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219 Cards in this Set

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Prehistoric
28000-13000 BCE

"Hall of the Bulls"
Lascaux Cave, France

Prehistoric
28000-13000 BCE

"Chinese Horse"


Lascaux Cave, France

Prehistoric


28000-13000 BCE

Prehistoric
28000-13000 BCE

"Rhinoceros, Wounded Man, and Bison"


Lascaux Cave, France

Prehistoric


28000-13000 BCE

Prehistoric
28000-13000 BCE

"Stonehenge"


Salisbury Plain, Wiltshire, England


Prehistoric


28000-13000 BCE

Prehistoric
28000-13000 BCE

"Woman of Willendorf"


Breasts, Stomach, and Genitalia exaggerated


Fertility

Prehistoric


28000-13000 BCE

Prehistoric
28000-13000 BCE

"Horse"


Vogelherd Cave, Germany


Mammoth Ivory

Prehistoric


28000-13000 BCE

Egyptian


3150-1215 BCE

"Palette of King Narmer"


Hierarchy of size


Used for special occassion


Ground line

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Imotep of King Djoser"


Imotep=Step pyramid


Monumental STONE

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Pyramids of Menkaure, Khafra, and Khufu"


Pharaoh burial

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Sphinx"


Protector


Head of pharaoh, body of lion

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Khafra"


Giza, Egypt


Stright lines, right angles


Fist=Strength


Beard=Wisdom

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Menkaure and His Wife"


Giza, Egypt


She's holding him up= Family oriented

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Rahotep and Nofret"


Men: Reddish brown


Women: Beige

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Portrait of Hesy-ra"


Image of a scribe: holding pen and ink pads


Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Seated Scribe"


Old man, boobs sagging

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Ti Watching Hippopotamus Hunt"


Painted Limestone Relief


Size Hierarchy


Class distinction

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Feeding the Oryxes"


Tomb of Khnum-hotep


Images in tombs provide company for mummy


Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Temple of Hatshepsut"


Completely symmetrical

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Temple of Amun-Ra"


by Karnak


Bell capital


Bud & bell columns

Egyptian


3150-1215 BCE

Egyptian


3150-1215 BCE

"Temple of Ramesses II"


by Abu Simbel


Placed by the Nile; King Ramesses II claim to the land in Lower Nubia

Egyptian


3150-1215 BCE

Egyptian


1350-1336 BCE and 18th Dynasty

"Akhenaten"


Androgenous


Curves instead of straight lines


Longer head, rounder shoulders, rounder hips

Egyptian


1350-1336 BCE and 18th Dynasty

Egyptian


1350-1336 BCE and 18th Dynasty

"Akhenaten and His Family"


Both males and females have curves


Egyptian


1350-1336 BCE and 18th Dynasty

Egyptian


1350-1336 BCE and 18th Dynasty

"Queen Tiy"


Face isn't as long


Very realistic

Egyptian


1350-1336 BCE and 18th Dynasty

Egyptian


1350-1336 BCE and 18th Dynasty

"Queen Nefertiti"


Ideal beauty

Egyptian


1350-1336 BCE and 18th Dynasty

Egyptian


1350-1336 BCE and 18th Dynasty

"Coffin of Tutankamun"


Hook and flail over heart are agricultural symbols


Egyptian


1350-1336 BCE and 18th Dynasty

Ancient Near East


3200-490 BCE

"Goat in Thicket


Goats= Male sexuality


Flowers=Fertility

Ancient Near East


3200-490 BCE

Ancient Near East


3200-490 BCE

"Bull Capital"


Capitals are "cradles" for ceiling beams

Ancient Near East


3200-490 BCE

Ancient Near East


3200-490 BCE

"Palace of Darius and Xerxes"


Visible Egyptian elements

Ancient Near East


3200-490 BCE

Ancient Near East


3200-490 BCE

"Statues from the Abu Temple"


Possibly priests; religious

Ancient Near East


3200-490 BCE

Aegean


2500-1250 BCE

"Harvester Vase"


Mouths open=singing


Consistent figure type


Looks like acorn; food



Aegean


2500-1250 BCE



Aegean


2500-1250 BCE

"Rhyton in the shape of a Bull's Head"


