then has to watch his own back
o Last phase: Late Empire
 Stylizedintentionally adopting a style instead of using naturalistic detail
 Intended to show power and authority
 Implacable mask of power and authority

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Roman Aqueducts

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o Known for transferring water
 Use gravity and simple form of Aqueduct
 Segovian Aqueduct
 Pont du Gard
• A series of barrel arches stacked up on top of each other
• Water goes through covered top (leaves/dirt)
• Other two arches for support and a road
• Row of columns=Colonnade
• Row of arches= Arcade
o Aqueduct

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Ti and the Hippo Hunt

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 Ti watching hippopotamus hunt
• Old kingdom
• Inside tomb
• Conventions
o Hunters realistic, tiny
 Greatest amount of belief in pharaoh as natural deity

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Mosque and Islamic Requirements

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Buildings are designed for communal prayer, not for any other kind of elaborate ritual with a center of visual attention such as Communion, so they are built to accommodate as many worshippers as possible in a prostrate position. Whereas Christian architecture often emphasizes verticality, focusing worshippers thoughts toward the heavens, Islamic architecture emphasizes horizontality, with more of a focus on appropriate living on this earth. The earliest mosques were based on the design of the Prophet Mohammed's house and courtyard, much enlarged. Result: a large rectangular building, at least partially covered. The rectangular shape made it easy to enlarge as required. The roofed part was held up by rows of columns or combination columns/arches-->hypostyle hall. Since there's no center of attention, like an altar or pulpit, it’s no problem that people's view is blocked by columns. All face Mecca, so the orientation of the building is such that the wall opposite the entrance is closest to Mecca. This wall is the qibla. The qibla is marked by a niche, usually domed, called the mihrab. Conquering Muslims often simply converted existing religious structures for their own use, as with Hagia Sophia, where they removed the mosaic images of religious figures by whitewashing them. The ornamentation of mosques follows the prohibition of graven images: there are never any 3-dimensional forms of humans or animals in mosques. Instead, they adopt the rich, elaborate decorative forms used in Byzantine churches: patterns of 1) geometric figures, 2) intertwining plant forms, and they add to these elaborate 3) calligraphy of Arabic quotations from the Quran. Exterior has at least one spiral tower called a minaret, up which the muezzin climbed to call people to prayer. This was designed after the Sumerian ziggurat, whose ruins were still plentiful in the middle eastern region.

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Byzantine Elements

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symmetrically
frontally
gold background
intended as an 'unreal' space
No modeling or shading or attempt at 3-D
Byzantine human figures: unmoving, tall, slender figures, with tiny, down-pointing feet, long thin, noses, and huge eyes that look straight into the viewers

Front 6

Dome of the Rock

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o Constructed on hill in Jerusalem
 Christianity, Judiasm, and Christianity all significance on hill
 Not a mosque, not mosque forms
 Marks a holy spot
• Middle of night, Muh. Taken into heaven, then returned back there at the end of that experience
o Islamic Architecture ornaments
 Bands of geometric figures
 Gold
 Tiles and mosaics
 Dome
o Inside
 Aisle that goes around the exterior so that people can circumambulate the holy sight
 Huge amounts of gold, polished surfaces
 Bands of calligraphy
 Windows in drum of the dome

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Roman interior wall painting elements

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 Foreground lower, background higher
 Unified Light Source
• Using both shadows and shading
• Haven’t mastered it yet, but have the idea
• Understand that shadows exist, but have not observed that they need to fall in the same direction
• Shadows
• Modeling/shading
o Doing an effective job
o Much more consistent
 Diminution
• Foreground Bigger, Background Smaller
 Atmospheric/Aerial Perspective
• Foreground colors intense and saturated and more detailed, as we go further back, lose detail, blurrier, duller color
 Linear Perspective inklings
• Buildings with diagonal lines—sense of linear perspective
 Overlapping
• Not new, but important

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Seated Scribe

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 Seated Scribe
• Old kingdom
• Sagging stomach/pecks
• Face older
• Not idealized
• IMPORTANT
 Greatest amount of belief in pharaoh as natural deity

Front 9

Pantheon

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ROMAN: Pantheon
1. Awed by gigantic enclosed space—Architecture of space
2. Not calm—awe, wonder, intimidation
3. Not created by vertical and horizontal lines—created by expansive curving lines and massive scale
4. Domes, Arches, Vaults create the curving forms
5. Focus on exterior AS WELL as interior—supposed to have impact on us from outside and inside
6. Think of Roman architecture= much broader: gov’t buildings, atriums, more
 Not the earliest structure made from concrete, but is the most famous early sculpture made from concrete
 Part of wall made from bricks
 Dome important for concrete
 Not very pretty today
• Would have been stunning originally because all exterior surfaces were faced with a very thin layer of marble veneer
• Also, entire dome was covered in BRONZE
o Pope orders that bronze should be removed and melted down to create his big architectural Baldecchinao in St. Peters
 Sphere within a cylinder
• Height is same as its width
 Front
• If we took off the portico, would have looked like big round cylinder
o Portico used to indicate a sacred space
o Called a Classical Temple Front
 Columns and pediment
 Purpose is to identify building as temple

