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137 Cards in this Set
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Hall of Bulls, Lascaux, France Paleolithic Europe 15000-30000 BCE Charcoal, pigment on rock Images created over generations Frontal views of horns |
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Apollo 11 Stones, Namibia 25000-25300 BCE Charcoal on stone Able to be transported - nomads Animals in profile |
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Camelid Sacrum in shape of canine Tequixquiac, central Mexico 14000-7000 BCE Bone Pelvic bone sculpted to resemble head of a dog |
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Beaker with Ibex motifs Susa, Iran 4200-3500 BCE Painted Terra cotta Once humans settled - trade differentiation, artisans could create pottery |
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Running horned woman Algeria 6000-4000 BCE Pigment on rock Composite view of the woman Differentiation in size btwn the woman and other figures Worked on over generations |
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Jade Cong Liangzhu, China 3300-2200 BCE Carved jade Jade was expensive - so this must have belonged to someone of high rank |
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Anthromorophic Stele - human qualities, but not human Arabian peninsula 4th millenium BCE Sandstone |
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Stonehenge Wiltshire, UK Neolithic Europe c. 2500-1600 BCE Sandstone, sarcen, bluestone Megalithic monument |
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Ambum Stone Ambum Valley, Papa New Guinea c. 1500 BCE Greywack Composite creature (made up of 2+ animals) |
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Tlatico female figurine Central Mexico 1200-900 BCE Ceramic - hundreds like it two faces - shamanistic function clay - inexpensive material |
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Terra cotta fragment Lapita, Soloman Islands 1000 BCE Incised terra cotta (which was a cheap material) Stamping was also cheap and easy |
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White Temple and it's ziggurat Uruk (modern-day Iraq) Sumerian c. 3500-3000 BCE Mud brick Oriented to the four points of a compass For Anu (sky god) |
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Palette of King Narmer Predynastic Egypt c. 3000-2920 BCE Greywacke Depicted his unification of upper and lower Egypt to create one kingdom Hierarchical scale Ground lines |
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Statues of Votive Figures Square Temple at Eshnunna (modern-day Iraq) Sumerian c. 2700 BCE Gypsum inlaid with shell and black limestone Represent humans praying to deity |
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Seated Scribe Egypt (Old Kingdom) c. 2620-2500 BCE Painted limestone Educated and of high standing - but not at level of pharaoh |
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Standard of Ur from the Royal Temple of Ur Sumerian c. 2600-2400 BCE Wood inlaid with laps lazuli, shell, limestone Ground lines War side and peace side |
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Great Pyramids and the Great Sphinx Giza, Egypt (Old Kingdom) c. 2550-2490 BCE Limestone |
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King Menurka and Queen Old Kingdom c. 2490-2472 BCE Greywacke Both representations of ideal bodies |
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Hammurabi's Code Babylon c. 1792-1750 BCE Basalt Code of Hammurabi (in cuneiform) On top is Hammurabi in high relief next to Shamash (sun god) God passing over power to Hammurabi |
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Temple of Amun-Re and Hypostyle Hall Karnak New Kingdom c. 1550 BCE (Temple) c. 1250 BCE (Hall) Sandstone and mud brick Hypostyle: roof held up by columns |
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Akhenaton, Nefertiti, and Three Daughters Armarna Period (New Kingdom) Limestone c. 1353-1335 BCE Sunken relief Curvilinear figures (Maat-divine truth)-informal royal family Couple being blessed by Aton |
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Mortuary Temple of Hatshepsut Luxor, Egypt New Kingdom Sandstone c. 1473-1458 BCE |
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Last Judgement of Hu-Nefer, from his tomb (page from the Book of the Dead) New Kingdom c. 1275 BCE Painted papyrus |
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Tutankhamun's Tomb, innermost coffin New Kingdom c. 1323 BCE Gold with precious stones Nemes headdress and fake beard |
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Audience hall (apadana) of Darius and Xerxes Persepolis, Iran c. 520-465 BCE Limestone |
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Lamas from the citadel of Sargon II Neo-Assyrian c. 720-705 BCE Alabaster Huge in size Meant to scare away intruders |
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Culture:Mycenaean
Title: Lion Gate at Mycenae Work Type: architecture Date: c. 1250 BCE Female architect Helladic Warrior culture - buildings constructed with defense in mind Prosperous with access to the sea, but also vulnerable to attack Only entrance into walled city Monoliths holding up the lintel Corbeled arch Lions were originally on it - trinity: harmony, strength, dignity |
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Title:Mycenae. Palace. Megaron. Plan.
