Art History

Front 1

a building column that is shaped like a female figure

Back 1

Caryatid (male: atlantid)

Front 2

in architecture, a sunken panel in a ceiling

Back 2

Coffer

Front 3

a graceful arrangement of the body based on tilted shoulders and hips and bent knees

Back 3

Contrapposto

Front 4

a vault formed by layers of stone that gradually grow closer together as they rise until they eventually meet

Back 4

Corbel Arch

Front 5

a small dome rising over the roof of a building; in architecture, a cupola is achieved by rotating an arch on its axis

Back 5

Cupola

Front 6

a type of construction that uses rough, massive blocks of stone piled one atop the other without mortar. Named after the mythical Cyclops

Back 6

Cyclopean masonry

Front 7

a visual effect in which an object is shortened and turned deeper into the picture plane to give the effect of receding in space

Back 7

Foreshortening

Front 8

a painting technique that involves applying water-based paint onto a freshly plastered wall. The paint forms a bond with the plaster that is durable and long-lasting.

Back 8

Fresco

Front 9

an archaic Greek sculpture of a standing youth

Back 9

Kouros (female: kore)

Front 10

a circular window in a church (Pantheon), or a rounding opening at the top of a dome

Back 10

Oculus

Front 11

the triangular top of a temple that contains sculpture

Back 11

Pediment

Front 12

French, “to push back;” a type of metal relief sculpture in which the back side of a plate is hammered to form a raised relief on the front

Back 12

Repoussé

Front 13

an ancient Greek circular shrine

Back 13

Tholos

Front 14

a roof constructed with arches. When arch is extended in space, forming a tunnel, it is called a barrel vault. When two barrel vaults intersect at right angles, it is called a groin vault

Back 14

Vault

Front 15

sculptures from the Roman Republic characterized by extreme realism of facial features.

Back 15

Veristic

Front 16

1. Unafraid of nudity
2. Perfection of the human body
3. Large Greek marble sculptures: cut away from the stone
4. Large-scale bronze works were treasured
5. Greek art in the Classical and Hellenistic periods used contrapposto

Back 16

Greek Sculpture Innovation

Front 17

1. Temples designed to be the earthly homes of the gods
2. Preferred limited access to the deity; doors were removed from public view
3. Front and back of Greek temples look almost identical; only the sculptural ornament is different
4. Temple complexes were placed on a high hill or acropolis
5. Propylaea: gateways / entrance into the complex
6. Developed: tholos and caryatids
7. Build stoas (shopping centers) and theaters

Back 17

Greek Architecture Innovation

Front 18

1. Professional pottery had been practiced in Greece from its origins in Aegean society throughout the entire span of the Greek period
2. Some vessels were everyday items, other served as tomb monuments
3. Form followed function in Greek pottery
Painters wrote inscriptions that were sometimes literally addressed to the viewer of the pot, i.e. “I greet you”
4. Inscriptions could explain the narrative scene represented, or identify people or objects
5. The underside of the vases usually indicated the selling transaction of the pot

Back 18

Greek Pottery Innovation

Front 19

1. Exemplifies complex linear decoration and reduction of body parts to simple geometric shapes
2. Produce many small figurines of wood, ivory, clay and especially cast bronze

Back 19

Greek Geometric 900-700BCE Characteristic

Front 20

1. Temples: (1) rectangular and organized on an inventive, although rigid, set of geometric principles; (2) built with the post-and-lintel system; (3) the columns never too widely set apart
2. Pediments: project over the top of the columns; contained sculpture representing the heroic deeds of the god or goddess housed inside
3. Cornice: separates the upper and the lower parts of a Greek temple
Doors were set back from the façade, sometimes by two rows of columns, so that little light could enter
4. Generally windowless

Back 20

Greek Geometric 900-700 BCE Architecture Characteristic

Front 21

1. Earliest pots are largely composed of horizontal lines with minimal figures
2. Characterized by linear designs and abstract patterns

Back 21

Greek Geometric 900-700 BCE Pottery Characteristic

Front 22

1. There is much influence from the Egyptian and Mesopotamian art
2. Eastern floral motifs and exotic animals take their place next to the geometric bands of ornament

Back 22

Greek Orientalizing 700-600 BCE Pottery Characteristic

Front 23

1. Marble (stone of choice), bronze, limestone, terra cotta, wood, gold – even iron
2. Sculpture was often painted; backgrounds were highlighted in red; lips, eyes, hair and drapery were routinely painted
3. Often had metallic accessories: thunderbolts, harps and various other attributes
4. Bronze sculpture: hallow; eyes were inlaid with stone or glass, and lips, nipples and teeth of copper or silver highlights
5. Kouros and kore figures: grave monuments from Greek temples
6. Known for its bolt upright figures and animating smiles