Knossos, Crete


Hole beneath mouth: spout

Aegean


2500-1250 BCE

Aegean


2500-1250 BCE

"Toreador Fresco"


Broad chest, narrow waist, normal legs, long hands and feet

Aegean


2500-1250 BCE

Classical Greek


480-400 BCE

"Three Goddesses"


Marble


Classical Greek


480-400 BCE

Archaic Greek


630-480 BCE

"Temple of Aphaia"


Archaic Greek


630-480 BCE

Archaic Greek


630-480 BCE

"Achilles and Ajax Playing Dice"


Exekias


Black figure painting: detail oriented

Archaic Greek


630-480 BCE

"Snake Goddess"


Huge skirt= Good anchor


Big breasts and hips, narrow waist


Aegean


2500-1250 BCE

"Dying Warrior" East


Expressionless face

Archaic Greek


630-480 BCE

"Charioteer from Motya"


Contrapposto

Classical Greek


480-400 BCE

"Dying Warrior" West


From Temple of Aphaia


Can see muslces and tendons


Archaic Greek


630-480 BCE

"Dancing Revelers"


by Euthymides


Red-Figure


Drunk; half profile, half compositie


Detail oriented

Archaic Greek


630-480 BCE

"Kroisos from Anavysos"


National Museum, Athens


Archaeic Smile


Body emphasized, face simplified

Archaic Greek


630-480 BCE

"Diskobolos"


by Myron


Contrapposto

Classical Greek


480-400 BCE

"New York Kouros"


Bilaterally symmetrical


Torso is most important


Little volume


@ The Metro

Archaic Greek


630-480 BCE

"Doryphoros"


by Polykleitos


Had spear in hand


Concepetually-based

Classical Greek


480-400 BCE

"Propylaia"

"Riace Warrior"


Very realistic

Classical Greek


480-400 BCE

"Grave Stele of Hegeso"


Drappery


Idealized faces

Classical Greek


480-400 BCE

"Temple of Hera II"


Paestum, Italy

Archaic Greek


630-480 BCE

"Temple of Hera I"


Paestum, Italy


Archaic Greek


630-480 BCE

"Zeus (or Poseidon)"


Contrapposto


Plane

Classical Greek


480-400 BCE

"Royal Standard of Ur"


Most important on top rather than largest


Ancient Near East


3200-490 BCE

s

"White Temple"


Uruk, Iraq


Used mud and brick (not sturdy)


Ancient Near East


3200-490 BCE

s

"Female Head from Uruk"


Function Unclear


Likely had a wig to fit in ridge

Ancient Near East


3200-490 BCE

s

"Lyre from Ur"


Beard=Mental power


Bull=Physical power

Ancient Near East


3200-490 BCE

s

"Head of an Akkadian Ruler"


Beard= Power


Ancient Near East


3200-490 BCE

s

"Stele of Naram-Sin"


Similar to "Tiy Watching Hippo Hunt"


Hierarchy is diagonal

Ancient Near East


3200-490 BCE

s

"Gudea"


Big eyes


Cylindrical figure type

Ancient Near East


3200-490 BCE

s

"Stele with Law Code of Hammurabi"


Ham speaking to Sun God


Awkward, half profile view

Ancient Near East


3200-490 BCE

s

"Fugitives Crossing River"


Very low relief


Animal bladder for flotation device


Profile? Composite?

Ancient Near East


3200-490 BCE

s

"Lion Hunt"


Ancient Near East


3200-490 BCE

s

"Darius and Xerxes Giving Audience"


Hierarchy: Man sitting would go through roof


Shallow space

Ancient Near East


3200-490 BCE

s

"Figures from Cyclades"


VERY conceptual

Aegean


2500-1250 BCE

s

"Palace of Knossos"


Architecture is secular


Very colorful

Aegean


2500-1250 BCE

s

"Queen's Megaron"


Aegean


2500-1250 BCE

s

"Lioness Gate"


Mycenae, Greece


Diagonal, vertical, diagonal


Huge stones: Thought it was built by giants


Corbel Arch

Aegean


2500-1250 BCE

x

"Treasury of Atreus"


Corbel block construction


x

"Mask of Agamemnon"


