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75 Cards in this Set
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Temple of Vesta Tivoli, Italy Roman Republic -Round/tholos temple, greek inspired -Travertine Corinthian columns -Made from concrete |
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Man with Portrait Busts of Ancestors Roman Republic -Reflects importance patricians put on genealogy -Heads may be reproductions of wax or terracotta portraits |
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Funerary Relief with the Gessii Roman Republic -Freedmen often depicted themselves & their former owners on the facades of their tombs to celebrate their freedom & new statuses as citizens -Depicts the living & dead side by side |
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House of Vetti Pompeii Roman Republic -Roman houses of this type were inward looking in nature -Resembles the plan of a basic Etruscan house -Had peristyle garden behind the atrium |
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House of Vetti Pompeii Roman Republic -Atrium, Peristyle |
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House of Vetti Roman Republic Pompeii -Ixion Room (Fresco) |
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Dionysiac Mystery Frieze Fresco Roman Republic -Villa of Mysteries at Pompeii -Used to celebrate Dionysos in private -Illustrated all females (with exception of 1 boy) interaction with mythological figures |
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Denarius with Julius Caesar Silver Roman Republic -Standard Roman coin from which the word "penny" derives -Roman coins were used to mold public opinion in favor of the ruler by announcing his achievements |
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Portrait of Augustus as General Marble Early Empire -Augustus' head emulates the idealized Polykleitan youths head in overall shape -Details of the statue carry political messages -Augustus was depicted in many different ways, in this instance he is portrayed as a general |
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Ara Pacis Augustae Marble Early Empire -Monument celebrating Augustus' best achievement, the establishment of peace -Includes a relief of Aeneas making a sacrifice, Aeneas is one of Augustus' forefathers |
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Pont-du-Gard Nimes, Early Empire -Aqueduct bridge, water flowing over by gravity alone -The harmonious proportional relationship between the larger & smaller arches reveals that the engineer who designed this had a keen aesthetic sense |
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Colosseum Rome, Early Empire -Also known as the Flavian amphitheater -By building over Nero's artificial lake, Vespasian reclaimed Nero's private land for the public -Named for its location beside the Colossus of Nero, 120 ft tall statue |
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Portrait Bust of Flavian Women Marble Early Empire -Purpose not to project Republic virtues but to present the subject as beautiful -Corkscrew curls punched out using a drill instead of a chisel |
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Arch of Titus Marble Early Empire -Triumphal arch, erected by Titus' younger brother after he died -The capitals are Roman Composite capitals |
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Spoils of Jerusalem Marble, Early Empire, Arch of Titus -Represents the triumphal parade of Titus down the sacred way after his return from the conquest of Judaea -The illusion of movement in this relief is convincing -The sculptor rejected the Classical low-relief style of the Ara Pacis in favor of extremely deep carving which produces strong shadows |
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Triumphs of Titus Marble, Early Empire, Arch of Titus -Personification of the Roman goddesses Victory, Honor, and Valor -1st known instance of the divine interacting with humans on an official Roman historical relief -Honors the deified Titus, not the living emperor |
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Forum of Trajan Rome, High Empire, Apollodorus of Damascus -Features a basilica with clerestory lighting, 2 libraries, & a commemorative column -Funded by the spoils from two Dacian wars -Rome's largest forum |
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Column of Trajan Marble, High Empire -Once had a heroically nude statue of the emperor at the top -Decorated with Dacian arms & armor -Served as Trajan's tomb -Most noteworthy for its spiral frieze |
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Pantheon Rome, High Empire -Made out of concrete & revealed the medium's full potential -Had a traditional facade that masked the cylindrical drum & hemispherical dome -Interior symbolized both the orb of the Earth & the vault of the heavens |
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Equestrian Statue of Marcus Aurelius Rome, High Empire -Gilded bronze -Depicted much larger than any human is to their horse -This survived the melting down of bronze statues in the Middle Ages bc it was mistaken to be of Constantine |
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Battle of Romans & Barbarians (Ludovisi Battle Sarcophagus) Marble, High Empire -Piling of figures is a rejection of Classical perspective -Chaotic scene of Romans fighting on of their northern foes, probably the Goths |
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Four Tetrarchs Porphyry, Late Empire -In group portraits, artists always depicted the 4 corulers as identical partners in power, not distinct individuals -Purple marble -Idealism, naturalism, individualism, & personality have disappeared |