Work Type: Architecture Site: Mycenae, Greece Style Period: Mycenaean Throne with circular hearth, with four wooden pillars surrounding it Two layers of defense before entering where the royals were |
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Culture:Helladic
Title: Mycenae (Extinct city) Title: View: tholos tomb (Treasury of Atreus); view of the dromos and doorway Date: c. 1350-1250 BCE Beehive Tombs Greatest example of arched building without support before Pantheon by Greeks Where king was buried (with his gold and silver) |
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Culture:Mycenaean
Title: So-called Mask of Agamemnon Work Type: metalwork Date: 16th century BCE Believed to be of king Agamemnon but is 300 years too late Details on eyes and ears are generic but beard is detailed
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Title:Inlaid Dagger: Lion Hunt found Tombs IV in Mycenae
Date: c. 5000-1000 BCE Material:bronze, gold, silver, niello Subject: Metalwork Niello was a combo of silver, bronze, and a earth substance Inlaid Decorative burial good, not actually used for battle.
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Creator:Unknown
Title: Female Figure Date: Bronze Age, Early Cycladic II, 2600-2400 BCE Material: Marble, Spedos variety Put on top of burial mounds for good luck in the after life Painted Ranged in size depending on wealth Not like the typical fertility figures with emphasized sexual figures |
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Culture:Minoan
Title: Pilgrim Flask with Octopus (Octopus Amphora) Work Type: ceramics Date: 1500-1450 BCE Clay Produced jugs (access to water) - all about staying cool Art about form and function - more decorative than the Myceans Horror vacui: artist used all space given
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Culture: Minoan
Title: "Palace of Minos," Knossos: colonnade of the great stairway Orig. ca. 16th-15th century B.C.E. Location: Herakleion, Crete Minoan - Mushroom - columns: large support area that is wider than the base Originally wood - this is a reconstruction |
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Culture:Minoan
Title: Knossos Palace; detail of the north entrance of the palace Work Type: architecture Date: 1700-1400 BCE Minoans started building theaters associated with the ancient Greeks Built aqueducts, storerooms, ventilated airways Not concerned about attacks, so focused on style and comfort |
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Culture: Minoan
Title: "Queen's Megaron," interior from the "Palace ofMinos," Knossos Orig. ca. 16th-15th century B.C.E. Location: Herakleion, Crete Frescos drawn onto wet walls limestone Illustrates the importance of sea creatures to their culture |
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Culture:Minoan
Title: Bull Jumping (from the palace complex at Knossos, Crete) Date: 1500 BCE Material: fresco Bull - symbol of strength Human figures had very thin waists Women - pale colors Men - bright colors |
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Culture:Minoan
Title: Fresco from Thera: Spring Work Type: fresco Date: c. 2000-1800 BCE Not depicting battle Beginning of art for the sake of art |
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Culture:Minoan
Title: Golden Vaphio cup with bull at work Work Type: metalwork Date: c. 1400-1200 BCE Very wealthy - access to gold
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Culture:Greek
Title: Large funerary amphora with geometric pattern Work Type: ceramic Date: c. 750-480 BCE Large scale ceramics emerged around 900 BCE Stationary, grave object for the afterlife Dipylon base found in Kerameikos cemetery, outside of city Geometric bands (meander) For women - figure wearing a skirt, no legs; surrounded by people in morning
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Culture:Greek, Attic
Title: Marble statue of a kouros (youth) Work Type: Statue of a kouros (youth) Period: Archaic Date: ca. 590-580 B.C. Material: Marble, Naxian Conditions for large scale statuary: cultural desire to produce art, wealth, artist class Kouros = young male; athletes culture 5 feet tall Remnants of geometric style (more angular) Used in a burial site or for a religious purpose (depict a god) Hair is stylistic choice (like strings of beads) Similar stance to Egyptian statue with left foot forward, hands at side |
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Culture:Greek
Title: Kouros from Anavyssos Work Type: sculpture Date: c. 540-500 BCE Material: marble Style Period: Archaic Funerary purpose (inscription asking people to remember Krisios - who was buried there) Archaic smile More realistic with naturalistic abdomen, less tense arms, more curved Face more human-like; wig-like style hair
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Culture:Greek, Archaic
Title: Peplos Kore Date: ca. 530 B.C.E. Material:marble with polychromy Peplos dress style was popular among mainland Greek woman Fully clothed would've had metal pin at shoulder Would have held something in one hand, other hand was made of two parts to prepare for damage--could replace part if one half was broken off Archaic smile
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Title: Temple of Zeus, Stratos
Work Type: Architecture Date: 4th century BCE Site: Stratos (Surovigli), Greece Religious sector funded much architecture Fluted columns Steps lead up to stylobate Cella/naos is inner sanctum, main area, where statue of god is located. Pronaos housed treasure Temples weren't open to the whole communityOpening of the temple faced the east to welcome sun and shine light on the statue of the god |
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Title:Greek architectural Orders - Doric, Ionic and Corinthian
Work Type: Architecture Site: Greece Style Period: Classical Doric (Northern Greece) - archaic temples; column shaft directly above stylobate, capital is simple, then architrave, then frieze (3 parts) Ionic (Asia Minor, comes a bit later) - base to column, then shaft, fluted column, known ionic temple by capital of column (volute: scroll), architrave, frieze has running narrative carved in
