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36 Cards in this Set
- Front
- Back
- 3rd side (hint)
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Facade @ Church at Yuriria, Mexico 1550-67 |
1. Representation of Spanish conquest - facade appears to be a fortress - tall and crenelated which symbolizes Christian victory over paganism 2. Native elements incorporated in Christian ideology - figures with beady eyes, bulky features and frontality - facade arranged like a mosaic - use the stone of the temple that used to be at that spot |
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Battle of Aztec and Chichimec Warriors (mural painting) Mission church at Ixmiquilpan, Mexico 1570s |
1. Imagery is discretely incorporated - similar to Aztec writing style - not very noticeable - just looks like decoration because it is very flat, dark outline, linear style 2. Aztec symbolism - representation of the Aztec re-conquest of Mexico - viewer would only understand the symbolism if they knew the history associated with the piece |
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Bom Jesus Giovanni Battista Cairato and Domingues Fernandes Goa, India 1594-1605 |
1. Jesuit harmony - resembles the Jesuit headquarters in Rome - this was headquarters in Goa - gives Jesuits an identity/brand 2. Innovative design for a new location - wrap-around facade (usually just a fancy facade and plain sides) - located in a culturally diverse cosmopolitan city so it had to make an impression |
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Manohar: Page from the Mirat al-Quds (Mirror of Holiness) Mughal India 1600-2 |
1. Lacks perspective - this style was native and does not have a European influence - use of ink and water colours - no shading - focus on patterns 2. Importance of imagery - this was a book written by Xavier and illustrated by Manohar who was court painter - understood the emotional impact european art had on the viewer |
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Sao Paolo Carlo Spinola (missionary) Macau, China 1601 (began) |
1. Chinese culture and style integrated - Chinese emperor only allowed missionary activity if it adapted to Chinese tradition - lions supporting the obelisks at the top - Virgin and Christ have a Buddhist quality 2. Standard Roman Baroque structure - facade has columns, central emphasis and pediments - native culture in the details |
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Sao Paulo Gaspar Soares Diu, India 1601 (began) |
1. Hindu Inspiration - scrolls with leaf motifs (IHS symbols made out of plants) - plants overwhelm the volutes - wrap around church 2. Volcanic rock - porus volcanic rock dissolves in the rain and needs a cover to protect it |
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The Argonautica Represented on the Arno for the Wedding of Cosimo de' Medici Mattheus Greuter 1608 |
1. Highly creative shows that lots of attention given to event - very decorative ships (swans, peacocks, sea monsters) - very expensive/elaborate - above and beyond 2. Unique opportunity to unite different social classes - aristocracy are participants/actors while lower classes observe - these types of events usually take place in private homes and are rarely public like this |
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Arch of the Mint Peter Paul Rubens 1635 |
1. Celebration of Spanish imperial power - richest silver mine in Peru (cerro rico) - wealthy/influential co-fraternity 2. Appreciation for exotic - accurate representation of animals (parrots, monkey) - Rio de Plata (not accurate but celebrates the Americas) |
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Quarant'ore Apparatus of 1650 in the Gesu, Rome Carlo Rainaldi |
1. Ephemeral being iconic - creating a monumental and famous event despite it not being permanent like architecture - sense of energy emulated - event to compete with Lent 2. Aspects of bel composto - depicting non-physical mediums in the image that contribute to the overall event - sense of divinity with angels and divine wind/light/lines - creates the atmosphere and intensity of the event |
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Compania (facade) Jean-Baptiste Gilles and Diego Martinez de Oviedo Cuzco, Peru 1651-68 |
1. Symbol of Christian conquest - Christian church on top of an Inca shrine to show their dominance - no native aspects 2. Peruvian Baroque - new forms with vertical curvature - very different from the Borromini curvature - Baroque elements - multiplication of forms |
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Giosta dei Caroselli Filippo Lauri and Filippo Gagliardi Rome, Italy 1656 |
1. Celebration to be understood by the masses - celebration of Kristina's ultimate sacrifice - not highly intellectual, want a clear message to reach the most number of people 2. Showcase the wealth of Barberini family - finance and host event outside their palace to advance their own reputation |
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Gardens at Vaux-le-Vicomte Andre le Notre Maincy, France 1657-61 |
1. Direct reference to Classicism - use of Hercules (resembles Farnese) - centralized and focal point from the chateau - clear sightlines 2. Illusionistic tricks the viewer realizes while walking - Andre thought gardens must be walked through to be understood - Hercules appears closer (oval ponds, large scale sculpture) - surprised by the canal |
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Gardens at Versailles Andre le Notre Versailles, France began 1661 |
1. Clear emphasis on iconography - more focus on fountains and statues with clear representations - Louis as Apollo, his mother as Latona 2. Technologically advanced to reconstruct nature - use of aquaducts, complicated technology to feed the fountains - requires lots of hydraulic pressure on flat marshland - many people died - complicated and expensive |