Back 23

Greek Archaic 600-480 BCE Sculpture Characteristic

Front 24

1. Artists painted in a style called black figure, which emphasized large figures drawn in black on the red natural surface of the clay. 2. Details were later added in highlighting colors
3. Bright glazing of Greek pottery gives the surface a lustrous shine
4. Red figure vases were introduced; in effect, they are the reversal of black figure style pots
5. Archaic pottery has the same stiffness and monumentality of Archaic sculpture

Back 24

Greek Archaic 600-480 BCE Pottery Characteristic

Front 25

1. Use of contrapposto
2. Forms became highly idealized.
3. Bodies depicted in heroic form: heads are one-seventh of the body; heavy musculature

Back 25

Greek Classical 480-400 Sculpture Characteristic

Front 26

Achievements in Classical sculpture were paralleled in pottery

Back 26

Greek Classical 480-400 Pottery Characteristic

Front 27

1. 4th Century BCE
Gods were sculpted in a more humanized way
2. Heads that are one-eight of the body and a sensuous S-curve to the frame

Back 27

Greek Late Classical 400-320 Sculpture

Front 28

1. Realistic modeling; show more movement
2. Figures have great variety of expression from sadness to joy
3. Themes: childhood, old age, despair, anger and drunkenness
4. Sculptors carve with greater flexibility, employing negative space more freely
5. The viewer is meant to walk around a Hellenistic sculpture

Back 28

Greek Helenistic 320-30 Sculpture Characteristic

Front 29

Dynamic movements of the Hellenistic period reflected in Greek Hellenistic pottery

Back 29

Greek Helenistic 320-30 Pottery Characteristic

Front 30

1. Romans were master builders
2. Improved on architectural techniques: post and lintel, arches, vault (barrel, groin), coffers,
3. Forged great road and massive aqueducts as an efficient way of connecting their empire and making cities livable
4. Temples were hymns to the gods and symbols of civic pride
5. Arenas awed spectators both by their size and their engineering genius
6. Used concrete in constructing many of their oversized buildings
7. All concrete buildings were concealed with another material, like marble, which appeared more attractive to their eye

Back 30

Roman Architecture Innovation

Front 31

1. Exteriors of Roman houses had few windows
2. Single entrance was usually flanked by stores that faced the street
3. Atrium, impluvium, cubicula, peristyle
4. Grander Roman buildings used concrete, arches and various kind of vaulting techniques to achieve grand and spacious effects
5. Forum and stoas

Back 31

Roman Architecture Characteristic

Front 32

1. Interior wall paintings were frescoed with mythological scenes, landscapes, and city plazas
2. Mosaics were favorite floor directions―stone kept feet cool in summer
3. Encaustics from Egypt provided lively individual portraits of the deceased
4. Murals were painted with some knowledge of: linear perspective, orthogonals, atmospheric perspective
5. Figures were painted in foreshortening

Back 32

Roman Painting Innovation

Front 33

Characterized by painted rectangular squares meant to resemble marble facing

Back 33

Roman Painting Characteric Pompeian 1st

Front 34

Had large mythological scenes and/or landscapes dominating that wall surface
Painted stucco decoration of the First Style appears beneath in horizontal bands

Back 34

Roman Painting Characteristic Pompeian 2nd

Front 35

Characterized by small scenes set in a field of color and framed by delicate columns of tracery

Back 35

Roman Painting Characteristic Pompeian 3rd

Front 36

Combined elements from the previous three: painted marble of the First Style is at the base, large scenes of the Second Style and delicate small scenes of the Third Style are intricately interwoven

Back 36

Roman Painting Characteristic Pompeian 4th

Front 37

1. Erected commemorative arches to celebrate military victories
2. Sculptures were applied to the surface of the arches to animate the architecture as well as to recount the story of Roman victories; a combination of painted relief and free-standing works was integrated into a coherent didactic program
3. Hollowed-out column with banded narrative relief sculptures spiraling around the exterior

Back 37

Roman Sculpture Innovation

Front 38

1. Veristic sculptures: Republican busts of noblemen; strikingly and unflatteringly realistic
May have been a form of idealization: Republicans valued virtues such wisdom, determination, and experience
2. Full-length statues concentrate on the heads, some of which are removed from one work and place on another.
3. Bodies were occasionally classically idealized, symbolizing valor and strength
4. Figures can sometimes be seen holding busts of their ancestors in their hands (patrician heritage)