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Culture:Greek
Title: Temple of Hera II (Temple of Neptune)Work Type: architecture Date: c. 470-460 BCE Location:Pesto (Paestum), Italy Style Period: Archaic Very squat temple Gendered temples - (doric was masculine, ionic was feminine) Didn't distinguish which gods it was given to, only about aesthetics Location - Greek colonial outpost Would have had cult statue inside
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Culture:Greek, Late Archaic
Title: Ephebe ("Kritios Boy") Date: ca. 480 B.C. Material:marble "Severe style" - no more archaic smile Curlier hair More naturalistic body Right leg forward - more natural pose Not looking straight ahead, head slightly turned Sculpture in the round
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Interior frieze of the Parthenon Depiction of the Pan-Athenaic Procession Emotion depicted Crush of people |
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Also part of the interior frieze of the Parthenon Rarity in Athenian art to see women Idealized physical types Crush of people further emphasized |
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Also par of the interior frieze of the Parthenon This is the center scene Located above the entrance to the cella Shows an individual holding the peplos - cloth used to reclothe the statue of Athena Figures very different than other in the frieze - bigger, seated - they are Gods |
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From the East Pediment of the Parthenon Depicting the birth of Athena - but statues of Zeus and Athena no longer there, so just statues of the other gods in attendance Top image (left to right): Helios the sun god with his horses, two seated figures (Venus and Persephone), Artemis - coming to alert them of the birth Bottom image: Goddesses lounging - not caring about the birth. The one lying down is most likely Aphrodite (always highly sexualized) |
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(Not on AP list) The Erechteion Porch of the Maidens Six caryatid (female) columns Ionic order - ionic buildings more feminine Marks location of competion btwn Poseidon and Athena to be patron of Athens - Athena wins by prodcing an olive tree for the people. This porch is supposed to mark the location of the olive tree |
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Stele of Hegesoc. 410 BCEMarble
Work of funerary art for a wealthy Athenian woman Can tell she is wealthy be the fact that she is seated, resting feet on platform (not on floor), bigger/better hair/fancier clothing than the other female figure, other figure is holding out jewelry box Except for frieze at parthenon - women in Athenian art were always depicted in domestic scenes |
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Niobid Krater Greek c. 460-450 BCE Clay Illustratestwo narratives: 1) Niobe claimed that her 7 daughters and 7 sons were more beautifulthan those of the goddess Leto so Artemis and Apollo are massacring thechildren 2) Heraclesholding a club and bow with a lion skin draped over his shoulder, and Athena tohis left. Narrative of this side is not clear. No common ground line (influence of wall paintings) |
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The Parthenon Architects: Iktinos andKallikrates Located on the acropolis inAthens, Greece 5th Century BCE - Reconstructed during this time bygreek leader Pericles as part of employment project to bolster athenian economyfollowing the war Dedicated to Athena, goddess ofwar Columns made of marble,foundation made of limestone Doric order |
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Victory (Nike) Adjusting herSandal
Greek c. 410-405 BCE Part of the parapet used forprotection around the Temple of Athena Nike - parapet:railing Movement towards making things whimsical in response to plague (perhaps why a warrior figure is sexualized)
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Sarcophagus of the Spouses
520 BCE City of Caere Etruscan Depicts a couple reclining on abanqueting couch in the afterlife. Funerary art is often depicted this way toshow the couple staying together even into the afterlife. The Estrucans were unique for depicting women as equals (here showing a woman dining with a man) Greek influence - archaic smile, traditional braids, shape of feet |
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Audience Hall of Darius and Xerxes
c. 400-450 BCE Persian Hypostyle Hall Grand in size Allof the walls were adorned with reliefs that showed people of “variousethnicities” coming to present the Persian King with gifts - illustrating the tolerance of the Persians |
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Tomb of the Triclinium
Etruscan Elaborate funerary customs - painted chamber tombs for the elite Located in Tarquinia (ancient Etruscan city), Italy c. 470 BCE Contained both the remains of the deceased and luxury goods/offerings Triclinium: comes from three-couch dining room of Greco-Roman architecture Funerals were festive, not morose (as depicted in the fresco) - People at dinner party, scenes of dancers, diners wear elaborate robes - wealth, musical instruments Coloring of males (orange/brown) and females (very light) |
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Temple of Minerva
EtruscansBuilt in 1st century BCE Located in Veii (present-day Assisi), Italy Early Etruscans worshipped in nature, but around 600 BCE, began to create monumental structures for religious purposes, under the influence of the Greeks Structure was stone foundation, superstructure was wood, mud-brick, and terra cotta → more susceptible to damage and the elements (unlike the Greeks’ structures) Front porch with Tuscan columns Back portion made of three separate rooms: Triple Cella - Divine triad associated with temple (Minerva, Jupiter, Juno) Influence on Renaissance architecture: Etruscan, or Tuscan, columns: Doric columns with bases
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Apollo of Veii c. 510-500 BCE5’11 inches tall Large terracotta sculpture Sculpture placed atop structure along with other figures that formed a narrative or mythical event Figure appeared to be in fight with Hercules over Golden Hind (sacred object to Apollo’s sister Artemis) |
