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219 Cards in this Set
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Prehistoric |
"Hall of the Bulls"
Lascaux Cave, France |
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Prehistoric |
"Chinese Horse" Lascaux Cave, France |
Prehistoric 28000-13000 BCE |
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Prehistoric |
"Rhinoceros, Wounded Man, and Bison" Lascaux Cave, France |
Prehistoric 28000-13000 BCE |
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Prehistoric |
"Stonehenge" Salisbury Plain, Wiltshire, England
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Prehistoric 28000-13000 BCE |
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Prehistoric |
"Woman of Willendorf" Breasts, Stomach, and Genitalia exaggerated Fertility |
Prehistoric 28000-13000 BCE |
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Prehistoric |
"Horse" Vogelherd Cave, Germany Mammoth Ivory |
Prehistoric 28000-13000 BCE |
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Egyptian 3150-1215 BCE |
"Palette of King Narmer" Hierarchy of size Used for special occassion Ground line |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Imotep of King Djoser" Imotep=Step pyramid Monumental STONE |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Pyramids of Menkaure, Khafra, and Khufu" Pharaoh burial |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Sphinx" Protector Head of pharaoh, body of lion |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Khafra" Giza, Egypt Stright lines, right angles Fist=Strength Beard=Wisdom |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Menkaure and His Wife" Giza, Egypt She's holding him up= Family oriented |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Rahotep and Nofret" Men: Reddish brown Women: Beige |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Portrait of Hesy-ra" Image of a scribe: holding pen and ink pads
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Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Seated Scribe" Old man, boobs sagging |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Ti Watching Hippopotamus Hunt" Painted Limestone Relief Size Hierarchy Class distinction |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Feeding the Oryxes" Tomb of Khnum-hotep Images in tombs provide company for mummy
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Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Temple of Hatshepsut" Completely symmetrical |
Egyptian 3150-1215 BCE |
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Egyptian 3150-1215 BCE |
"Temple of Amun-Ra" by Karnak Bell capital Bud & bell columns |
Egyptian 3150-1215 BCE |
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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 |
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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 |
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Egyptian 1350-1336 BCE and 18th Dynasty |
"Akhenaten and His Family" Both males and females have curves
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Egyptian 1350-1336 BCE and 18th Dynasty |
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Egyptian 1350-1336 BCE and 18th Dynasty |
"Queen Tiy" Face isn't as long Very realistic |
Egyptian 1350-1336 BCE and 18th Dynasty |
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Egyptian 1350-1336 BCE and 18th Dynasty |
"Queen Nefertiti" Ideal beauty |
Egyptian 1350-1336 BCE and 18th Dynasty |
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Egyptian 1350-1336 BCE and 18th Dynasty |
"Coffin of Tutankamun" Hook and flail over heart are agricultural symbols
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Egyptian 1350-1336 BCE and 18th Dynasty |
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Ancient Near East 3200-490 BCE |
"Goat in Thicket Goats= Male sexuality Flowers=Fertility |
Ancient Near East 3200-490 BCE |
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Ancient Near East 3200-490 BCE |
"Bull Capital" Capitals are "cradles" for ceiling beams |
Ancient Near East 3200-490 BCE |
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Ancient Near East 3200-490 BCE |
"Palace of Darius and Xerxes" Visible Egyptian elements |
Ancient Near East 3200-490 BCE |
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Ancient Near East 3200-490 BCE |
"Statues from the Abu Temple" Possibly priests; religious |
Ancient Near East 3200-490 BCE |
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Aegean 2500-1250 BCE |
"Harvester Vase" Mouths open=singing Consistent figure type Looks like acorn; food |
2500-1250 BCE
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Aegean 2500-1250 BCE |
"Rhyton in the shape of a Bull's Head" Knossos, Crete Hole beneath mouth: spout |
Aegean 2500-1250 BCE |
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Aegean 2500-1250 BCE |
"Toreador Fresco" Broad chest, narrow waist, normal legs, long hands and feet |
Aegean 2500-1250 BCE |
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Classical Greek 480-400 BCE |
"Three Goddesses" Marble
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Classical Greek 480-400 BCE |
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Archaic Greek 630-480 BCE |
"Temple of Aphaia"
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Archaic Greek 630-480 BCE |
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Archaic Greek 630-480 BCE |
"Achilles and Ajax Playing Dice" Exekias Black figure painting: detail oriented |
Archaic Greek 630-480 BCE |
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"Snake Goddess" Huge skirt= Good anchor Big breasts and hips, narrow waist
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Aegean 2500-1250 BCE |
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"Dying Warrior" East Expressionless face |
Archaic Greek 630-480 BCE |
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"Charioteer from Motya" Contrapposto |
Classical Greek 480-400 BCE |
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"Dying Warrior" West From Temple of Aphaia Can see muslces and tendons
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Archaic Greek 630-480 BCE |
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"Dancing Revelers" by Euthymides Red-Figure Drunk; half profile, half compositie Detail oriented |