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Carriage of Christopher (from Cuzco Corpus Christi series) Cuzco, Peru 1675-80 |
1. Native ephemeral event - textiles out the window - parade floats with statues - allows the natives to express themselves politically 2. Uprising of Natives - idea of revival and rebellion (knew it was impermanent) - Christians thought the natives were submissive when in fact they were not |
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Tessin Palace Nicodemus Tessin the Younger Stockholm, Sweden 1692-1700 |
1. Creates more space with illusionistic tricks - use of stacked trapezoids to widen the area - back wall has a loggia which appears to be a second palace 2. Innovative/experimental with architectural form/space - royal architect - classical style - able to experiment with convex/concave in personal home (Baroque influence) - very unique for the amount and power of illusionistic effects for such a small space |
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Compania Diego de Adrian and others Arequipa, Peru 1698-9 (completed) |
1. Representation of Spanish conquest - dynamic spanish-baroque elements - thought it represents the Spanish monarchy/power 2. Unnoticed Andean elements - reference the Hanan/Hurin (savage vs. civilized) - decorative elements are native - natives allowed to add their own elements because they were the sculptors and masons |
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Retablo - Sao Paulo Anonymous Swahili carver Ilha de Mozambique late 17th - early 18th century |
1. Swahili effort into adornment - swahili culture focuses on highly ornate doorways and the carvers treat the retablo as if it were a door (attention) - shows that they think it is important 2. Integration of various cultures - islamic prototypes brought by Oman traders - african and arab culture (of swahili) with arabesques, scrolls and flora |
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Monastery of St. Michael Ivan Hryhorovych-Barsky and others Kiev, Ukraine 1716-8 |
1. Model for new St. Petersburg - Tsar Peter interested with West European baroque and local artist interested with emerging styles - daughter Elizabeth continued to develop this new style - Rococo/Baroque on exterior with Orthadox tradition 2. Illusions created with iconostasis - continuum with the dome to direct view upwards - gives the flat surface more liveliness |
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Altar de los Reyes @ Mexico City Cathedral Jeronimo de Balbas Mexico 1718-37 |
1. Power of the divine - juxtapose with plain, cold and monochrome walls - deep cuts and highly ornate columns appear like they cannot support anything 2. Represents the power of the Spanish King - reyes = king - justifies and legitimacy of the king's power - juxtaposed with dull walls to highlight the glory/importance of the king |
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Gardens at Chiswick House William Kent and Richard Boyle West London, UK 1729 |
1. Style emerged from painting - William Kent was a painter and wanted to create physical space inspired by Claude Lorraine - "picturesque" and natural scene with physical elements and not paint 2. Recreating the natural - unlike the highly artificial French garden style, English gardens attempt to look natural - specific arrangement to get this look, thus just as artificial as French (not as apparent) |
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Gardens at Stowe, Buckinghamsphire, UK William Kent, Lancelot Brown and others 1730s-40s |
1. English fascination with past - follies: neo-gothic church, greek temple, classical bridge - randomly distributed to look picturesque among nature 2. Perspective is highly calibrated - ponds reflect the trees perfectly - one point perspective - calibrated like a picture to make it picturesque |
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St. Andrew's Church (exterior) Bartolomeo Rastrelli Kiev, Ukraine 1747-62 |
1. Continuation of fusion style - quincunx - towers further apart promote stability - high on a hill - same verticality 2. Rococo details - looks like a jewel box - shell motifs, rocaille |
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St. Andrew's Church (interior) Bartolomeo Rastrelli Kiev, Ukraine 1747-62 |
1. Changes orthadox iconostasis with rococo elements - gives the rigid, flat and grid surface more life by adding rococo motifs (flora, fauna) - makes it more emotionally engaging like Roman churches 2. Illusions with iconostasis - crescendo of gilded stucco that directs the viewer's gaze upwards - bottom is very plain and more dense near the top - helps people feel more connected to the divine - maintains orthadox sacred hierarchy |
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Grand Staircase @ Hermiage Bartolomeo Rastrelli St. Petersburg, Russia 1754-68 |
1. Attention to the viewer's experience - use of illusions (fake sculptures), excessive staircase - meant to impress viewer by the splendor and grandosity of the space 2. Rococo creates a balanced liveliness - lots of details that give the room life and excitement - not claustaphobic because there is a harmony of forms and limited palette |
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Smolny Convent Bartolomeo Rastrelli St. Petersburg, Russia 1748 |
1. Fusion of culture creates new forms - dome and tower blend together seamlessly to create a new shape that is not Baroque or traditional orthadox 2. Balance achieved as a whole - cathedral itself it quite tall and narrow, but it is balanced by surrounding buildings - strong vertical emphasis throughout the building - looks unstable alone - way of integrating the building with its space (new concept) |
