Art Hum Midterm

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Phidias - Athena Parthenos (Virgin)
- model of the lost chryselephantine (gold & ivory) statue

* approximately 38’ tall

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The Golden Section (ratio)
– first written about by Euclid in The Elements (300 BCE)

* sides of squares in Fibonacci sequence

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Reconstruction Drawing of the Acropolis
- Athens, Greece

* from west

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Iktinos & Kallikrates - Floor Plan of the Parthenon, Temple of Athena Parthenos
447-432 BCE

* columns: N x (2N+1)

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Exaggeration of the swelling of the stylobate on the Parthenon
447-432 BCE

* theories of refinements: compensation, exaggeration, tension
* columns (doric) meet some 4500 m above

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Erectheion, Acropolis

* ionic columns

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Metope: Lapiths versus the Centaurs

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Parthenon Frieze: Horsemen marshal procession (West) and in procession (North)

* horses - good notion of anatomy, motion

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Parthenon Frieze: Sacrificial animals and Unmounted Horsemen (North)

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Parthenon Frieze: Maidens with incense and sacrificial vessels (North)

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Maidens bringing peplos (worn by gods) to chief priest: seated deities (Athena and Hephasitos) (East)

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Reconstructions of Eastern and Western Pediment

* originally painted

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West pediment: Ilissos, river God of Athens

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East Pediment: Hestia, Dione, and Aphrodite

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Kallikrates - Temple of Athena Nike, Acropolis, Athens

* ionic columns

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Nike Adjusting her Sandal, from south side of the parapet of the Temple of Athena Nike, Acropolis

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Polykleitos - Doryphoros (Spear Bearer)
- Roman marble copy from Pompeii, Italy after a bronze original

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Kouros
- marble

* 6’1/2” high

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Praxiteles - Hermes and Infant Dionysos
- marble

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Lysippos - Apoxyomenos (The Scraper)
- marble, original bronze

* enhanced engagement with the viewer

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Pantheon

* spherical dome w/ opening (occulus) in the center - connection to the gods (houses ALL the gods)
* concrete

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Chartres, Cathedral

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Essential Architectural Developments of the Gothic Style:
> Pointed Arch
> Ribbed Groin Vaulting
> Supporting Columns
> Flying Buttress

* bigger windows
* thinner walls
* no conceiling - truth, true beauty
* "God, the divine architect"
* "anti-classical": static, not physical - just spiritual

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Exterior and aerial Views

* tallest cathedral in France

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Manuscript Illumination: Celestial City from The Trinity Apocalypse

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Giotto - Lamentation
- fresco

* renaissance - Christ as human, emotions

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Masaccio - Tribute Money
- fresco

* vanishing point - Christ's head
* contrapposto movement
* engagement with light (corresponding to the real source of light)

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Masaccio - Trinity
- Fresco

* the space can be worked out backwards from the depiction
* dove holy spirit

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Leonardo - Virgin of the Rocks
- oil on panel

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Leonardo - The Last Supper
- Fresco (not true - on dry wall)

* vanishing point - Christ's head
* references to number 3 (trinity)
* Judas reaching for bread at the same time as Jesus; holding a bag (silver?); tips over salt shaker

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Raphael - Marriage of the Virgin
- oil on panel

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Raphael - Madonna of the Meadow
- oil on panel

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Leonardo - Virgin and Saint Anne
- cartoon

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Raphael - Madonna of the Goldfinch
- oil on panel

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Raphael - Sistine Madonna
- oil on canvas

* no sense of earthly space, no landscape, no procession into depth; the Virgin is separated from the material world
* Pope Sixtus II and St. Barbara
* altarpiece (not for private collection)
* interaction with viewer, Raphael - "choreographer"

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Raphael - Maddalena Strozzi Doni
- oil on panel

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Leonardo - Mona Lisa
- oil on panel

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Piero della Francesca - Duke and Duchess of Urbino (Battista Sforza and Federigo da Montefeltro)
- oil on panel

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Raphael - Baldassare Castiglione
- oil on canvas

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Raphael - Pope Leo X with Cardinals Guilio de’ Medici and Luigi de’Rossi
- oil on panel

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Raphael - Stanza della Segnatura
- 1508-11

* circles / squares - divine knowledge
* segnatura = seal (octagon in the center)

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Apollo Belvedere

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Michelangelo - Pieta
- Marble

* Mary is big
* light / shadow
* Michelangelo signed over drapery

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Michelangelo - David
- Marble (Carrare)

* tradition of Davids in Florence
* concetto of subtraction
* head / hands disproportional
* inspired by Belvedere torso & Spear Bearer

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Belvedere Torso
- Marble

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Donatello - David
- Bronze

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Verrocchio - David
- Bronze

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Michelangelo - Tomb of Pope Julius II
> reconstruction of the first plan 1505
> reconstruction of the second plan 1513
> completed tomb in S. Pietro in Vincoli, Rome

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Laocoon and his Sons
- Marble

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Michelangelo - Captives
> The Dying Slave
> Rebellious Slave
- Marble