Back 38

Roman Sculpture Characteristic Republican

Front 39

Emperors, whose divinity descended from the gods themselves, were portrayed differently than noblemen or senators
Sculptors adopted the contrapposto, ideal proportions, and heroic poses of Greek statuary
Forms became less individualized, iconography more associated with the divine

Back 39

Roman Sculpture Characteristic Imperial

Front 40

1. Transitions into the Late Imperial style reflected the dissolution and anarchy of the Roman state
2. Compositions are marked by figures that lack individuality and crowded tightly together
3. Everything is pushed forward on the pictures plane, as depth and recession were rejected
4. Proportions are truncated; bodies are almost lifeless behind masking drapery
5. Emperors are increasingly represented as military rather than civilian rulers

Back 40

Roman Sculpture Characteristic Late Imperial

Front 41

Two periods in oldest art

Back 41

Paleolitic & Neolithic

Front 42

–people cultivated the earth and
raised livestock
– people lived in organized
settlements, divided labor into
occupations, constructed the first
homes

Back 42

Paleolithic (Old stone age)

Front 43

–people cultivated the earth and
raised livestock
– people lived in organized
settlements, divided labor into
occupations, constructed the first
homes

Back 43

Neolithic (New Stone Age)

Front 44

Buildings such as Stonehenge show
the ability of prehistoric people to
build elaborate religious structures
using?

Back 44

the post-and-lintel system of construction

Front 45

Mesopotamia

Back 45

• Tigris and Euphrates
• Agriculture: basis of wealth
• Kingship: government
• Religion: central role in government
and daily life
• Few natural defenses
• Repeated invasions and internal
conflicts
• Cuneiform – Latin “wedge-shaped;”
named after the shape of the marks
made by the stylus

Front 46

means a circle formed by stones or wooden posts, often surrounded by a ditch with built-up embankments

Back 46

Henge

Front 47

Symbols evolved from pictures into phonograms thus becoming a true writing system.

Back 47

Cuneiform

Front 48

Egypt

Back 48

• Nile
• Agricultures: basis of wealth
• Kingship: government
• Religion: central role in government
and daily life
• Mountains and deserts
• Remained a unified state for some
3,000 years
• Hieroglyphs – earliest Egyptian writing
system which employed symbols

Front 49

Used in combinations, such phonogramic hieroglyphs were especially useful in rendering foreign names.

Back 49

Hieroglyphs

Front 50

Egyptian art spans a?

Back 50

3,000-year
history

Front 51

show unyielding
stance and formidable expression

Back 51

Old kingdom figures

Front 52

• have more
relaxed figures and emotional faces
(Mentihotep II)

Back 52

Middle Kingdom works

Front 53

is characterized by
rounded and elongated figures that
betray an intimacy hitherto unknown

Back 53

• New Kingdom

Front 54

– history’s first recorded
artist; royal builder for King Djoser;
ordained high priests of Ptah

Back 54

Imhotep

Front 55

– built as part of great
complexes; known for their solid
surfaces and their monumental scale;
made from stone blocks and built
without mortar; sides oriented to the
four cardinal points of the compass

Back 55

Pyramid

Front 56

– “city of the dead,” a large
burial area

Back 56

Necropolis

Front 57

– “bench,” a low, flat-roofed
Egyptian tomb with sides sloping down
to the ground

Back 57

Mastaba

Front 58

The earliest surviving works of art are

Back 58

cave paintings and portable sculptures
of humans or animals.

Front 59

_ is known about the original
intention

Back 59

Little

Front 60

The Ancient Near East brought about _. Combined with
writing, Mesopotamian objects give us
the first systematic record of human
development.

Back 60

the birth of art in the service of the
state and religion

Front 61

Ancient Near Eastern buildings were
created for _, as were ziggurats,
or the state, as were the palaces. They
were built of mud-brick, and were
either painted or faced with tile or
stone.

Back 61

religion

Front 62

• Large stelai commemorating the
achievements of ancient rulers were
erected throughout?

Back 62

Mesopotamia

Front 63

_ figures that are usually
hybrids of men and animals protected
the entrances to important sites.

Back 63

Guardian

Front 64

_ are among the
first organized narrative works of art
in history.

Back 64

Assyrian lion reliefs

Front 65

• Kings realized the capacity of the
artists and how their works could
aggrandize the image of the kings, etc.
• This was the start of one of the most
symbiotic relationship in art history
between patron and artist.

Back 65

Patronage and Artistic Life

Front 66

Buildings were mostly built from?