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Arch of Constantine Rome, Late Empire -Commemorates Constantine's defeat to Maxentius -Reuse of statues & reliefs, added labels, lack of creativity (?) -Reuse were carefully selected to associate Constantine with "good emperors" |
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Portrait of Constantine Marble, Late Empire -Revives the Augustan image of a perpetually youthful ruler -Colossal head is one fragment of an enthroned Jupiter-like statue of the emperor holding the orb of world power |
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(Exterior)Aula PalatinaTrier Germany, Late Empire
-Austere exterior which embodies early christian or later roman architecture -However, use of glass in clearstory windows allows life to be given to the exterior |
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(Interior) Aula PalatinaTrier Germany, Late Empire -Contains no aisles, only a wide space with two stories of large windows that provide ample light |
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Coins with Portrait of Constantine, Billion and Silver, Late Empire -Characterizes imperial roman portraiture -on the left, he is older as a tetrarch; on the right he is youthful -not synonymous with “likeness.” |
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Dura-Europos, Syria, Late Antiquity -narrative wall art in which artists tell stories with stylized gestures, no action -hierarchy of scale to suggest importance on subjects -paintings depicting episodes from the Hebrew scriptures |
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Samuel Anoints David, Dura-Europos, Syria, Late Antiquity -hierarchy of scale to suggest importance on subjects, as seen between the relation of David to the others -David wears Purple, as it was the color associated with the Roman emperor, the imperial toga from Roman state art signifies David’s royalty -The figures lack volume, stand in frontal rows, and exhibit stylized gestures—features characteristic of Late Antique art |
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Sarcophagus with Philosopher, Orant, Old and New Testament, Marble, Late Antiquity -Sarcophagus depicts the salvation of Jonah, Christ as Good Shepherd, and the baptism of Christ -two different depictions of jesus: the Good shepherd and as a baptized child -Together they make up a cross-section of the Christian family seeking a heavenly afterlife |
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Santa Costanza, Rome, Late Antiquity -Utilizes a central plan: equal dimensions around a center -would become the preferred form for byzantine churches -accommodates an ambulatory -The Santa Costanza mosaic program, however, also included subjects common in Roman funerary art, such as scenes of putti harvesting grapes and making wine |
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Suicide of Judas and Crucifixion of Christ, Ivory, Late Antiquity -One of the first known depictions of of the crucifixion of christ -Jesus is portrayed strong, emotionless, empowered and heroic -Contrast between strong, powerful mentality of Jesus on the cross to the limp, dead body of his betrayer Judas -Divine being conquers death |
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Santa Sabina, Rome, Late Antiquity -Corinthian columns of its nave arcade produce a steady rhythm that focuses all attention on the chancel arch and the apse, which frame the altar -Clerestories would have allowed natural light to illuminate frescoes -Austere exterior typic of later Roman architecture |
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West Doors of Santa Sabina, Rome, Late Antiquity - |
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Crucifixion of Santa Sabina, Rome, Late Antiquity |
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Galla Placidia, Ravenna, Late Antiquity -Small cruciform (cross-shaped) structure -Emphasis is on the tall crossing tower -fusion of the basilica and central plans |
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(Interior) Galla Placidia, Ravenna, Late Antiquity -Mosaics cover as much space as possible, in comparison to earlier mosaics which were confined to floors -In mosaics artists placed rather than blended colors |
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Barbarini, Ivory, Early Byzantine -The dynamic twisting postures of both horse and rider and the motif of the spear-thrusting equestrian emperor are familiar motifs in Roman imperial works |
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(there are other photos in textbook) |
Hagia Sophia, Constantinople, Early Byzantine -Distinguishable among architecture for the special mystical quality of the light flooding the interior -40 windows at the base of the dome create the illusion that the dome rests on the light pouring through them. -a vastness of space shot through with light, and a central dome that appears to be supported by the light it admits -Pendentive construction |
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San Vitale, Ravenna, Early Byzantine -Images and symbols covering the entire sanctuary express the single idea of Christ’s redemption of humanity and the reenactment of it in the Eucharist -Central plan |
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Theodora and Attendants, Mosaic, Early Byzantine -The artist represented the women within a definite architecture -the artist underscored Theodora’s elevated rank by decorating the border of her garment with a representation of the three magi, suggesting that the empress belongs in the company of the three monarchs bearing gifts who approached the newborn Jesus -San Vitale’s mosaics are proxies for the absent sovereigns |