Masks fit faces of the dead

Aegean


2500-1250 BCE

x

"Vaphio Cup"


Thought to be Minoan

Aegean


2500-1250 BCE

x

"Dipylon Vase"


Professor's Favourite

Geometric Greek


750 BCE

x

"Man and Centaur"


Geometric


Similar to Toreador Fresco

Geometric Greek


750 BCE

x

"Temple of Hera I"


Flat

Archaic Greek


630-480 BCE

x

"Temple of Hera II"


Diagonal roof

Archaic Greek


630-480 BCE

x

"Kore, Louvre"


Females are clothed


No potential for movement


Louvre, Paris

Archaic Greek


630-480 BCE

x

"Kore from Chios"


Archaeic Smile


Realistic clothes and hair


Balance between volume and line

Archaic Greek


630-480 BCE

x

"Battle of Gods and Giants"


Siphnian Treasury


Perceptually based


Abstract mane, detail elsewhere


Many overlapping planes

Archaic Greek


630-480 BCE

x

Douris, Eos, and Memnon


Zeus turns mourning mother in Goddess

Archaic Greek


630-480 BCE

x

"Kritios Boy"


Contrapposto


Active and passive leg


Prettiest Boy

Classical Greek


480-400 BCE

x

"Battle of the Lapiths and Centaurs"


West pediment of Temple of Zeus


Olympia

Classical Greek


480-400 BCE

x

"Propylaia"


Big building on right, step like structures to left. Congested

Classical Greek


480-400 BCE

x

"Parthenon"


Iktinos and Kallikrates


Acropolis, Athens

Classical Greek


480-400 BCE

x

"Horseman Frieze"


Overlap

Classical Greek


480-400 BCE

x

"East Freize"


Things on heads, cloth in hands

Classical Greek


480-400 BCE

x

"Temple of Athena Nike"


Squareish

Classical Greek


480-400 BCE

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Aphrodite of Knidos"


by Praxiteles


Nude female


Covering groin: Sacred source of life must be hidden from the unworthy

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Hermes"


by Praxiteles


Higher degree of realism


Holding out grapes to taunt Dionysus


More exaggerated than Classical

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Apoxyomenos"


by Lysippos


Leaves over groin: Nudes considered scandalous, genitals were taken off and replaced with leaves


Small head for body


Used to be a post from arms to thigh

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Reed Painter"


White-ground


Held perfume/oil

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Portrait Head from Delos"


Middle-aged, sagging skin, wrinkles


Expression, remorse

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Dying Gaul Trumpeter"


Transitory movement: from life to death


Cut in side, expression on face


Not everyone can look like the Greeks: Gaul jewelry, choppy moustache and hair


Hellenistic: 400BCE-100CE
Hellenistic: 400BCE-100CE
"Altar of Zeus at Pergamon"
Battle scenes
Movement in body and drappery of sculpting
Very HIGH relief
Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Apollo Belvedere"


Balanced


*Shown in book with arms cut off at elbow


Linear paneling in drappery


Still, calm face

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Nike of Samothrace"


Wind blowing against her


Transitory movement: flight to standing or vice versa

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Drunken Old Woman"


VERY old: wrinkles EVERYWHERE


Drunk: specific state of being

Hellenistic: 400BCE-100CE

Hellenistic: 400BCE-100CE

"Laocoon"


Poseidon sent a serpent after a man and his sons

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Tomb of the Reliefs"


Interior of a grass tomb


Spoons and pots: woman's tools


Grave books inside: painted

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Tomb of Hunting and Fishing"


Similar to Ti watching a hippo hunt

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Sarcophagus from Cerveeteri"


Clay is easier to sculpt

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Sarcophagus lid of Larth Tetnies and Thanchvil Tarni"

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Vulca of Veii"


Clothed man


More movement


Feet ar far apart


Similar to Archaic

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"She-Wolf"


Wolf is Etruscan, babies were added from Rome (Romulus and Remus)


Back is realistic, front is not

Etruscan: 530-100BCE

Etruscan: 530-100BCE

"Portrait of a Man"


Etruscan: 530-100BCE

Etruscan: 530-100BCE

"L'Arringatore"