Back 66

baked mud (constructed to live,
govern and worship in).

Front 67

– stepped pyramidal
structures with a temple or shrine on
top

Back 67

Ziggurat

Front 68

Depicted clothed humans with
anatomical precision. Figures are
actively engaged in doing something:

Back 68

hunting, praying, performing a ritual.

Front 69

_ were retained in
cities as a sign of their permanence.
Large-scale relief sculptures were
carved into stone surfaces of palace
interiors.

Back 69

Monumental objects

Front 70

– a
round piece of carved stone that when
rolled onto clay produces an image

Back 70

Invention of the Cylinder Seal

Front 71

Began a popular ancient tradition of
representing

Back 71

animals with human
characteristics and emotions

Front 72

Elaborate funerary practices led to the

Back 72

erection of mastabas, pyramids and
rock-cut tombs in sacred imperial
precincts throughout Egypt

Front 73

Egyptian figures generally have

Back 73

broad
frontal shoulders and profiled heads,
torsos, and legs

Front 74

Most Egyptian temples have?

Back 74

astronomical orientation

Front 75

• Columns in the New Kingdom were
based on

Back 75

plant shapes (lotus, palm,
papyrus)

Front 76

Men are taller than women and are
painted

Back 76

ruddy brown or red

Front 77

Women are shorter and are painted
with a

Back 77

yellowish tinge

Front 78

• Persons of lesser social rank are
represented more

Back 78

naturalistically

Front 79

• Conventions of Egyptian Painting and
relief sculpture (dignitaries):

Back 79

1) heads are shown in profile to
best capture the subject’s identifying
feature
2) eyes are rendered in frontal view
3) shoulders are represented
frontally
4) hips, legs and feet are drawn in
profile
5) successful men and women are
represented in a calm, rational manner

Front 80

Figures rest on a _ at the
front of the picture plane; when figures
are place on a line above, they are
thought to be _

Back 80

horizon line; receding into the
distance

Front 81

Central to ancient Egyptian belief was
the idea that every human being had a
life force – the _ or spirit. The _ lived
on after the death of the body, forever
engaged in the activities it had
enjoyed during his earthly existence.

Back 81

Ka

Front 82

Characteristics of sculptures:

Back 82

1) lifelike figures
2) rigidly frontal, simple
conceptions
3) rectilinear and block-like
4) figures mostly stands in a typical
Egyptian balanced pose with one foot
in front of the other, arms straight on
the side, fist clenched

Front 83

Relief sculptures

Back 83

1) followed the conventions of
painting
2) outdoor: cut into the rock so that
shadows showed up more dramatically
3) indoors: raised from the surface
for visibility in the dark

Front 84

Prehistoric Time Table BCE

Back 84

Geometric 900-700
Orientalizing 700-600
Archaic 600-480
Classical 480-400
Late Classical 400-320
Hellenistic 320-30

Front 85

Back 85

Oldest Art
Austria
22000-21000 BCE
Lime Stone
11cm

Hint 85

Woman from Willendorf

Front 86

Back 86

Egypt
From Giza Dynasty 4
2544 BCE
Dionte, Height 1.68m
-represents the ruler enthroned & protected by the falcon god Horus

Hint 86

Khafre

Front 87

Back 87

Archaic
600 BCE
Marble 1.93m

Hint 87

Kourus

Front 88

Back 88

late classical
330 BCE
marble copy from a bronze original
8 heads

Hint 88

scraper

Front 89

Back 89

Hellenistic
Marble 2.44m

Hint 89

Laocoon and his sons

Front 90

Mesopotamian Time Table BCE

Back 90

3500-2340 Sumerian Iraq
2180-2340 Akkadian Iraq
2150-2000 Neo Sumerian Iraq
1792-1750 Babylonian Iraq
612-539 Neo Babylonian Iraq

559-331 Persian Iran

1600-1200 Hittite Turkey

Front 91

Egypt Time Table

Back 91

2575-2134 Old Kingdom
2040-1620 Middle Kingdom
1550-1070 New Kingdom

Front 92

Aegean Time Table BCE

Back 92

3000-1600 Cycladic Cycladic
1900-1375 Minoan Crete
1400- 1100 Mycenaean Greece

Front 93

The Cycladic civilization of the Greek
islands produced

Back 93

stylized statuettes of nude
standing females and nude males playing
musical instruments.

Front 94

The Minoans from the island of Crete built

Back 94

mixed-use palaces with complex ground
plans.

Front 95

Cyclopean masonry and corbelled arches
are key characteristics of .

Back 95

Mycenaean
architecture