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Crucifixion, mosaic, Early Byzantine -artist fully assimilated classicism’s simplicity, dignity, and grace into a perfect synthesis with Byzantine piety and pathos. The figures have regained the classical organic structure to a surprising degree -Good blend of hellenistic stylization and byzantine -Symmetry and closed space combine to convey the motionless and unchanging aspect of the deepest mystery of the Christian religion |
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Saint Mark’s, Venice, Middle Byzantine - Light enters through a row of windows vividly illuminating a rich cycle of mosaics -mosaics portray no sense of volume, perspective, light and shade as to reveal the mysteries of Christian faith. |
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Paris Psalter, Tempera on Vellum, Middle Byzantine -Example of the revival of the classical style -painter portrayed David as if he were a Greek hero |
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Theotokos (Vladimir Virgin), Tempera on Wood, Late Byzantine -demonstrates the rejection of the iconoclastic viewpoint -This painting was reproduced many times -reveals the stylized abstraction resulting from centuries of working and reworking the conventional image |
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Dome of the Rock, Jerusalem (All interior and exterior details), Umayyad Dynasty -a domed central-plan rotunda in the Late Antique tradition -wood dome, which so dominates the elevation as to reduce the octagon to functioning visually merely as its base. This soaring, majestic unit creates a decidedly more commanding effect than that of similar Late Antique and Byzantine domical structures -colorful patterning wrapping the walls like a textile is typical of Islamic ornamentation. It contrasts markedly with Byzantine brickwork and Greco-Roman sculptured decoration -At the center, below the dome, is the rocky outcropping later associated with Adam, Abraham, and Muhammad |
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Great Mosque, Damascus (All interior and exterior details), Umayyad Dynasty -Originally a byzantine church, made into an imposing mosque -New islamic symbols and architecture is apparent throughout the mosque, yet christian, byzantine, and Roman influence still exists -Roman precinct walls - stone blocks, columns, and capitals salvaged arcades reminiscent of Roman aqueducts from the earlier structures on the land -the minarets, are modifications of the preexisting Roman square towers - no zoomorphic forms, human or animal, appear in either the pictorial or the ornamental spaces |
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Great Mosque Cordoba, Spanish Umayyad Dynasty -Includes a hypostyle prayer hall -One of the largest Mosques in the islamic west -lower arches are horseshoe-shaped, a form perhaps adapted from earlier Mesopotamian architecture or of Visigothic origin -The new gates to the complex contain overlapping horseshoe-shaped arches and multi lobed arches -Example of Islamic patterning experimentation |
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Friday Mosque, Isfahan -first mosque, of hypostyle design -typical Iranian mosque plan with four vaulted iwans and a courtyard was perhaps first used in the mosque -consists of simple columns without capitals and pointed arches, typical of islamic architecture |
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Folio from the Blue Koran, Silver on blue-dyed vellum, Alhambra, Granada, Nasrid Dynasty |
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Maqsud of Kashan, Carpet from the Funerary Mosque, Wool and Silk, Safavid Dyanasty -It presents the illusion of a heavenly dome with mosque lamps reflected in a pool of water filled with floating lotus blossoms. -Extremely large carpet |
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Bihzad, Seduction of Yusef, folio of the Bustan of Sultan Husayn Mayqara, Ink and color on paper. Timurid Dynasty -Is a representation of a scene in both the bible and in the koran -This piece utilizes all the characteristics that made the artist renowned: vivid color, intricate decorative detailing, and a brilliant balance between two-dimensional patterning and perspective -Bihzad |
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Purse Cover from Sutton Hoo, Gold, glass, cloisonne garnets, Anglo-Saxon -best examples of the early medieval tradition of burying great lords in ships with rich furnishings -The combination of abstract interlace with animal figures is the hallmark of early medieval art in western Europe. |
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Wooden Portal of the State Church at Urnes, Norway, Vikings -Portal evidently shows Scandinavian religion moving towards christianity, yet still adopting viking stylization -this can be seen in the intertwining animal-and-plant decoration -It embodies the natural growth of plants and animals, yet abstracted by means of elongation |
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Cross-Inscribed Carpet Page, Lindisfarne Gospels, Tempera on Vellum, Hiberno-Saxon -exemplifies the way Hiberno-Saxon illuminators married Christian imagery and the animal-and-interlace style of the early medieval warlords. -the animal forms intermingle with clusters and knots of line, and the whole design vibrates with energy, yet is held in check by the regularity of the design and by the dominating motif of the inscribed cross. -The color is rich yet cool. which is common of anglo-saxon art |