Archaic Greek 630-480 BCE |
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"Kroisos from Anavysos" National Museum, Athens Archaeic Smile Body emphasized, face simplified |
Archaic Greek 630-480 BCE |
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"Diskobolos" by Myron Contrapposto |
Classical Greek 480-400 BCE |
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"New York Kouros" Bilaterally symmetrical Torso is most important Little volume @ The Metro |
Archaic Greek 630-480 BCE |
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"Doryphoros" by Polykleitos Had spear in hand Concepetually-based |
Classical Greek 480-400 BCE |
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"Propylaia" |
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"Riace Warrior" Very realistic |
Classical Greek 480-400 BCE |
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"Grave Stele of Hegeso" Drappery Idealized faces |
Classical Greek 480-400 BCE |
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"Temple of Hera II" Paestum, Italy |
Archaic Greek 630-480 BCE |
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"Temple of Hera I" Paestum, Italy
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Archaic Greek 630-480 BCE |
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"Zeus (or Poseidon)" Contrapposto Plane |
Classical Greek 480-400 BCE |
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"Royal Standard of Ur" Most important on top rather than largest
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Ancient Near East 3200-490 BCE |
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"White Temple" Uruk, Iraq Used mud and brick (not sturdy)
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Ancient Near East 3200-490 BCE |
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"Female Head from Uruk" Function Unclear Likely had a wig to fit in ridge |
Ancient Near East 3200-490 BCE |
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"Lyre from Ur" Beard=Mental power Bull=Physical power |
Ancient Near East 3200-490 BCE |
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"Head of an Akkadian Ruler" Beard= Power
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Ancient Near East 3200-490 BCE |
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"Stele of Naram-Sin" Similar to "Tiy Watching Hippo Hunt" Hierarchy is diagonal |
Ancient Near East 3200-490 BCE |
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"Gudea" Big eyes Cylindrical figure type |
Ancient Near East 3200-490 BCE |
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"Stele with Law Code of Hammurabi" Ham speaking to Sun God Awkward, half profile view |
Ancient Near East 3200-490 BCE |
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"Fugitives Crossing River" Very low relief Animal bladder for flotation device Profile? Composite? |
Ancient Near East 3200-490 BCE |
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"Lion Hunt"
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Ancient Near East 3200-490 BCE |
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"Darius and Xerxes Giving Audience" Hierarchy: Man sitting would go through roof Shallow space |
Ancient Near East 3200-490 BCE |
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"Figures from Cyclades" VERY conceptual |
Aegean 2500-1250 BCE |
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"Palace of Knossos" Architecture is secular Very colorful |
Aegean 2500-1250 BCE |
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"Queen's Megaron"
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Aegean 2500-1250 BCE |
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"Lioness Gate" Mycenae, Greece Diagonal, vertical, diagonal Huge stones: Thought it was built by giants Corbel Arch |
Aegean 2500-1250 BCE |
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"Treasury of Atreus" Corbel block construction
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"Mask of Agamemnon" Masks fit faces of the dead |
Aegean 2500-1250 BCE |
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"Vaphio Cup" Thought to be Minoan |
Aegean 2500-1250 BCE |
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"Dipylon Vase" Professor's Favourite |
Geometric Greek 750 BCE |
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"Man and Centaur" Geometric Similar to Toreador Fresco |
Geometric Greek 750 BCE |
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"Temple of Hera I" Flat |
Archaic Greek 630-480 BCE |
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"Temple of Hera II" Diagonal roof |
Archaic Greek 630-480 BCE |
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"Kore, Louvre" Females are clothed No potential for movement Louvre, Paris |
Archaic Greek 630-480 BCE |
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"Kore from Chios" Archaeic Smile Realistic clothes and hair Balance between volume and line |
Archaic Greek 630-480 BCE |
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"Battle of Gods and Giants" Siphnian Treasury Perceptually based Abstract mane, detail elsewhere Many overlapping planes |
Archaic Greek 630-480 BCE |
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Douris, Eos, and Memnon Zeus turns mourning mother in Goddess |
Archaic Greek 630-480 BCE |
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"Kritios Boy" Contrapposto Active and passive leg Prettiest Boy |
Classical Greek 480-400 BCE |
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"Battle of the Lapiths and Centaurs" West pediment of Temple of Zeus Olympia |
Classical Greek 480-400 BCE |
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"Propylaia" Big building on right, step like structures to left. Congested |
Classical Greek 480-400 BCE |
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"Parthenon" Iktinos and Kallikrates Acropolis, Athens |
Classical Greek 480-400 BCE |
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"Horseman Frieze" Overlap |
Classical Greek 480-400 BCE |
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"East Freize" Things on heads, cloth in hands |
Classical Greek 480-400 BCE |
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"Temple of Athena Nike" Squareish |
