Art History Survey I Final - Fine 2600 - Ucd

Front 1

Jewish Catacomb, Villa Torlonia, Rome, Late Antiquity, 3rd century CE

Back 1

The conspicuous
representation on the Arch of Titus of the menorah looted from
the Second Temple in Jerusalem kept the memory of these treasures
alive in Rome.

Front 2

Good Shepherd, Orants, and the Story of Jonah, Catacomb of SS. Peter and Marcellinus, Rome, Late Antiquity, Late 3rd-Early 4th century

Back 2

Derived from many biblical sources, including the 23rd Psalm, this kind of image is the most popular in the Christian art of this period. The "Good Shepherd" as an image of Jesus persisted in Christian art until about 500 AD.

Front 3

The Parting of the Red Sea, Torah Niche, House Synagogue, Dura Europos, Late Antiquity, 244-45 CE.

Back 3

In paintings on the walls, the story of
Moses unfolds in a continuous narrative around the room, employing
the Roman tradition of epic historical representation. The frontal poses, strong outlines, and flat colors are pictorial devices
associated with Near Eastern art.

Front 4

St. Michael the Archangel, Ivory Panel, Constantinople, Byzantine, 6th Century CE

Back 4

Standing beneath an ornate arch, at the top of a flight of steps, the archangel holds and orb and a staff. The Greek inscription, which would have continued on the other leaf read: Receive the suppliant before you, despite his sinfulness.
This is the largest surviving Byzantine ivory panel and probably represents an imperial commission originating from Constantinople. It has been suggested that the angel was presenting the orb to an emperor, perhaps Justinian I (527-565 AD), who was depicted on the other lost leaf.

Front 5

Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia, (Interior), Byzantine, 532-537.

Back 5

it embodies both imperial power and Christian glory.
Anthemius was a specialist in geometry and optics, and Isidorus was
a specialist in physics who had studied vaulted construction. Their
crowning achievement was the dome of Hagia Sophia, which provided
a golden, light-filled canopy high above a processional space.
Procopius of Caesarea, who chronicled Justinian’s reign, claimed
poetically that the dome seemed to hang suspended on a “golden
chain from heaven.” It was rumored that Hagia Sophia was constructed
by angels; in fact, mortal builders achieved the feat in only
five years (532–537).

Front 6

Justinian as defender of the faith, (Barberini Ivory), Byzantine, mid-sixth century CE

Back 6

The emperor is accompanied in the main panel by a conquered barbarian in trousers at left, a crouching allegorical figure, probably representing territory conquered or reconquered, who holds his foot in thanks or submission, and an angel or victory, crowning the emperor with the traditional palm of victory (which is now lost). Although the barbarian is partly hidden by the emperor's huge spear, this does not pierce him, and he seems more astonished and over-awed than combative. Above, Christ, with a fashionable curled hair-style, is flanked by two more angels in the style of pagan victory figures; he reigns above, while the emperor represents him below on earth. In the bottom panel barbarians from West (left, in trousers) and East (right, with ivory tusks, a tiger and a small elephant) bring tribute, which includes wild animals. The figure in the left panel, apparently not a saint but representing a soldier, carries a statuette of Victory; his counterpart on the right is lost.

Front 7

Emperor Justinian and his Attendants, San Vitale, Ravenna, Byzantine, c.546-548.

Back 7

The rulers present
these as precious offerings to Christ—emulating most immediately
Bishop Ecclesius who offers a model of the church to Christ in the
apse, as well as the Magi, wise men from the East, who brought
valuable gifts to the infant Jesus, embroidered at the bottom of
Theodora’s purple cloak. In fact, the chalice and paten offered by
the royal couple will be used by this church to offer Eucharistic
bread and wine to the local Christian community during the liturgy.
At the core of this central ceremony of Christian worship is
the identification of the sacrificial body and blood of Christ with
the substances of bread and wine, which Jesus had instructed his followers to eat and drink in remembrance of him, and which
became emblematic of his offering of himself on the cross for their
redemption. In this way the entire program of mosaic decoration
revolves around the theme of offering, extended into the theme of
the Eucharist itself.

