Art For Mid 2

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madonna and child entrhoned with saints theodore and george and angels. 6th century. encaustic. 2'3''X 1' 7 3/8''. monastery of st catherine mount sinai. it was referred to as an icon. god was portrayed in this image. no painter named. wide eyeed, stern--> symbolic. bizatine style, static, eternity. drappery seems to flatten figures. slight contrapostal.

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good shepard. late 3rd century. marble, height 3' 3''. musei di vaticani, rome, italy. the composition of figure is derived from greek representations of hermes the shepherd or orpheus with animals. Used as a grave marker. From the parable of luke. contropostal, naturalism. shows a time when the church was humble

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justinian, archbishop maximianus of revenna, and attendants. san vitale. 547. 8' 8' x 12'. mosaic. depiction of the chi rho. shows a merging of the church and state. halo on his head shows he is an instrument of god. yellow background shows the physical world transformed into the spiritual one.

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sutton hoo purse cover. 620. gold with indian garnets and cloisonne enamels. originally on an ivory or bone background. lenght 8''. sutton hoo is in england. once contained gold coins. ship was 90' long. it was buried not wrecked. from a nomadic tribe. characters depicted are similiar to that of beowolf. depicts animals with tails in their mouth.

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incarnation page from the book of kells. 800. manuscript painting on vellum. parchment made from calfskin, kidskin, or lambskin. 1'1'' X 9 1/2''. page is devoted to the birth of christ. a human head dots the I. see cats watching 2 mice fight over a wafer. produced by irish monks. the book was never finished because of constant raiding. hybernosaxon. the word made flesh

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interior mosque, cordoba, spain. begun 786. this view is across the hypostyle hall. originially commisioned by caliph abd ar. expansions would be made in the future by other people. it is a vast column filled space, 240,000 square feet. a place to simply gather and pray. faces toward mecca. a church was built in the middle to claim for christianity.

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saints mathew from the gospel book of archbishop ebbo of reims. made in reims france. 816-23. manuscript painting on vellum. 10 1/4 x 8 3/4. biblioteque municipale epernay, france. commissioned for the archbishop ebbo under the direction of peter. shows how art of this era could revive aspects of ancient classical style and still be midevil. gives a sense of 3-d. hellenistic. fluid strokes of the brush. shows hints of gold in his hair and clothing.

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reliquary in the shape of a church. from the convent of hochelten in the lower rhine region of germany. german romanesque. 1170. golt cast bronze, enamel, walrus ivory relief on wooden core. height 1' 9 1/2'. holds the bones or objects associated with a saint. normally reliquaries such as this one provided commerce for the town. pilgrims would give jewels to add to the reliquary. features chirst, the apostles, scene from the life of chist including crucifiction. confirms faith in christianity. reliquaries are found in many different religions.

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nave, abbey church of ste. foy. conques france. 1080-1120. originally commissioned by the abbot odolric. dedicated to the 3rd century mortyr ste. foy. residence of ste. foy reliquary.

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ste. foy reliquary. lant 10th century. gold with filigree and precious stones over wooden core height 2' 9 1/2''. conques, france. many of the jewels were given by pilgrims. ste. foy was known to cure blindness and free captives.

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interior the royal abbey church of st. denis. near paris france, 1140-44 commissioned by abbot suger. beginning of gothic architecture. kings and queens of france were buried here. colors and lighting helped for people to experience the city of god, rise from material to spiritual. has large glass stained windows.

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notre dame de la belle verriere. cathedral of notre dam, chartres, france, twelfth century. 13th century surrounding glass angels. 16' x 7' 6''. gothic architecture forces viewers to look up. space seems to expand upward and outward. mystical with the use of height, dark corners, glowing stained glass windows. foundation is made from precious stones, exemplifies romanesque and gothic style. outsite is purely gothic. 12th inside 13th outside.

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Giotto: madonna entrhoned with angels and saints. 1300. tempera on wood. 10' 8" x 6' 8 1/4". originally commissioned by an unknown patron for the church of ognissanti in florence. faces show an impressive and severe look. shows figures are represented as massive weighty forms. naturalistic drappery. we see prymaid represented. all angels are looking at the 2.

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man with the red turban- self portrait. jan van eyck. 1443. oil on wood. 10 1/4'' x 7 1/2''. is in fact not wearing a turban but a chaperon.

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portrait of giovanni arnolfini and giovanni cenami. the arnolfini marriage. jan van eyck. oil on oak. 1434. takes place in a reception room, fashionable in france to have a bed in reception room. apparently wealthy because of clothing, fruit, and furniture. signature over mirror shows that this is a legal document. placement of figures shows role in family. though looks pregnant is not actually this is simply a look of the times. cherry tree symbolizes love. little dog symbolizes loyalty. green womans dress stands for hope. 1 candle, heavenly spirit. carved figure of st. margaret- st of preg and childbirth. small medallions in mirror show life of christ. mirror shows 2 witnesses are present.

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david- donatello. 1440. bronze with gilded details. height 5' 2 1/4' prolly commisioned by cosmo de medidici. first unsupported standing bronze work done during renaissance. first free standing nude male since antiquity. shows young david with goliath's head underneath him. holds the sword of goliath. conquering not through his strengh but through that of god. contrapostal, naturalism.

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A foreshortened christ. andrea manegna 1466 tempera on canvs 2' 3/4'' x 2' 7 7/8''. sometimes called the lamentation over the dead christ. feet seem large in comparison and head seems small, gives an illusion of reality.
shows much emotion. show anatomically correct. unique to this painting in the central focus on christ's genitalia.

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madonna on the rocks. leonardo da vinci. 1483-85. oil on wood. transfered to canvas. commisioned by the coonfaternity of the immaculate conception for their chapel. John is on the left side of the painting and christ is on the right. a pyramid like set up to represent the trinity. beginning of the new renaissance

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birth of venus. sandro botticelli. 1484-86. tempera on canvs 5' 9'' 9' 2''. commisioned by a member of the medici family. supports myth that venus was born full grown. she does not notice us. blown ashore by the northwind god. neoplatonic values. remiscent of aphrodite.

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Pieta. michelangelo bounarroti. 1498-99. marble. height 5' 8 1/2''. the figures are over life size. commisioned by the french cardinal jean de bilheres laraulas for the chapel where he planned to be buried at old st. peters. pieta means to pitty. stucture is pyramidal. shows the rock of golgatha. figures are out of proportion this is done so as to keep a full grown man in her lap. made mary young rather than she is normally depicted. done when he was only 23 and only piece he ever signed.

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madonna and child with st. john the baptist. raphael 1508. oil on wood. 4'x 2' 71/2 ''. raphael painting exemplifies the union of idealism and naturalism that characterizes a divergent branch of high renaissance art.