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Doryphoros (spear bearer) Artist: Polykleitos c. 450 BCE Marble, Roman reconstruction High classical art: perfect symmetry and beautyIdeal figure in balance - everything in proportion Original probably did not have supporting post - so proportional and balanced |
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Apoxyomenos (athlete scraping himself) Artist: Lysippos c. 330 BCE Marble, Roman copy Missing the scraping tool - stirgil Counterpoint to previous sculpture - this artist did not believe that the human form could be measured to perfection, that ppl were different (claimed he worked from nature): proportions give him more athletic look, hair more natural, not perfectly curled |
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Hermes Statue Was housed in the Temple of Hera at Olympia Artist: Praxiteles c. 330 BCE Marble, Roman copy Hermes holding the baby Dionysus (god of wine - most likely holding grapes in the original). Hermes is humanzied - unique to Greek sculpture we have seen. Most likely came with sign at temple - b/c people would not have originally known it was a god. |
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Portrait Bust of Alexander the Great Artist (of the original): Lysippos - Alexander belived that only Lysippos could capture his essence c. 330 BCE Marble, Roman copy Says Alexander and Lysippos on bust. Always portrayed as young and beardless; smooth face, long sharp nose, characteristic hair do - leonine (like a lion) |
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Alexander Mosaic Location: Pompeii 2nd or 1st century copy of 4th century original 4th century artist: Philoxenos of Eretria Alexander fighting Darius III Part that lost is Greek side Can see from proportions that Greek side is smaller, yet they are winning Darius is looking at Alexander in fear Alexander never showing wearing a helmut - reckless, powerful youth Darius is not holding a weapon - fleeing w/o protection Made up of individual vignettes (something that we have not seen in Greek art so far) Tree is like a dividing line: right side losers with chaos, left side is winners who are somewhat orderly |
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Precinct of Athena Location: Pergamon 3rd century See notes for background info |
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Victory Monument of Attalos I: Gaul and Wife Location: Pergamon c. 230-220 BCE In the Preecint of Athena Part of a 3 part monument Marble, Roman copy Depicts a situation after the Gaulls had been defeated: husband killed wife and is now kiling himself. Can see the blood runing down his chestRather kill himself and his wife than be captured by Greeks. Showing the Gaulls as worthy enemy Showing ethnic trait of GaulsShort chopy hair of wife, she is wearing a culturaly specific dress. Man has a mustache More details than past works. Have to look closely from all angles |
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Victory Monument of Attalos I: Dying Gaul Location: Pergamon c. 230-220 BCE Part of the 3 part monument Marble, Roman copy This figure was the trumpetor for Gaullic armyHas called for retreat and has laid his trumpt down Wound on his side |
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Great Altar of Zeus Location: Pergamon c. 1850-156 Frieze depicts battle btwn the gods and the giants Figures in this are over 10 feet tall Text on work: names of gods, giants, and the artists - who were brought in from all over to work on this |
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Great Altar of Zeus: Zeus Fighting Porphyrion and other Giants Location: Pergamon c. 180-156 BCE Zeus in middle - he is still bigger than the giantsWould have had something in hand (probs firebolt) - already pierced the leg of a giant Fighting three giants at once One who see from back is Porphyron - legs turn into snakes, crazy ears, holes where eyes should be (perhaps Zeus already blinded him or a stone was originally there) |
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Great Altar of Zeus: Athena Fighting Alcyoneus Location: Pergamon c. 180-156 BCE Athena in center (wearing battle helmet) So in control - almost stagnant She is moving in opp direction of Alcyoneus - gripping his hair and lifiting him off Earth (gets his power from ground b/c his mother his earth)Also snakes everywhere One snake biting giant - snakes were an attribute of Athena Giants look scared - theatrical Nike (Victory) coming to crown Athena - this battle already decided |
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Nike of Samothrace Location: Samothrace - Greek island where sailors and leaders would come to worship and make offerings c. 210-190 BCE Marble, Roman copy Not from Pergamon - but in that style This statue was one such offering She is on a boat - landing on it Winged Heightened drama - air flow, wet and clining clothing Original was probably in a fountain (even more dramatic) Can see it from side and front - In the round Hellenistis style - heightened emotion and actionIn contrast to Greek contaimnent |
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Laocoon Location: Rome and Rhodes c. 150-140 BCE Hellenistic - clear example of Hellenistic dram Marble, Roman copy Laoocon was a priest in Troy Story of Trojan war: Lacoocon was one of the two who said to not bring in the horse. Other person was Cassandra - who was cursed to tell future, but no one would believe her. Since gods had decided that Troy would fall they sent snakes to strangle Laoocon and his sons so the ppl would think he was being punished for lying Set against altar - another sign that he is a priest |
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Seated Boxer Rome c. 100-50 BCE Hellenistic sculpture Bronze (an original, not a Roman copy) Leather straps on hands - so destroyed by boxing Facial hair - unique for an athlete; older Cut on face; bad ear from getting hit so many times, swollen eye Perhaps looking up at the man who has defeated him Hellenistic - common theme of the athlete shown in a heightened, dramatic way |