Front 8

Vladimir Virgin, Constantinople, Byzantine, 12th Century

Back 8

“The Vladimir Madonna” – is one of the most venerated Orthodox icons and a typical example of Eleusa Byzantine iconography. The Theotokos (Greek word for Virgin Mary, literally meaning “Birth-Giver of God”) is regarded as the holy protectress of Russia.

Front 9

Virgin and Child with Saints and Angels, St. Catherine at Mt. Sinai, Byzantine, second half of the 6th century.

Back 9

Perhaps the earliest iconic image of the subject to survive. The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and Renaissance times. These representations of the Madonna and Child often take the form of large altarpieces. They also occur as frescoes and apsidal mosaics.

Front 10

The Crucifixion and Iconoclasts whitewashing an icon of Christ, Khludov Psalter, Byzantine, 850-75.

Back 10

This page and its illustration of Psalm 21, made soon after the end
of the iconoclastic controversy in 843, records the iconophiles’ harsh
judgment of the iconoclasts. Painted in the margin at the right, a scene of
the Crucifixion shows a soldier tormenting Christ with a vinegar-soaked
sponge. In a striking visual parallel, two named iconoclasts—identified
by inscription—in the adjacent picture along the bottom margin employ
a whitewash-soaked sponge to obliterate an icon portrait of Christ, thus
linking their actions with those who had crucified him.

Front 11

Andrey Rublyov, The Old Testament Trinity (Three Angels Visiting Abraham), Byzantine, 1410-1425.

Back 11

Cultural Significance.

Front 12

Hinged Clasp, Sutton Hoo, England, Anglo-Saxon, 7th century CE.

Back 12

Metalworking is one of the glories of Anglo-Saxon art. References
to splendid jewelry and military equipment decorated with
gold and silver fill Anglo-Saxon literature, such as the epic poem
Beowulf. An early seventh-century burial mound, excavated in the
English region of East Anglia at a site called Sutton Hoo (hoo means
“hill”), concealed a hoard of such treasures, representing the broad
cultural heritage that characterized the British Isles at this time—
Celtic, Scandinavian, and Classical Roman, as well as Anglo-Saxon.
There was even a Byzantine silver bowl. The grave’s still unidentified
occupant was buried in a 90-foot-long ship. The vessel held weapons,
armor, and other equipment for the afterlife, and such luxury
items as an exquisite clasp of pure gold that once secured over his
shoulder the leather body armor of its wealthy and powerful owner

Front 13

Gold Belt Buckle, Sutton Hoo, Mound 1, Anglo-Saxon, 7th century CE.

Back 13

take a look at the intricate craftwork on this gold belt buckle

Front 14

Jewelry of Queen Arnegunde, excavated from her tomb at St. Denis, Merovingian, Paris, 580-590 CE.

Back 14

intricate craftwork

Front 15

Ship, Oseberg Ship Burial, Oseberg, Norway, Norse, 815-820 CE.

Back 15

Oseberg Ship

Front 16

St. Matthew from the Book of Durrow, Hiberno-Saxon, 7th Century CE.

Back 16

St. Matthew from the Book of Durrow

Front 17

Carpet Page, Book of Durrow, Hiberno-Saxon, 7th Century CE.

Back 17

Cultural Significance.

Front 18

The Evangelist Matthew, Lindisfarne Gospels, Hiberno-Saxon, 710-725 CE.

Back 18

The Lindisfarne Gospels is a Christian manuscript, containing the gospels of Matthew, Luke, Mark, and John and the life and teachings of Jesus Christ. The manuscript was used for ceremonial purposes to promote and celebrate the Christian religion and the word of God (BBC Tyne 2012). Because the body of Cuthbert was buried in Lindisfarne, Lindisfarne became an important pilgrimage destination in the 7th and 8th centuries and the Lindisfarne Gospels would have contributed to the cult of Saint Cuthbert (BBC Tyne 2012).