Classical Greek 480-400 BCE |
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Hellenistic: 400BCE-100CE |
"Aphrodite of Knidos" by Praxiteles Nude female Covering groin: Sacred source of life must be hidden from the unworthy |
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Hellenistic: 400BCE-100CE |
"Hermes" by Praxiteles Higher degree of realism Holding out grapes to taunt Dionysus More exaggerated than Classical |
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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 |
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Hellenistic: 400BCE-100CE |
"Reed Painter" White-ground Held perfume/oil |
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Hellenistic: 400BCE-100CE |
"Portrait Head from Delos" Middle-aged, sagging skin, wrinkles Expression, remorse |
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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
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Hellenistic: 400BCE-100CE
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"Altar of Zeus at Pergamon"
Battle scenes Movement in body and drappery of sculpting Very HIGH relief |
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Hellenistic: 400BCE-100CE |
"Apollo Belvedere" Balanced *Shown in book with arms cut off at elbow Linear paneling in drappery Still, calm face |
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Hellenistic: 400BCE-100CE |
"Nike of Samothrace" Wind blowing against her Transitory movement: flight to standing or vice versa |
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Hellenistic: 400BCE-100CE |
"Drunken Old Woman" VERY old: wrinkles EVERYWHERE Drunk: specific state of being |
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Hellenistic: 400BCE-100CE |
"Laocoon" Poseidon sent a serpent after a man and his sons |
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Etruscan: 530-100BCE |
"Tomb of the Reliefs" Interior of a grass tomb Spoons and pots: woman's tools Grave books inside: painted |
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Etruscan: 530-100BCE |
"Tomb of Hunting and Fishing" Similar to Ti watching a hippo hunt |
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Etruscan: 530-100BCE |
"Sarcophagus from Cerveeteri" Clay is easier to sculpt |
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Etruscan: 530-100BCE |
"Sarcophagus lid of Larth Tetnies and Thanchvil Tarni" |
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Etruscan: 530-100BCE |
"Vulca of Veii" Clothed man More movement Feet ar far apart Similar to Archaic |
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Etruscan: 530-100BCE |
"She-Wolf" Wolf is Etruscan, babies were added from Rome (Romulus and Remus) Back is realistic, front is not |
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Etruscan: 530-100BCE |
"Portrait of a Man"
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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 |
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Roman: 80BCE-315CE |
"Temple of Portunus" Blank frieze Half-columns Early roman, but looks Etruscan Ionic |
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Roman: 80BCE-315CE |
"Brutus" Republican vs Emperial Rome This is Republic style Veristic: Truthful, "warts and all" |
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Roman: 80BCE-315CE |
"Veristic Male Portrait" Veristic Not idealized at all |
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Roman: 80BCE-315CE |
"Colosseum" Arch and pier system Doric on bottom, Ionic in middle, Corinth on top No weak spot for it to collapse |
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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 |
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Roman: 80BCE-315CE |
"Augustus of Primaporta" Roman copy of Greek sculpture First leader of Republic Rome Propaganda Between idealism and veristican |
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Roman: 80BCE-315CE |
"Portrait of Vespasian" Life-sized Some emotion, but not idealized |
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Roman: 80BCE-315CE |
"Equestrian Marcus Aurelius" Small horse (Emphasizes limbs) Copied during Italian Renaissance |
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Roman: 80BCE-315CE |
"Ara Pacis" Based on Augustus' platform of peace |
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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 |
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Roman: 80BCE-315CE |
"Arch of Titus" Revolution of new architecture Strength and versitility of the arch Arch and pier construction |
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Roman: 80BCE-315CE |
"Spoils from the Temple of Jerusalem" From Arch of Titus Figures aren't all lined up on one plane |
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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 |
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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 |
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Roman: 80BCE-315CE |
"Maison Carree" Scrolls in frieze Corinthian columns Well preserved In France |
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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 |
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Roman: 80BCE-315CE |
"Villa of Livia" Building in Primaporta Landscape Seems like you're outside |
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Roman: 80BCE-315CE |
"Ixion Room" In Pompeii
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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 |
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Roman: 80BCE-315CE |
"Baths of Maxentius/Constantine" Originally for maxentius Arch and pillar |
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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 |
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Roman: 80BCE-315CE |
"Arch of Constantine" Change in Roman Art Represents a troubled empire Puppet-like figures, squeezed together |
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Early Christian: 300-450CE |
"Painted Ceiling" Catacomb Formal Uncomplicated Fixed borders |
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Early Christian: 300-450CE |