Could be Roman


Clothed man


Not generic: A particular man of a particular age


Auditorical gesture: gets attention


Exaggerated Arm: Like "Zeus", arm goes down past his knee

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Temple of Portunus"


Blank frieze


Half-columns


Early roman, but looks Etruscan


Ionic

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Brutus"


Republican vs Emperial Rome


This is Republic style


Veristic: Truthful, "warts and all"

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Veristic Male Portrait"


Veristic


Not idealized at all

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Colosseum"


Arch and pier system


Doric on bottom, Ionic in middle, Corinth on top


No weak spot for it to collapse

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Pantheon"


Dedicated to all the gods


Romans figured out concrete


Made of brick and concrete


Only major Roman building still in tact


Columns are Corinth

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Augustus of Primaporta"


Roman copy of Greek sculpture


First leader of Republic Rome


Propaganda


Between idealism and veristican

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Portrait of Vespasian"


Life-sized


Some emotion, but not idealized

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Equestrian Marcus Aurelius"


Small horse (Emphasizes limbs)


Copied during Italian Renaissance

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Ara Pacis"


Based on Augustus' platform of peace

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Imperial Procession"


On Ara Pacis


Depth perception


Ground line


No negative spaces


Portraits, not just images


Illusionistic space: Space becomes more real

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Arch of Titus"


Revolution of new architecture


Strength and versitility of the arch


Arch and pier construction

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Spoils from the Temple of Jerusalem"


From Arch of Titus


Figures aren't all lined up on one plane

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Titus Riding in Triumph"


From the Arch of Titus


Shallow heads behind the horses


One plane after another


Every horse turned slightly outward


Weapons are barely visible


Illusionistic space

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Column of Trajan"


Comemorates Trajan's victory


Images of army that was used to keep the peace


Not a glorification of war


Lie a comic strip


Was originally painted

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Maison Carree"


Scrolls in frieze


Corinthian columns


Well preserved


In France

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Scenes of Dionysiac Mystery Cult"


Pompeii


Looking out with architecture, looking in with art


Major loss in middle


Male figure taking the role of a female figure


Was likely from a cult

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Villa of Livia"


Building in Primaporta


Landscape


Seems like you're outside

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Ixion Room"


In Pompeii


Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Still Life with Peaches and Water Jar"


Greek wall paintings didn't survive


Roman wallpaper is the earliest


Chiaroscuro: Light and shade


Progressively drarker


Evolutionary space

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Baths of Maxentius/Constantine"


Originally for maxentius


Arch and pillar

Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Portrait of Constantine


HUGE.


Big eyes, even for this HUGE sculpture


Eyes=window to the soul


Index finger is 6ft tall


Not a portrait of Constantine, but of his POWER

 Roman: 80BCE-315CE

Roman: 80BCE-315CE

"Arch of Constantine"


Change in Roman Art


Represents a troubled empire


Puppet-like figures, squeezed together

Early Christian: 300-450CE

Early Christian: 300-450CE

"Painted Ceiling"


Catacomb


Formal


Uncomplicated


Fixed borders

Early Christian: 300-450CE

Early Christian: 300-450CE

"Old Saint Peter's"


Early Christian: 300-450CE

Early Christian: 300-450CE

"Santa Costanza"


Circle: Symbolic


Doesn't hold many people

Early Christian: 300-450CE

Early Christian: 300-450CE

"Mausoleum of Galla Placidia"


In Ravenna


Square building


Simple exterior, complex interior


Early Christian: 300-450CE

Early Christian: 300-450CE

"Good Shepard"


At the Mausoleum


Christ is the good sheperd

Early Christian: 300-450CE

Early Christian: 300-450CE

"Santa Maria Maggioire"


Christian church


Elevation of Knave


Bottom: Roman columns


Middle: Don't worry about it


Top: Windows, light

Early Christian: 300-450CE

Early Christian: 300-450CE

"Painting of Lot and Abraham"


at the Maggiore


Mosaic lends itself to linear drappery

Early Christian: 300-450CE

Early Christian: 300-450CE

"Sarcophagus of Junius Bassus"