Front 19

Chi-Rho Page, Book of Kells, Hiberno-Saxon, 9th Century.

Back 19

Cultural Significance.

Front 20

Carvings, Stave Church, Urnes, Norway, Norse, 12th Century CE.

Back 20

Cultural Significance.

Front 21

Equestrian portrait of Charles the Bald (grandson of Charlemagne), Carolingian, Ninth century.

Back 21

Cultural Significance.

Front 22

Interior of the Palace Chapel of Charlemagne. Aachen, Carolingian, 792-805.

Back 22

Cultural Significance.

Front 23

St. Matthew, Coronation Gospels, Carolingian, Early 9th Century (after 800).

Back 23

Cultural Significance.

Front 24

Saint Matthew. Folio 18. Ebbo Gospels, from Hautevillers, Carolingian, c.816-835.

Back 24

Cultural Significance.

Front 25

Doors, commissioned by Bishop Bernward for Saint Michael’s, Ottonian, 1015.

Back 25

Cultural Significance.

Front 26

Exterior, Saint-Martin-du-Canigou, French Pyrenees, Romanesque, 1001-1026.

Back 26

Cultural Significance.

Front 27

Reconstruction Drawing of the Third Abbey Church at Cluny, Looking East, Romanesque, 1088-1130.

Back 27

Cultural Significance.

Front 28

Nave, Abbey Church of Notre-Dame, Fontenay, Romanesque, 1139-1147.

Back 28

Cultural Significance.

Front 29

Christ in Majesty, South Portal, Priory Church Moissac, Romanesque, 1115.

Back 29

Cultural Significance.

Front 30

Hildegard and Volmar, from Liber Scivias of Hildegard of Bingen, Romanesque, 1150-1175.

Back 30

Cultural Significance.

Front 31

Reliquary statue of Sainte Foy (St. Faith), Conques, France, Romanesque, 9th-10th centuries.

Back 31

Cultural Significance.

Front 32

Transept, Cathedral, Santiago de Compostela, Romanesque, 1078-1122.

Back 32

Cultural Significance.

Front 33

Giselbertus (?), Last Judgment Tympanum, Autun Cathedral, Romanesque, 1120-1130, or 1130-1145.

Back 33

Cultural Significance.

Front 34

Tympanum, Ste. Madeleine, Vezelay, France, Romanesque, 1120-1132.

Back 34

Cultural Significance.

Front 35

The Bayeux Embroidery, Bayeux, France, Romanesque, 1070-1080.

Back 35

Cultural Significance.

Front 36

Ambulatory and Radiating Chapels, St. Denis, Paris, France, Early Gothic, 1140-1144.

Back 36

Cultural Significance.

Front 37

West Façade, Chartres Cathedral, Early Gothic, 1134-1260.

Back 37

Cultural Significance.

Front 38

Jambs, Royal Portal West Façade, Chartres Cathedral, Early Gothic, 1145-1155.

Back 38

Cultural Significance.

Front 39

Rose Window and Lancets, Chartres Cathedral, High Gothic, 1230-1235.

Back 39

Cultural Significance.

Front 40

Annunciation and Visitation, Jambs, West Portal, Reims Cathedral, High Gothic, 1230-1250.

Back 40

Cultural Significance.

Front 41

Upper Chapel Ste. Chapelle, Paris, High Gothic, 1239-1248.

Back 41

Cultural Significance.

Front 42

Virgin and Child, originally from St. Denis, Late Gothic, c. 1324-1339.

Back 42

Cultural Significance.

Front 43

Jean Pucelle, Betrayal of Judas and the Annunciation, the Book of Hours of Jeanne d’Evreux, Late Gothic, 1325-1328.

Back 43

Cultural Significance.

Front 44

Small Ivory Chest with Scenes of Courtly Romances, Late Gothic, 1330-1350.

Back 44

Cultural Significance.

Front 45

Giotto di Bondone, Virgin and Child Enthroned, Late Gothic, 1305-1310.

Back 45

Cultural Significance.