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Doryphorus

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Spear Bearer) ~450-440 BC. by Polykleitos, who studied in the school of Phidias. Marble copy of bronze original, 6'6" Used as a funerary marker, a Kouros statue. Defines the mature Classical style of sculpture:
* Emphasized contrapposto stance, so that the left side of the body is clearly differentiated from the right side
* Calm facial expression
* Nude male
* Realistic, yet idealized
* Arms free from the body
Also very famous for establishing the CANON (rules) of physical proportions in Greek and Greek-influenced figural sculpture

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The Coliseum

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o The Coliseum
 1st century C.E.
 Empire Period—intended to inspire awe and intimidate
 Sports Arena
• Blood sports intended to satisfy desire for violent entertainment
• Lots of seats
• Shade
• Seating so that everyone can see
• Lots of ways in and out
 Multi-story secular building—not very many m-s-s-b at this time
 Decoration
• Arcades around bottom, but barrel vault
• Can turn right or left—ring vault all the way around
o Groin vault—intersecting
• Vaults their own support for level above
o Can support weight of story above which is made up of more barrel vaults
• Interior makes big use of concrete
• Ornamentation of Exterior
o Engaged Columns on all four levels
o Doric
 Put on bottom because most stoutest
o Ionic
o Engaged Corinthian columns on top—flattened colums called a pilaster
o Sets a pattern for how to decorate outside of multi-story secular buildings
 Wont be built for series, but once Renaissance going on, see them; go here for inspiration
• Interior
o A mess, people chipped stone off of it when needed stone
o Take blocks of stone from pre-existing buildings

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Kritios Boy

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o Phase 1: Severe Style480-450 BCE
 VERY, VERY IMPORTANT!!!—Kritios Boy
• Invents contrapposto
o With that, a whole new phase of art history beginning
• 480 BCE
• Earliest piece that shows contrapposto stance
o A natural, comfortable stance, that shows figures in a realistic, unexaggerated light
o Remember excersise
• First that shows an understanding of body mechanics
o Shows the understanding that the body is one single functioning unit instead of a trunk and five appendages
o Represents the leap to truly realistic perceptual art
• Looks so alive, that he doesn’t need a goofy grin
• Looks kind of severe—SEVERE STYLE ; )
 Content of Classical Sculpture
1. Nude male
2. Realistic and Idealized
3. Contropposto Stance
4. Arms are no longer attached to side of body—free from body
5. Calm, serious facial expression

Front 13

Old Market Woman

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o Instead of focusing on idealized forms and deities, focus on figures that could be real, actual people
• Real world/old age/poverty/ragged clothes
• Demonstrate present restoration philosophy
o “fixed” it by adding a nose, filling in with filler
o Not part of original form
o Philosophy is that you remove earlier inauthentic restoration, you stabilize, and you add nothing more

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Seated Boxer

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• Hellenistic real-life version of athlete
• Think of Discobolos
o Beautiful, idealized, uninjured
• Boxer
o Slaveshad no choice
o Leather bands on wrist
o Nose broken
o Scars all over face and body
o Weariness and defeat being projected from piece
o Instead of focusing on idealized forms and deities, focus on figures that could be real, actual people

Front 15

Stele of Hammurabi

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 Public place so that the written code of law is accessible to people
 Multiple copies
 AP EXAM
 What’s going on here?
• Hammurabi on the left
• Shamash, the sun god on the right…aka God of Justice Marduk
• God giving the laws to Hammurabi –DIVINE LAWSpeople not going to want to break the law, make Gods angry
o Politically intellectual idea—shows that Gods anointed him to be in charge of enforcing laws to people
o Give him a scepter and a ring
• See light coming off of Shamash—divine, spiritual being
• Artist has to be careful because God has to look like God, but H can’t look TOO human
• H still has to look like somebody who is worthy of their absolute obedience
o Unnatural position (composite stance)
o Facing and making eye contact with God
o Same size as God when sitting
 Visually get complex message that yes, that is God, but he sees human being as enormously powerful and gives him authority of all people

Front 16

Roman Pediment Problem Solving

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 Pediment of Temple of Artemis on Corfu
• Doesn’t look narrative—odd
• Heraldic Arrangement
o Central figure, mirror images on each side
o Medusa central
 Archaic Smile
o Head overlaps triangular form—AVOID ABSOLUTELY LATER ON

Front 17

Dying Gaul

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• Dying GaulIMPORTANT
o Alter of Pergamum
o Image of defeated enemy(by Greeks)
o Not weak and puny—portray him as strength and dignity
 Dying bravely, calmly accepting his death
 Reference to WORTHY ADVERSARY
• This guy strong, reflects even more positively on YOU
 If you are an athlete, and you beat somebody who is ranked higher than you, reflects better on you than really low person—makes you look good
hellenistic