Adam and Eve in second square on bottom


Madonna, Jesus, and John in middle top


Many iconic scenes


Christ wears a Greek philosopher's robe

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"San Vitale"


in Ravenna


Glittery gold interior when light comes in


Mosaics everywhere, even the floor


Boring outside, intricate inside


Images of most important on top

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Emperor Justinian"


at San Vitale


Bringing bread Constantine's vision image


Tall and slender with big eyes


Not exactly on a ground line


Stepping over each other's feet


Most important in middle with dark robe and halo

"Empress Theodora"


Theodora's in the middle in robe and halo


Hem of robe has Admiration of Magi


Bringing wine

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Hagia Sophia"


Christian mosaics covered by Muslim works


-Easily removable


Arch and pier construction


Giant arches


Created as a Christian church


-Changed many times


Biggest dome until Cathedral of Florence


Supposed to face Jerusalem


-Now faces Mecca


No straight lines or right angles

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Archangel Michael"


Drilled out eyes


Slight contropossto


Small; folds for easy travel


Cross with wreath=halo


Sketchy ground line, may be floating

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Jacob Wrestling the Angel"


in Vienna Genesis


Continuous narration


Most imagery in Byzantine art is in churches and books


Original had purple background and gold lettering


Paper was cow skin (expensive)

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Virgin and Child Enthroned with Saints and Angels"


Preferred Byzantine head shape: egg


Why is Madonna looking away?


-She's not the one judging you, Jesus/God is


Iconic, standard positioning of Mary


-Baby in lap; she acts as the throne of God

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"David Composing the Psalms"


in Paris Psalter


Middle east


Classical style


-David composing psalms with lyre looks like Apollo


-Companion looks like a Muse


Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Harbeville Triptych"


Folds in 3 pieces, fits in your pocket


Madonna, Jesus, and John on top


Less mportant priests on front

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Crucifixion"


in Daphni


Graphic


Blood coming from sternum, hands, and feet


Hard to tell if they're looking at you


Body or head in 3/4 view, eyes looking at you

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"St. Mark's"


in Venice


Chruch: Greek-like with domes in white


In Italy


Venicians were major traders with Byzantines


Monet painted this church (looks like crayon)


Elaborate exterior


Sizes of arches


Bilaterally symmetrical

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Madonna Enthroned"


Christ as a mini adult, not a baby


What looks gold actually IS gold


Chair creates an illusion of depth


Long, straight nose, small mouth

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Annunciation"


Mary getting notice of baby Jesus


Gabriel's movement is exaggerated


Strong diagonal lines


Narrations usually have 3/4 face views

Byzantine: 530-1320CE

Byzantine: 530-1320CE

"Anastasis"


Fresco (ceiling)


Paint, not a mosaic


Christ pulling the innocent from Hell


Devil tied up on the bottom


Christ looks at us

Early Medieval: 600-835

Early Medieval: 600-835

"Purse Cover"


Sutton Hoo ship burial


Stylistic elements: Interlace, animal style, gem style on border and enamel

Early Medieval: 600-835

Early Medieval: 600-835

"Symbol of St. Matthew"


from Book of Durrow


Symbol from St. Matthew is an angel


Interlace


Gem style (in his body)


Anotomical accuracy doesn't matter

Early Medieval: 600-835

Early Medieval: 600-835

"Cross Page"


from Lindisfarne Gospels


Each part of pattern resembles a Christian symbol


Formed from animal interlace


Latin Crest, but in London

Early Medieval: 600-835

Early Medieval: 600-835

"St. Matthew"


from Lindisfarne Gospels


Angel with Matthew


Flat Space


Diagonal= recession/death


Book tilted towards us= most important

Early Medieval: 600-835

Early Medieval: 600-835

"Chi Rho Iota"


from Book of Kells


Interlace


Animal style


Humans in image


Many heads and torsos

Early Medieval: 600-835

Early Medieval: 600-835

"Animal Head"


Oseberg burial ship


Similar to Chi Rho Page


Gemstone style, interlace, and animal style

Carolinigan: 790-835

Carolinigan: 790-835

"Equestrian Statue of Carolingian Ruler"


Might be Charlemenge


Looks like Marcus Aurelius, but is less than a foot tall while Marcus was life sized

Carolinigan: 790-835

Carolinigan: 790-835

"Christ Enthroned"