"Old Saint Peter's"
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Early Christian: 300-450CE |
"Santa Costanza" Circle: Symbolic Doesn't hold many people |
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Early Christian: 300-450CE |
"Mausoleum of Galla Placidia" In Ravenna Square building Simple exterior, complex interior
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Early Christian: 300-450CE |
"Good Shepard" At the Mausoleum Christ is the good sheperd |
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Early Christian: 300-450CE |
"Santa Maria Maggioire" Christian church Elevation of Knave Bottom: Roman columns Middle: Don't worry about it Top: Windows, light |
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Early Christian: 300-450CE |
"Painting of Lot and Abraham" at the Maggiore Mosaic lends itself to linear drappery |
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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 |
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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 |
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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 |
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"Empress Theodora" Theodora's in the middle in robe and halo Hem of robe has Admiration of Magi Bringing wine |
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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 |
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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 |
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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) |
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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 |
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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
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Byzantine: 530-1320CE |
"Harbeville Triptych" Folds in 3 pieces, fits in your pocket Madonna, Jesus, and John on top Less mportant priests on front |
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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 |
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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 |
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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 |
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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 |
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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 |
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Early Medieval: 600-835 |
"Purse Cover" Sutton Hoo ship burial Stylistic elements: Interlace, animal style, gem style on border and enamel |
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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 |
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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 |
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Early Medieval: 600-835 |
"St. Matthew" from Lindisfarne Gospels Angel with Matthew Flat Space Diagonal= recession/death Book tilted towards us= most important |
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Early Medieval: 600-835 |
"Chi Rho Iota" from Book of Kells Interlace Animal style Humans in image Many heads and torsos |
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Early Medieval: 600-835 |
"Animal Head" Oseberg burial ship Similar to Chi Rho Page Gemstone style, interlace, and animal style |
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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 |
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Carolinigan: 790-835 |
"Christ Enthroned" Frontal and flat Big eyes Exaggerated hands= blessing someone Simple, contained outline |
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Carolinigan: 790-835 |
"St. Matthew, Gospel book of Charlemagne" Continuation of early medival books Local and Classical traditions Chiaroscuro Exaggerated hands and book
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Carolinigan: 790-835 |
"St. Matthew, Gospel Book of Archbishop" Electrified Energy in drapery, hair, and background Tilted book and hands towards us |
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Carolinigan: 790-835 |
"Psalms 43 and 44" from Utrercht Psalter How do you make pictures from text? |
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Carolinigan: 790-835 |
"Palace Chapel of Charlemagne" in Aachen Based on San Vitale Solid looking strong horizontals Influence of classical past Columns in arches |
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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 |
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Ottonian: 970-1015 |
"Doors of Bishop Bernward" in Hildesheim Bronze Shows biblical scenes
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Ottonian: 970-1015 |
"Accusation and Judgement of Adam and Eve" from Bishop Bernward Door Perceptual High relief figures, low relief background
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Ottonian: 970-1015 |
"Otto III Receiving Homage" From Gospel Book of Otto III Weird anatomy |
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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 |
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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 |
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Ottonian: 970-1015 |
"St. Luke" from Gospel Book of Otto III Luke holding up Old Testament prophets and angels |
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Ottonian: 970-1015 |
"Virgin of Essen" Gold/otherworldly Exaggerated eyes Book and object in hand are jewel encrusted/important
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Ottonian: 970-1015 |
"Gero Crucifix" Anatomically accurate (more so) Drapery is not realistic Bony arms, huge gut Neutral expression Dark skin |
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Romanesque: 1075-1140 |
"Santiago de Compostela" Additive: Each "loaf" is easily identified |
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Romanesque: 1075-1140 |
