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34 Cards in this Set
- Front
- Back
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Prehistoric/Paleolithic Art |
Venus of Willendorf, 32-20,000 BC artist unknown old stone age |
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Venus of Willendorf Style |
4 inches tall - nomadic people life hard, little food, high infant mortality rate = generous and rich mother (good luck, or fertility) |
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Mobilary vs Parietal art |
art you can carry vs art that stays still |
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artist often inspired by natural marks in stones |
like a pockmark becoming the belly button |
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context |
today: porn, weight loss then: life, fertility |
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context II |
based on interconnected ideas - tribes knew other tribes |
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Parthenon |
Artist: Iktynos and Kallikrates classical greek style, 5th century Athens, Greece |
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War |
the Greeks won 3/4 important battles against the Persians - built a temple to the goddess Athena (the virgin warrior, wisdom, and righteous warfare) |
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Context/Value |
Linked the winning of the battles situation to a universal truth Greeks/Persians = Civilization/Barbarism = Order/Chaos (Nike [victory]/failure) |
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Classical Period |
480-323 AD seen as the best later on, by white people |
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Secrets of the Parthenon: Acropolis |
the Parthenon is on a hill (high + city) to signify its literal and figurative spiritual importance to the Greeks |
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Secrets of the Parthenon: the rooms |
Chryselephantine (giant gold and ivory Athena) in one room |
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Parthenon Destroyed By |
used as an ammo depo and suffered a direct hit, exploding all the ammo inside |
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Alexamata: Order |
Pillars (visual rhythm) Geometric shapes (orderly) mathematical (x = 2y +1) |
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Alexamata: Refinements (intentional lack of symmetry to bring life to the temple) |
Columns (close together at the corners, slightly tapered) Stylobate/Entablature (slightly curved, distributes weight better, rain protection, earthquake protection) |
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Alexamata Theories: Functional and Organic Aesthetic |
Functional: more architecturally sound that rigid, straight geometry Organic Aesthetic: look to the world of life/life principles - use guidelines but also be unexpected - ingenious (x = 2y +1) each column is a rib: tapered to take in breath each column is a leg: spreading to distribute weight |
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Renaissance/ Rinacimento (rebirth) |
Guiding Value = integration (pulling the old Greco-Roman style into the new age of Italy especially, but also Europe. Culturally/Geographically similar 15/16th century Italians and French obsessed with old mythology/architecture/playwrites/philosophies/politics |
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Proof: differences if art |
Medieval: hieratic scale: sizing by importance (making Jesus the largest figure), vertical/layered perspective of space Renaissance: symmetric/visually weighted towards the center, quintessentially academic, horizontal perspective of space, Brunelleschi rediscovered linear perspective from Ancient Greece (orthoganelles) |
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The Room/Integration |
Artist: Raphael "The School of Athens" in the Stanzadelladegnatura (room of the signature) Pope Julius II commissioned the work in the Vatican Palace, 16th century |
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Walls |
Integration: how does each wall relate to the other? theology: the holy trinity philosophy: "the School of Athens" justice poetry |
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Ceiling Integration |
the frescoes were preceded by ceiling tondi - small circular works - represented a woman that embodies the perfect theologian, philosopher, poet, and justice. integrate above + below, any scholar would know to look up first |
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Theology and Philosophy Integration |
t = pursuit of truth by divine revelation p = pursuit of truth by logic and reason they compliment rather than compete with eachother |
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"The School of Athens" |
the philosophy wall fresco, located opposite of the theology wall |
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Painting Style |
hyper realistic - painted from busts to make the figures recognizable, academic, most important figures (Plato and Aristotle) in the center, uses orthoganelles that meet right between the two figures, |
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Architecture |
the building represents the overarching logical ideas (the vaults) + the pillars (or walls) of support you use to explain them - a metaphor for reasoning |
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Center Figure: Plato |
points up, convinced truth is in a realm that transcends humans |
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Center Figure: Aristotle |
Plato's student - points out in front of him, the source of truth is found in the observable world |
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Socrates |
Platos' teacher, also present |
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Pythagoras |
created the Pythagorean theorem, thought that numbers and proportions were mystical and divine |
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Hericleitus |
ancient greek philosopher who (INTEGRATION) doubled as the modern painter Michelangelo |
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Euclid |
father of geometry |
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Painting Style Again |
Raphael creates an intense mental imagery and engagement by painting the philosphers deep in thought and the onlookers curious for information (leaning, peeking, tugging, pointing, talking to one another) very active, mental energy |
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Raphael |
painted himself looking out at you - humorous and clever |
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Diogenes |
"the laughing philospher" - a cynic (meaning not impressed with titles/money/power). Wants to know your authentic self. Homeless and brilliant, unworried. When asked by Alexander the Great "what can I do?" replied with "you're in my sun - could you move over?" |