Frontal and flat


Big eyes


Exaggerated hands= blessing someone


Simple, contained outline

Carolinigan: 790-835

Carolinigan: 790-835

"St. Matthew, Gospel book of Charlemagne"


Continuation of early medival books


Local and Classical traditions


Chiaroscuro


Exaggerated hands and book


Carolinigan: 790-835

Carolinigan: 790-835

"St. Matthew, Gospel Book of Archbishop"


Electrified


Energy in drapery, hair, and background


Tilted book and hands towards us

Carolinigan: 790-835

Carolinigan: 790-835

"Psalms 43 and 44"


from Utrercht Psalter


How do you make pictures from text?

Carolinigan: 790-835

Carolinigan: 790-835

"Palace Chapel of Charlemagne"


in Aachen


Based on San Vitale


Solid looking


strong horizontals


Influence of classical past


Columns in arches

Ottonian: 970-1015

Ottonian: 970-1015

"St. Michael's"


in Hildesheim


Flat roof


Nave arcade and clear story


NO GALLERY YET


Column pier AB pattern down nave


Leading to Gothic


Element of early medieval churches

Ottonian: 970-1015

Ottonian: 970-1015

"Doors of Bishop Bernward"


in Hildesheim


Bronze


Shows biblical scenes


Ottonian: 970-1015

Ottonian: 970-1015

"Accusation and Judgement of Adam and Eve"


from Bishop Bernward Door


Perceptual


High relief figures, low relief background



Ottonian: 970-1015

Ottonian: 970-1015

"Otto III Receiving Homage"


From Gospel Book of Otto III


Weird anatomy

Ottonian: 970-1015

Ottonian: 970-1015

"Otto III Enthroned between Church and State"


From Gospel Book of Otto III


Similar to Emperor Justinian


Most important in middle


Holding staff and cross


Facial features are more realistic than rest of body

Ottonian: 970-1015

Ottonian: 970-1015

"Jesus Washing the Feet of St. Peter


From Gospel Book of Otto III


Important foreground against gold/otherworldly background


Exaggerated hands and arms


Cluster effect


Anatomy doesn't matter

Ottonian: 970-1015

Ottonian: 970-1015

"St. Luke"


from Gospel Book of Otto III


Luke holding up Old Testament prophets and angels

Ottonian: 970-1015

Ottonian: 970-1015

"Virgin of Essen"


Gold/otherworldly


Exaggerated eyes


Book and object in hand are jewel encrusted/important


Ottonian: 970-1015

Ottonian: 970-1015

"Gero Crucifix"


Anatomically accurate (more so)


Drapery is not realistic


Bony arms, huge gut


Neutral expression


Dark skin

Romanesque: 1075-1140

Romanesque: 1075-1140

"Santiago de Compostela"


Additive: Each "loaf" is easily identified

Romanesque: 1075-1140

Romanesque: 1075-1140

"Abbey church of Cluny"


Designed to be sturdy and permanent


Emphasize the vertical/Assention to heaven

Romanesque: 1075-1140

Romanesque: 1075-1140

"Abbey chuch of Fontenay"


Sturdy and solid


Can see each individual unit


Simplicity


Piers, not columns


Windows on east end= moving from dark to light

Romanesque: 1075-1140

Romanesque: 1075-1140

"Cathedral in Pisa"


Roman arches


Color


Screen on top= float up to Heaven


Flat roof interior


columns set up a rhythm


Leaning tower in background


Italians put domes over crossings

Romanesque: 1075-1140

Romanesque: 1075-1140

"Saint-Etienne"


in Caen

Romanesque: 1075-1140

Romanesque: 1075-1140

"Christ in Majesty"


Frontal


Bilaterally symmetrical besides hands


Independent drapery pattern


Closely aligned to body underneath

Romanesque: 1075-1140

Romanesque: 1075-1140

"Prophet"


South Portal of Saint-Pierre


Long and thin


Monumental scale


If it's on the building, it's Christian

Romanesque: 1075-1140

Romanesque: 1075-1140

"Gislebertus, Last Judgement"