"Abbey church of Cluny" Designed to be sturdy and permanent Emphasize the vertical/Assention to heaven |
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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 |
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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 |
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Romanesque: 1075-1140 |
"Saint-Etienne" in Caen |
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Romanesque: 1075-1140 |
"Christ in Majesty" Frontal Bilaterally symmetrical besides hands Independent drapery pattern Closely aligned to body underneath |
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Romanesque: 1075-1140 |
"Prophet" South Portal of Saint-Pierre Long and thin Monumental scale If it's on the building, it's Christian |
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Romanesque: 1075-1140 |
"Gislebertus, Last Judgement" Christ in the middle Saved souls on his right, damned on his left |
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Romanesque: 1075-1140 |
"Gislebertus, Eve" on north portal from cathedral of Saint-Lazare Hand on cheek in shame Left hand on apple |
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Romanesque: 1075-1140 |
"St. Mark" Gospel book from Corbie |
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Romanesque: 1075-1140 |
"Initial I" from Greggory the Great's Moralia in Job |
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Romanesque: 1075-1140 |
"St. John the Evangelist" Gospel Book of Abbot Wedricus Floral interlace |
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Romanesque: 1075-1140 |
"Renier of Huy" Baptismal font |
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Romanesque: 1075-1140 |
"Bayeux Tapestry" Secular subject matter |
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Romanesque: 1075-1140 |
"Mouth of Hell" Winchester Psalter |
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Gothic: 1140-1350 |
"Ambulatory" St. Denis, Paris |
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Gothic: 1140-1350 |
"Notre Dame, Chartes" |
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Gothic: 1140-1350 |
"Notre Dame, Paris" |
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Gothic: 1140-1350 |
"Notre Dame, Amiens" |
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Gothic: 1140-1350 |
"Notre Dame, Reims" |
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Gothic: 1140-1350 |
"Sainte-Chapelle" Paris |
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Gothic: 1140-1350 |
"Jamb Statues" at Sainte-Chapelle |
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Gothic: 1140-1350 |
"Coronation of the Virgin, Dormition and Assumption" |
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Gothic: 1140-1350 |
"Jamb Statues, Chartres" |
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Gothic: 1140-1350 |
"Annunciation and Visitation" |
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Gothic: 1140-1350 |
"Melchizedek and Abraham" Psalter of St. Louis |
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Gothic: 1140-1350 |
"Master Honore, David and Goliath" from Prayer Book of Philip IV the Fair |
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Gothic: 1140-1350 |
"Signs of the Zodiac" West Facade, Amiens |
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Gothic: 1140-1350 |
"Jean Pucelle, Betray of Christ and Annunciation" Hours of Jeanne D'jEvreux |
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Gothic: 1140-1350 |
"Virgin of Jeanne d'Evreux" |
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Gothic: 1140-1350 |
"Seige of the Castle of Love" |
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Gothic: 1140-1350 |
"Naumberg Master, Crucifixion and Virgin and John the Evangelist" at Naumberg Cathedral |
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Gothic: 1140-1350 |
"Ekkehard and Uta" at Naumberg Cathedral |
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Gothic: 1140-1350 |
"Roettgen PIeta" |
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Early Renaissance: 1259-1342 |
"Pisa Baptistry Pulpit" by Nicolo Pisano |
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Early Renaissance: 1259-1342 |
"Fortitude" On Pisano baptistery pulpit |
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Early Renaissance: 1259-1342 |
"Nativity" On Pisano baptistery pulpit |
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Early Renaissance: 1259-1342 |
"Pisa Cathedral Pulpit" by Giovanni Pisano |
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Early Renaissance: 1259-1342 |
"Nativity" on Pisa cathedral pulpit |
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Early Renaissance: 1259-1342 |
"South Doors Baptistery" by Andrea Pisano |
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Early Renaissance: 1259-1342 |
"Baptism of Christ" on South Doors |
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Early Renaissance: 1259-1342 |
"Madonna Enthroned" by Cimabue |
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Early Renaissance: 1259-1342 |
"Madonna Enthroned" by Giotto |
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Early Renaissance: 1259-1342 |
"Arena (Scrovegni) Chapel" by Giotto |
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Early Renaissance: 1259-1342 |
"Christ Entering Jerusalem" on Giotto Chapel |
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Early Renaissance: 1259-1342 |
"Lamentation" on Giotto Chapel |
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Early Renaissance: 1259-1342 |
"Madonna Enthroned" by Duccio |
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Early Renaissance: 1259-1342 |
"Annunciation of the Death of the Virgin" by Duccio |
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Early Renaissance: 1259-1342 |
"Christ Entering Jerusalem" by Duccio |
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Early Renaissance: 1259-1342 |
"Annunciation" by Simone Martini |
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Early Renaissance: 1259-1342 |
"Birth of the Virgin" by Pietro Lorenzetti |
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Early Renaissance: 1259-1342 |
"Allegory of the Good and Bad Government" by Ambrogio Lorenzetti |
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