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Statue of Augustus Cuirass of the Prima Porta Augustus Prima Porta - suburb of Rome; found in his wife's villa Late 1st c. BCE or early 1st c. CE Believed to be made after his death: b/c he was barefoot, which under the rule of Augustus was a sign of being deified. Under Augustus there was a rule made that once emperor died - was deified Was painted Arm out - oratory stance (Roman gesture) Started out on bad foot b/c of killing - so became a proponent of peace Began emphasizing Ceasars lineage to Aphrodite Called himself the son of Caesar baby riding dolphin, dolphins = Aphrodite Augustus idealized in art - Good hair, strong cheekbones Curiass: Breast plate Ceremonial - not for battle Celestial scene with the moon god and mother earth etc. Emphasis of peace depicted |
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Ara Pacis
Rome13-9 BCE Translation: altar of peace Narrative throughout Floral elements - acanthus leaves |
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Ara Pacis: Finding Romulus and Remus Founding of Rome pre-repub Jupiter speaking to young Romuls and Remus Augustus connecting himself to history |
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Ara Pacis: Goddess with children Augustus wanted to increase Roman pop: Augustin art - children common Wearing classical Greek garments Augustus wanting to align himself with Greek golden age - trying to usher in Roman golden age Also many plants and animals, everything in Rome is fertile |
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Ara Pacis: Procession Showing ppl coming to give offerings - like Parthenon frieze Some people depicted could not have possibly been there. EX: Agrippa - Augustus son in law. Agrippa was at war when this was built, and dead by time it was dedicated Showing all of his family members - his emphasis on the family unit In high relief to get in many tears of figures |
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House of Vetti Pompeii 2nd c. and rebuilt 62-79 CE Owned by two brothers who had made money in trade Incredibly expensive: huge in size, two impluviums, Greek style garden; typical elite home |
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House of the Faun
Pompeii 2nd century BCE Occupied an entire city block Where mosaic of Alexander the Great was found Name comes from statue of faun in fountain Atriums, pools - catching water big part of society Own kitchen and private baths; private baths only for the richest |
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Villa of the Mysteries Pompeii c. 60-50 BCE Murals with tons of red paint Depict the mysteries of Dionysus Cult of Dionysus: women would worship Dionysus and learn his mysteries. Banned by the Romans b/c women would get super drunk Depicts women wearing garment associated with marriage: yellow, purple, white See the woman progressing through the rights of the initiation of the cult - gets to point where she looks scared Next wall: parts of the mysteries taking place; menacing, interaction with the gods |
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Colosseum (Flavian amphitheater) Rome ca. 70-80 CE Major building project to get the ppl to like their rulers again Built on top of lake that Nero had built for his palace Name refers to a statue of Nero For public entertainment - ex: gladiator gamesMax capacity: 55,000 people Orderly: had to have a ticket; doors numbered, had seat numbers Better seats made out of marble (fancier, not bettering for sitting on) Levers and pulleys - chain a person and drop in a lion Supported by barrel bolts - arches upon archesDifference in levels: bottom - basic doric columns, middle - Ionic (with scrolls), top - Corinthian w/ statues and shields System to create shade: hole on top of arena, could extend sun shades Idea of Bread and Circus: how you appease the people; would hand out food to the people
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Arch of Titus
81-96 CE Date inscribed upon completion Built to celebrate victory over the Drues Original bronze sculpture of Titus with his chariot - similar to how jupiter represented vitory gods |
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Right side relief of the arch
Triumph of Titus Female reps city of Rome Two men behind Titus in roman garb represent the roman ppl and the senate Like the bronze sculputre on top of arch In the real porcession a slave would have walked with Titus to remind him he was not a god - keep his humanity so he would not be cursed |
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Left side relief of the arch
Spoils of Jerusalem Roman soldiers barying what they pillaged from Jerusalem - most importantly the menorah; seems heavy Walking into the arch - procession to celebrate victory |
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Baths of Caracalla
211-217 CE Caracalla was another roman emperor Emperors would build baths to build popularity with the people One of the largest baths Very organized Business deals were made at the baths, places for ppl to commune Started building out of concrete (they were the first ones), and then put bricks on exterior Much more stable Were able to adjust temps of bath Male and female baths seperated Mosaic tiles |
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The Pantheon Concrete with brick outerlay Pantheon = coming from the gods 118-136 CE Hadrian was the emperor who constructed this. Inscribed so we know date of construction Burnt down the first time they tried to built itOculus: Hole on top so light can seep in Set up so that they could drain out water Designed so that yours eyes would travel from bottom to top 3 key elements of roman temples: Pediment (triangular shape supporting the coulmns), Porch (entrace) , Podium (base) First temple to merge theese 3 elements with round element (the rotunda) Marble going up rotunda Colors and stone to rep weath and intelligance of empire (complicated constuction) Coffered Dome - ridges affected how light came in via oculus Gateway to the heavens Ppl worshipped here - most roman temples were not worshipped at Hadrian also used it as meeting place for the senate; beginning of blurring btwn church and state (causing some uproar) |