Christ in the middle


Saved souls on his right, damned on his left

Romanesque: 1075-1140

Romanesque: 1075-1140

"Gislebertus, Eve" on north portal from cathedral of Saint-Lazare


Hand on cheek in shame


Left hand on apple

Romanesque: 1075-1140

Romanesque: 1075-1140

"St. Mark"


Gospel book from Corbie

Romanesque: 1075-1140

Romanesque: 1075-1140

"Initial I" from Greggory the Great's Moralia in Job

Romanesque: 1075-1140

Romanesque: 1075-1140

"St. John the Evangelist"


Gospel Book of Abbot Wedricus


Floral interlace

Romanesque: 1075-1140

Romanesque: 1075-1140

"Renier of Huy"


Baptismal font

Romanesque: 1075-1140

Romanesque: 1075-1140

"Bayeux Tapestry"


Secular subject matter

Romanesque: 1075-1140

Romanesque: 1075-1140

"Mouth of Hell"


Winchester Psalter

Gothic: 1140-1350

Gothic: 1140-1350

"Ambulatory"


St. Denis, Paris

Gothic: 1140-1350

Gothic: 1140-1350

"Notre Dame, Chartes"

Gothic: 1140-1350

Gothic: 1140-1350

"Notre Dame, Paris"

Gothic: 1140-1350

Gothic: 1140-1350

"Notre Dame, Amiens"

Gothic: 1140-1350

Gothic: 1140-1350

"Notre Dame, Reims"

Gothic: 1140-1350

Gothic: 1140-1350

"Sainte-Chapelle"


Paris

Gothic: 1140-1350

Gothic: 1140-1350

"Jamb Statues"


at Sainte-Chapelle

Gothic: 1140-1350

Gothic: 1140-1350

"Coronation of the Virgin, Dormition and Assumption"

Gothic: 1140-1350

Gothic: 1140-1350

"Jamb Statues, Chartres"

Gothic: 1140-1350

Gothic: 1140-1350

"Annunciation and Visitation"

Gothic: 1140-1350

Gothic: 1140-1350

"Melchizedek and Abraham"


Psalter of St. Louis

Gothic: 1140-1350

Gothic: 1140-1350

"Master Honore, David and Goliath"


from Prayer Book of Philip IV the Fair

Gothic: 1140-1350

Gothic: 1140-1350

"Signs of the Zodiac"


West Facade, Amiens

Gothic: 1140-1350

Gothic: 1140-1350

"Jean Pucelle, Betray of Christ and Annunciation"


Hours of Jeanne D'jEvreux

Gothic: 1140-1350

Gothic: 1140-1350

"Virgin of Jeanne d'Evreux"

Gothic: 1140-1350

Gothic: 1140-1350

"Seige of the Castle of Love"

Gothic: 1140-1350

Gothic: 1140-1350

"Naumberg Master, Crucifixion and Virgin and John the Evangelist"


at Naumberg Cathedral

Gothic: 1140-1350

Gothic: 1140-1350

"Ekkehard and Uta"


at Naumberg Cathedral

Gothic: 1140-1350

Gothic: 1140-1350

"Roettgen PIeta"

Early Renassiance: 1259-1342

Early Renaissance: 1259-1342

"Pisa Baptistry Pulpit"


by Nicolo Pisano

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Fortitude"


On Pisano baptistery pulpit

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Nativity"


On Pisano baptistery pulpit

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Pisa Cathedral Pulpit"


by Giovanni Pisano

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Nativity"


on Pisa cathedral pulpit

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"South Doors Baptistery"


by Andrea Pisano

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Baptism of Christ"


on South Doors

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Madonna Enthroned"


by Cimabue

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Madonna Enthroned"


by Giotto

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Arena (Scrovegni) Chapel"


by Giotto

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Christ Entering Jerusalem"


on Giotto Chapel

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Lamentation"


on Giotto Chapel

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Madonna Enthroned"


by Duccio

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Annunciation of the Death of the Virgin"


by Duccio

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Christ Entering Jerusalem"


by Duccio

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Annunciation"


by Simone Martini

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Birth of the Virgin"


by Pietro Lorenzetti

Early Renaissance: 1259-1342

Early Renaissance: 1259-1342

"Allegory of the Good and Bad Government"


by Ambrogio Lorenzetti