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Chi-Rho-Iota Page, Book of Kells, Tempera on vellum, Hiberno-Saxon -he painter transformed the biblical text into abstract pattern, literally making God’s words beautiful. -The intricate design recalls early medieval metalwork. |
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Equestrian Portrait of Charlemagne, Bronze, Carolingian -ultimate model for the statuette was the equestrian portrait of Marcus Aurelius -portrayed their emperor as overly large so that the ruler, not the horse, is the center of attention -in his outstretched left hand he holds a globe, symbol of world dominion |
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Saint Matthew, Coronation Gospels, Ink and Tempera on Vellum, Carolingian -Painter created shapes using color and modulation of light and shade, not line, and defined the massive drapery folds wrapped around Matthew’s body by employing deft, illusionistic brushwork -The cross-legged chair, the lectern, and the saint’s toga are familiar Roman accessories |
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Palatine Chapel of Charlemagne, Aachen, Carolingian -First vaulted medieval structure north of the Alps -Transformed the complexity and lightness of San Vitale’s interior into simple, massive geometric form -Charlemagne’s second-story gallery followed the model of the imperial gallery at Hagia Sophia |
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Saint Michael, Hildesheim, Germany -Masterpiece of Ottonian basilica design. -Entrances are on the side. -Some ancient Roman basilicas, such as the Basilica Ulpia in the Forum of Trajan, also had two apses and entrances on the side. |
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Saint Michael’s, Hildesheim, Doors with relief Panels, Bronze -Tell the story of original sin and redemption, and draw parallels between the Old and New Testaments, as in the expulsion from Paradise and the infancy and suffering of Christ. - Technological marvels, because the Ottonian metalworkers cast each door in a single piece with the figural sculpture. |
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Schematic plan for a Monastery, Saint Gall, Switzerland, red ink on parchment -The purpose of this plan for an ideal, self-sufficient Benedictine monastery was to separate the monks from the laity. -Near the center is the church with its cloister, the monks’ earthly paradise. |
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Crucifix for Cologne Cathedral, Painted Wood, Ottonian -Early example of the revival of large-scale sculpture in the Middle Ages. -Example of the Ottonian period's interest in freestanding statuary. -It is both a statue and reliquary (a shrine for sacred relics. -A compartment in the back of the head held bread for the Eucharist. |
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Otto III Enthroned, Tempera on Vellum, Ottonian -Otto III is enthroned and holding the scepter and cross -Inscribed orb signifying his universal authority. -In a Gospel book containing some of the finest early medieval paintings of the life of Christ |
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Sainte-Foy, France, Romanesque |
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Reliquary of Sainte Foy, Gold, silver, jewels on wood core, Romanesque -Containing the skull of Saint Faith is one of the most lavish Romanesque reliquaries -Ancient Roman helmet -The monks used pilgrims' donations to pay for this. |
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Saint-Sernin, France, Romanesque -Exterior: served as place to meet during pilgrimages that held holy relicsShaped like a cross from arial view -Interior: vaults help retard fire -Groin vaulted tribune galleries buttress the naves barrel vault |
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Gislebertus, Last Judgment of Saint-Lazare, Marble, Romanesque -Christ presides over separation of the blessed and the damned (designed to scare people back into the church) - We see the suicide of judas |
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Virgin and Child, Painted Wood, Romanesque Small scale images of the holy family and saints were created to be placed on chapel altarsVirgin depicted as "throne of wisdom" |
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Hildegard Receives her Visions, vellum, Romanesque A prominent nun is shown with fire (visions) entering her brian |
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Head Reliquary of Saint Alexander, Gilt Bronze, gems, pearls, enamel, Romanesque -Idealized classical head with Byzantine-style enamels (stylistic diversity) -Plaque depicts Pope Alexander (declared a saint after his death) |
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Leaning Tower (Campanile), Pisa, Romanesque -Resembles early Christian basilica but speed, crossing dome, and facades multiple galleries make it Romanesque -Marble incrustations |
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Baptistry of San Giovanni, Florence, Romanesque -Domed octagon with Tuscan Romanesque marble paneling (from roman wall designs) -Stands in direct line of descent to the pantheon |
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Bayeux Tapestry, Embroidered Wool on Linen, Romanesque -Tells the conquerors version of history (national pride) -Recalls historical narratives of roman art -Made using 8 colors of dyed wool |