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Fourm of Julius Ceaser
Bought land with own money, once constucted gave it back to Rome 51 BCE Constructed temple to himself (very controversial to ppl who did not believe in the connection)Outside temple he built statue of his fave horse Fora - pulral of forums Fora were meeting places for the ppl Emperors built fora as way to have a legacy |
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Forum of Pompeii
Meeting places - political and civil |
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Forum of Augustus
42-2BC Made up of shops and business offices Across from the forum of Julius Caesar Mini oculus |
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Temple of Mars Ultor
Built by Augustus to avenge death of Ceaser |
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Forum of Trajan Rome 106-112 CE Used his spoils of war to build forumHuge market place in forum Concrete faced with brick; marble columns Column with statue of Trajan at top - his gravesite First time in roman history that someone was buried in public place Also shops surrounding the exterior of the marketplace Dont know which gods were worshipped at the altars |
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Column of Trajan Has illutrations of the two wars he fought But they cannot be seen well Less for spectators, but more to illistrate what Trajan wrote in his book Romans on horses; roman skirt and cape Dacinians were not on horses; looked like they were losing; simple clothes |
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Trajan Markets Also political center Where freed slave trials were held Epi center of daily life |
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Ludovisi Battle Sarcophagus Rome 250-260 CE Marble Owned by a cardinal named Ludovisis Shift in burials in late imperial period, before everyone was cremated, now ppl were being buried in sarcophagui General insanity in the representation of people in late period No longer in straight lines as we have seen before Shows Romans fighting barbarians (probs the goths) Moving away from calssical ideals (ancient greek no longer so important) Center guy is general whose sacrophagus this isHe is shown as brave with his arms stretched out rigding in to battle (open hand, weaponless) Intense high relief |
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Porphyry Tetrarchs Venice 305 Left: dictatorbeard, showing age Right: Ceasaryounger, beardless Hugging, supporting each other Less muscular, less attention to the body, kind of short and stubby Not proportioned Military dress, not in togas Very serious, frowning Not a time of greatness System of succession was breaking down when this was made |
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Arch of Constantine Rome 312-315 CE Triple arch Incredibly large Frieze running across top Depicts war he fought to become the emperorDepictions of other emperors, with his face on them Took Roman monuments, and stuck them on his arch- linking himself to well known rulers of the past Some original works |
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Arch of Constantine: Siege of Verona Constantine and his troops taking Verona Single scene in a rectangle Constantine stands in the back watching over the battle holding a reef - sign of victory (saying that he has already one) More schematic than the battles on the column of Trajan - this is not as accurate a depiction of battle |
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Arch of Constantine: Battle of the Milvian Bridge Depicts his fight with the other dictator Claims that the christian helped him win…christianity becoming much more mainstream When he wins, Constantine legalizes christianity |
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Arch of Constantine: Constantine on the Rostra Constantine on platform (Rostra) addressing the people Hierarchical scale - he is bigger and standing in front Beginning of the medieval style Less emphasis on differentiating the bodies Ppl becomes backgrounds His head is missing again Head was always made separately and attached later |
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Same image as greek chapel |
Catacomb of Priscilla Rome c. 200-400 CE Right outside of Rome (b/c it was illegal to have them in the city) Where jews and christians were buried Named after Priscilla because it was built on her property Originally for her family, but then expanded 5 miles of passageways |
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Catacomb of Priscilla: Greek chapel Had a Greek chapel - where rich people were buried Simplistic frescos to look like marble |
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Catacomb of Priscilla: Orant panel Women in orant (prayer) pose She was probably buried there See her three times: Far left - her marriage Far right - seated on a birthing chair while nursing Center- in the orant pose. Think she is dead, and praying |
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Catacomb of Priscilla: Good Shepard Fresco Common motif Shows one of two ways Christ was depicted in the era: Christ as the good sheperd, Christ the teacher Very typical RomanYoung men carrying calfs on their shoulders Taking calfs to sacrifice to Athena - now with a different purpose Young, beardless Christ who looks like a Roman god Saying that Christ really cares for his flock (animal or human) Ppl in circle in orant pose |
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Sarcophagus of Junius Bassus Rome c. 359 CE (front) Wealthy Roman, Christian convert So he was buried Commissioned this sarcophagus for himself 2 registers, with 5 images on each 5 stories from old testament, 5 stories from the new - EX: Adam and Eve, Abraham and Issac, Christ entering Jerusalem on a donkey, Christ as teacher with Peter (holding keys) and Paul (holding a book) Christ looks young and Roman But there is also a sky god - to show that Christ in heaven This would be considered paganism in 200 years Transition period Grapes- used to be for Dionysus, now for the Eucharist |