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Tsarskoe Selo Bartolomeo Rastrelli St. Petersburg 1749-56 |
1. Length is manipulated to be inclusive and welcoming - dichotomy, retablos and depth make this building approachable - rococo delight - motifs, liveliness, light colours 2. Forms help balance the movement - lots of rhythm with the varying heights and busy decorations - stabilized by protruding blocks on either end - fancy vs. plain help direct gaze (balance between opposites) |
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The Pantheon, (formerly Sainte-Genevieve) Jacques-Germain Soufflot Paris, France 1757-90 |
1. Example of power and order - originally built due to public demand for architecture (wanted to revitalize Louis XIV) - revival of classicism to represent order and purity - later symbolic of revolution and democracy - overall a statement of power 2. Represents a time of transition - merging of different styles to create a new one - tall dome on top of a classic temple - very random and breaks the rules - new structure that is decorated with classical elements - academic accuracy |
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Eating Room @ Osterly Park, Robert Adam Hounslow, England 1761 |
1. Rococo style to create a pleasant atmosphere - delicate forms, small paintings, pastel colours, gilding - in a rigid grid (not rococo) - Adam remained rococo after travels in Europe 2. Rococo elements - based off greek pottery but resembles the rococo aesthetic - wanted space to be elegant and sophisticated - wanted to revitalize antiquity ideals for modern society |
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Petit Trianon Ange-Jacques Gabriel on grounds of Versailles 1762-8 |
1. Built as an escape for high society women - country house for Mme Pompadour and Marie Antoinette to get away from the court with their friends and relax - feminine style reflected with rococo elements - small scale makes classical elements appear delicate 2. Discord between 2 styles - informal and formal - petit maison located in between 2 gardens: french formal and french informal - public spaces are fomal (enfilade) whereas private apartments are highly ornate and rococo |
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Saline de Chaux Claude-Nicolas Ledoux Arc et Senans, France 1775-9 |
1. Utopian city built to reflect the time - salt mine town during the time of the industrial revolution - idea that these people lived a healthy life and the industrial revolution and idea of factory was good for society 2. Neo-classicism imposed too aggressively - ideal for perfection that imposed on the lifestyle of the people who lived there - architecture, order of the town - people could not keep up because it was not as fluid/flexible and felt impersonal - ultimately the style was rejected |
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Barriere de la Villette Claude-Nicolas Ledoux Paris, France 1785-9 |
1. Modern take on antiquity
- simple structures are further reduced to shapes - no decoration - based on buildings like rotunda and Temple of Hera - Greek reference - more masculine and more pure 2. Reduction of form creates an impersonal impression - removed cornices and all decoration so the building appears flat - appear cold and unnatural - compare to baroque buildings which have lots of personality |
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Gardens at Het Loo anti-Versailles by Louis enemy Apeldoorn, Netherlands 1789 |
1. Dutch features in french design show nationalism - use of Tulips (valued like jewels) - references to William of Orange (Hercules, orange trees), and imagery of dutch dynasty and militia - traditional dutch walled enclosure 2. Baroque illusion of larger space - seamless transition between Het Loo and outside forest - sight lines also reference more space |
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Christ child dressed as an Inca 18th century |
1. Represents Inca rebellion - illegal image - types like this were destroyed (burned) when they were found - dress Christ statues in native clothing and would change them back when authorities passed 2. Co-existence between 2 cultures - eventually the Incas embraced him but gave him a different identity - Inca huaca - new identity - European and Incan fashion |
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Pulpit @ Bom Jesus, (church) Goa, India 18th Century |
1. Indigenous forms dominate - orange colour - frontality - unisex figures - naga (half naked) 2. Segmented cultures - european style and elements on the upper portion (less noticable) with linear organization - lower shows Hindu elements (figures, costume) and is more noticeable |
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Virgin of the Cerro Rico (Rich Hill) of Potosi 18th century |
1. Fusion of the different cultures idols - Virgin mary and cerro ricco (mother nature) combined in our being - humanization of the mountain - reduce humanity of Mary (not relatable) 2. rebellion against Europeans - illegal to depict Incas and their culture, however they do it - subversive without appearing to be to the Europeans - segmented by culture and enough evidence of Christianity to go unnoticed |
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Church of S Maria Tonantzintila (interior) Cholula, Mexico 18th century |
1. High ornamentation makes viewer appreciate divine power - highly ornate, lots of gold/detail that is spread out - no focus - confusing - appears thick but dissolved (discord) - windows intensify glitter 2. Hybridization of styles to create a new standard - native and European styles combine to something new/radical that cannot be traced back - hybridity - false ancestry - natives depict ancestors on european take of the natives (pictures) which is inaccurate |