* inspired by Laocoon and his sons

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Michelangelo - The Sistine Ceiling
- 1508-12
- fresco

* neoplatonism
* architecture (niches, structure etc.) painted!
* contrast of light and shade
* theme: Genesis

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Michelangelo - Libyan Sybil (Sistine)
- 1508-12

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Michelangelo - Cumean Sybil (Sistine)
- 1508-12

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Michelangelo - Zechariah (Sistine)
- 1508-12

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Michelangelo - Jonah (Sistine)
- 1508-12

* guides us in
* legs compensate for the curvature of the ceiling - interaction
* struggle (neoplatonism)

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Michelangelo - Ezekiel (Sistine)
- 1508-12

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Michelangelo - Jeremiah (Sistine)
- 1508-12

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Michelangelo - Ignudi (Sistine)
- 1508-12

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Michelangelo - The Flood (Sistine)
- 1508-12

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Michelangelo - The Temptation (Sistine)
- 1508-12

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Michelangelo - The creation of Eve (Sistine)
- 1508-12

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Michelangelo - Creation of Adam (Sistine)
- 1508-12

* God in movement
* tension

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Michelangelo - Separation of Land and Water (Sistine)
- 1508-12

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Michelangelo - Creation of the Sun, Moon and Plants (Sistine)
- 1508-12

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Michelangelo - Separation of Light and Dark (Sistine)
- 1508-12

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Michelangelo - Moses
- Marble

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Michelangelo - The Medici Tombs
- 1519-34 Medici Chapel

* unfinished
* neoplatonism

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Michelangelo - Last Judgement (Sistine)
- fresco

* counter-reformation
* hieratic scale again

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Bernini - David
- marble

* Baroque
* psychology
* Goliath is behind (discobulos)
* engagement w/ space
* equating w/ painting, not classical

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Bernini - The Martyrdom of St. Lawrence
- marble

* context of oppression

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Bernini - Portrait Bust of Cardinal Scipione Borghese
- marble

* tight buttons
* about to speak

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Bernini - Apollo and Daphne
- marble

* transformation

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Bernini - Pluto and Persephone
- marble

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Bernini - Cornaro Chapel, Ecstasy of St. Theresa

* total work of art
* passion
* metafictional

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Cathedral Plan

* geometry > perfection > closeness to the god

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Interior View of the Nave

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Triforium, Clerestory, and Arcade along with Elevation Drawing

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Ceiling Vaults

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- High Altar with (7) Radiating Chapels

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Labyrinth

* in the center of the floor plan

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Unfolding Plan

* golden section-based
* see religious symbols and numbers (3, 7, 12, ...) represented

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Central Portal:
> Beau Dieu (stamping on a beast)
> Christ as Judge between the Virgin and St. John with Instruments of the Passion held by angels (top)
> Resurrection of the Dead (bottom)
> The Saved Received into Heaven (middle)
> The Damned sent to Hell (middle)

* figures twice the life size;
* hieratic scale (JC - biggest)
* realistic, traditional, static

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Left Portal:
> St. Firmin
> The Invention and Procession of the Relics of St. Firmin

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Amiens Cathedral, Robert de Luzarches, Thomas de Corment, Renaud de Corment
- 1220-1269
- Western Façade, Right Portal:
> Virgin Mary (standing on Adam & Eve)
> The Dormition and Assumption of the Virgin (middle)
> Coronation of the Virgin (top)

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Raphael Stanza della Segnatura
- 1508-11
- Ceiling – Personifications:
> Theology
> Philosophy

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Raphael Stanza della Segnatura
- 1508-11
- The Disputa

* below Theology
* wafer / communion - vanishing point
* personified God - holding a globe
* 4 books - 4 gospels
* circles X squares

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Raphael Stanza della Segnatura
- 1508-11
- The School of Athens

* below Philosophy
* representation of St. Peter's basilica
* Plato ~ Leonardo?
* sculptures of Athena (wisdom) and Apollo (light)
* cartoon missing Heraclitus ~ permanence

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Raphael Stanza della Segnatura
- 1508-11
- Parnassus

* poetry, arts
* Apollo

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Michelangelo, Tomb of Pope Julius II
> reconstruction of the first plan
> reconstruction of the second plan
> completed tomb in S. Pietro in Vincoli, Rome

* "Tragedy of the Tomb"
* counter-reformation

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Michelangelo, Late Slaves
- Marble
> The Young Slave
> The Awakening Slave
> Atlas (Prisoner)

* escaping from the rock

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Michelangelo - The Medici Tombs
- 1519-34
> Tomb of Guiliano de Medici with figures of Night and Day

* active

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Michelangelo, The Medici Tombs
- 1519-34
> Tomb of Lorenzo de Medici with figures of Dusk and Dawn

* contemplative

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Michelangelo - Last Judgement (Sistine)
- fresco
> Christ and Virgin Mary

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Michelangelo - Last Judgement (Sistine)
- fresco
> The Damned Rowed by Charon