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Sarcophagus of Junius Bassus (sides) Cherubs picking grapes, making wine Front so elegant , sides much cruder Only time of side would have been seen But the side is much more schematic The back would never have been seen because stuck into wall |
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Old St. Peter's Rome c. 422-432 CE a.k.a. the Vatican Commissioned by Constantine Could fit 3000-4000 people Based off of the Roman Basilica (meeting hall, law court)- b/c Christian church all about congregation Standardized set up: - wide central nave would lead to apse at top - would sometimes have transepts -Narthex: front porch -Atrium out frontExterior plain brick Interior elaborate mosaics |
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Santa Sabina Rome c. 422-432 CE Classic Roman Christian church Clerestory windows - light No pews About 100 years after St. Peters (but basically the same configuration) (but not transepts here)Corinthian columns Oil camps and illumination so ppl could see frescos |
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San Vitale Ravenna c. 526-547 CE Two levels - women on top Marble everywhere and mosaic on top |
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San Vitale The apse (mosaic in a half dome) Christ seated on globe, 4 rivers of paradise below him - last judgement scene Angels on either side - then two figures beside angels Christ handing wreath to Saint Vitale Man on other side holding church - orginial builder of the San Vitale. He is offering the church to Christ (common motief) To the left (not shown) is a mosaic of Justinian, Chirst handing wreath to Saint Vitale and Justinian |
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Justinian Panel (San Vital)
Justinian in the center Next to him is Masmanus - the current bishop of San Vitale Normally emperor would be infront - but here bishop is standing slightly farther forward (shows importance of bishop) Clerics, political figures, royal guards Justian holding the paten - bowl used to hold bread for Eucharist Gold background - holy space Emperor head of church and state: purple (royal robes) and nimbus (halo) around him |
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Theodora Panel (San Vital)
Justinian's wife Processing in the narthex of San Vitale Depicted as both royal and holy: purpple and halo Holding the chalis for the eucharist Bottom of her dress shows 3 figures - the magi giving gifts to christ - just as she is now Her inclusion in the mosaic is testament to her importance in the state Both mosaics show procession towards the Eucharist - redemtion of humanity |
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Virgin (Theotokos) and Child
St. Catherine's Monastery, Egypt 6th or 7th c. CE (early byzantine) She is surounded by two saints and two angels behind her Icons made on wood boards and painted with encaustic - (quick drying wax) Angels looking up at shaft of light shining on the virginHand of God reaching down Backgrounds always limited and figures always solemn (focus on worship of the icon) Eyes emphasized - staring into eyes of saint during prayer key to activation Greco-Roman influence in the face of Mary. She has a sideways glance - hellenistic; looks more individualized - strong nose and deeper eyes |
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Kabba
Mecca 631-2 Square stone building Inside is marble Built on top of religious spot - sight where Abraham went to sacrifice Issac (in Islamic tradition)Embedded in it is a balck stone that is meteorite (believed to be from time of Adam and Eve) When muslims prey they orient themselves towards the Kabba Muslims circle it during the Hajj Where war booty was kept |
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Dome of the Rock (exterior)
Jerusalem Late 7th century In Muslim tradition this is where Mohammad ascended into the heavens Tile outside
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Dome of the Rock (interior) Mosaic inside Exposed rock in the center - spot where Mohammad ascended Lots of crown shapes in mosaic - refernece to Kabba (where they brought the crowns of ppl they had conquered). This was another place to booty Common to reproduce important places b/c ppl did not travel muchIslamic style was mostly coppied from what the locals like - this is remaniscent of the Church of the Holy Sepulchre (octaginul shape) |
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Qibla holds the mihrab (nitch in the Qibla wall) - indications of the direction of Mecca
Minbar - the pulpit where imam wold preachMinaret- tower from which the muszzin call the prayer from (climb to the top) Maqsurah - section for the elite (upper right pictur,) screened off (screens were decorated) |
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Great MosqueDamascus - (where they wanted to be the new capital)
Built under the Umayyads 705-715 Sight of a Christian church - took design inspo: arches, columns, pediments, collonades No images: aniconic - art without images of fauna (ppl or animals) Landscapes okay - seen here Paradise on outside of building |
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Great Mosque
Cordoba, Spain Umayyad c. 785-786 CE Commissioned by first Muslim ruler in Spain Exterior court yard Colonnades Roman inspo (Ariel view) |
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Great Mosque (plan) Started out with just a courtyard, hypostyle halland just a few more rooms But then expanded - became very lavish (ended up w/ 36 piers, 546 columns) No clear focul point - have to work to figure out what direction to prey (direction of Mecca) |
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Great Mosque (exterior) Horseshoe arch - does not stop in half-circle, continues (a local style) Scalloped arches (were later added) |
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Great Mosque (hypostyle hall) Minimal horseshoe arches Double arches on top of each other Alternating voussoirs (blocks; compnents of arch alternating white and red) |
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Great Mosque at Samarra
Iraq 848-852 Made from mud brick Huge open space in the middle Hypostyle hall is not a prerequisite for a mosque Minaret in the middle - three levels high The muezzan would climb it five times a day Inspired by Roman Era lighthouses |
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Pyxis of al-Mughira Spain, Umayyad c. 968 Made of ivory - the process by which you carve ivory is called scrimshaw This type of container is made for holding cosmetics or perfumes Given to the prince of al-Mughira for his coming of age Probably would have been inlaid with jade Ivory -- great to work with, really easy to carve, durable, beautiful luster Part of a new trend in Umayyad Spain. Four medallions going all the way around: each one has some sort of pricey iconography (the one shown is two men on horse picking dates; reference to royal poetry) |
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Second (right): animals attacking each other; left: a man holding a flask (representing the Umayyad Caliph), man holding a hand (representing Abbasid Caliph), man in the middle is a musician; all represented the peace of the two Caliphates Started producing more of these goods to gift them to allied rulers |
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Golden Haggadah, Late medieval Spain, c. 1320 Some of the Jews were quite wealthy. Here we see the "Passover guidebook." Shown: plagues of Egypt. We can see how wealthy the owners were - so much gold, an incredible amount of work put into this (all handmade, in total had 56 miniatures with 4 per page). Also know that is was used - pages were stained with wine, not just made to have in the house. Jews are aniconic - for education, not for religion (to illustrate the depiction of these people for teaching purposes). Gives us a glimpse into medieval Spanish Jewish life and they way that Jewish artists were drawing from any different cultures. Faces - in the style of Christian manuscripts |
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Scenes of Liberation Starts with the death of the first born (last plague) and then seeing the Jews crossing the Red Sea and the Egyptians following them (but not represented as traditional Egyptians, more just medieval army) |
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Preparation for Passover Miriam is holding a book with a motif on it (Islamic motif, Islamic iconography). People are cleaning their homes of all leavened bread, men slaughtering sheep, purifying the utensils before Passover starts. |
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Superimposed Elephant and Two Giraffes
Frezzan Region, Libya after 8000 BCE Rock art showing animals, people (dancing and fighting) Cut into the rock using rock wild fauna style Hundreds of these in this regionBy depicting these animals they were trying to change the lving animals themselves (hoping to control that which they depicted) |
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Figure with Masklike and Horned Female FigureTassili N' Ajjier Region, Algeria
8000-6000 BCE Cave painting Women covered in spots - body scarification (ancinet practice). Done during initiation practices over the course of a lifetime. Make incision, rub an iritant - and then let it heal raised- Earliest african art was art that was on the body (before this painting even) Figure on the right is wearing a mask - tradition of masqurade |
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Great Zimbabwe
Shona peoples c. 1000-1400 CE Conical tower Circular wall Great Enclosure where gold was Not sure what this building was - but most likely a royal court Exterior walls - granite Exterior wall surround ruin - wall btwn 20 and 30 ft highwall had monoliths that may have been granaries Possibility that this fortress was a place of protection - where people would bring their cattle if they were being attacked |
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Exterior view of the Great Enclosure
Dual chevron pattern lining walls This pattern sign of roalty - b/c chevron looks like egal flying and Shona rulers were associated with eagles Kings lived on hills above the ppl - eagles lived up high Eagles touch both earth and heavans b/c they can fly, can talk to gods; the priestly status of royalty made them able to commune with godsEagles could bring rain, so were the rulers |
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Great Mosque of Djenne
Mali Founded c. 1200 CE, rebuilt in 1906-1907 Made out of adobe (mud) Urban center around Mosque - city was an Islamic center Now a UNESCO world heritage sight Yearly plastering of the Great Mosque to keep it up Wooden beams that project out are where the men climb on so they can plaster Despite being muslim, local tradtion included: topped with ostrich eggs (local symbol or fertility and purity) |
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Wall plaque form Oba's palace
Edo Period Benin (Nigeria) 16th century Palace layed out as a series of courtyards held up by wooden pillars deocrated with these plaques Plaques layed out in specific order to tell narrative of the history of the kingdom Common themes were the Oba with attendants; depictions of Europeans (mostly Pourtugese)Oba always the biggest (hierarchy of scale) and wearing collar w/ coral beads (coral is what they traded with the Pourtugese to get) Women never shown Portuguese motif influence -Riding a horse - status symbol (only for rulers) Attendants shading Oba from sun |
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Veranda Post of enthroned king and senior wife (opo ogoga)
Olowe of Ise Yoruba c. 1910-1914 Culture similar to kingdom of Benin Oba was not supposed to leaver their palace (Afin) - which were center of empire Palaces were decorated with carved doors and veranda posts Image of the Oba and his chief wife Oba seated and his feat do not touch ground (holy; prestige) Wife is the support - art of this culture show women proping up the society (were valued for their knowledge of brining life into the world - have spiritual power). Post made by one of the best builders of Yoruba - Olowe of Ise Other wife knealing at his feat; small figure holding whistle is the god Esu - was frequently depicted with the Oba (a supporter) These posts were widespread and depicted a wide variety of scences |
