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41 Cards in this Set
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Formal Analysis: Aula Palatina, Germany / Late Antique Europe. early 4th century CE, brick
Content: -early Christian church -Roman arch -apse--half dome -massive rectangular meeting space
Style: -apse |
-link from true Roman basilica to true Christian churches -sets new standard -massive meeting place--church and religion is open to all |
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Formal Analysis: Catecomb of Priscilla, Rome, Italy / Late Antique Europe, 200-400 CE, plaster and paint, #48
Content: -earliest Christian art -loculi--slots for dead bodies
Style: -trying to resemble natural stone |
-carved by hand underground for the burial of early Christians |
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Formal Analysis: Catacomb of Priscilla: Greek Chapel, Rome, Italy / Late Antique Europe, 200-400 CE, plaster, brick, and paint, #48
Content: -cubiculum -for Priscila's family members -new and old testament scenes |
-plaster then paint -emphasis of teachings of Christ -invention of Christian iconography |
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Formal Analysis: Catacomb of Priscilla: Orant Fresco, Rome, Italy / Late Antique Europe, 200-400 CE, plaster and paint, #48
-woman -mother, marriage, orant (praying, blessed after-life--salvation) -face is naturalistically |
-refers to the position of the middle figure (orant position) -contraversy that there were women priests |
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Formal Analysis: Catacomb of Priscilla: Good Shepherd Fresco, Rome, Italy / Late Antique Europe, 200-400 CE, plaster and paint, #48
-Christ -controposto--someone who had Roman painting training -symmetrical -peacocks--eternal life
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Formal Analysis: Old St. Peter's Basilica, Rome, Italy / late Antique Europe, early 4th century CE, roof: wood--complete disrepair
-nave, large central area -narthex--adaptation of the portico -transept--wings (hallways) off of the apse -atrium--central courtyard -gatehouse--grand entrance -two side aisles--on the sides of the nave
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-no longer present--where the new St. Peter's cathedral is -whole building is a cross
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Formal Analysis: Santa Sabina, Rome, Italy / Late Antique Europe, 422-432 CE, stone, #49
-early Christian church -original windows were made of celenite (clear stone) -brings back colonade with two side aisles -corinthian columns -massive spaces -wooden coffered ceiling -original wooden doors are still on the church--paneled doors, each panel depicting a different biblical scene |
-built on the land of the 4th dynasty emperor Sabina--was stoned to death because she was converted to Christianity by her servant who was also stoned to death -later made a Christian saint |
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Formal Analysis: Santa Sabina plan, Rome, Italy / Late Antique Europe, 422-432 CE, #49 |
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Formal Analysis: Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis, Early Byzantine Europe, early sixth century CE, animal skin and paint, #50
-from one of the earliest books that exists--medieval book--rare -folios--page -codex, very similar to a modern book -vellum or parchment animal skins--finely tanned then written on--much more durable than papyrus scrolls of Egypt -illuminated manuscripts -hand painted -words are painted in silver |
-step back in art technique |
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Formal Analysis: San Vitale, Ravenna, Italy / Early Byzantine Europe, 526-547 CE, #51
Content: -central plan church--never took root -eight sides to in, smaller octanglenal raised center -interrior--stone columns, new style of capitals, three stories |
-Justinian wanted to rebuild the Roman empire |
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Formal Analysis: San Vitale: Justinian Panel, Ravenna, Italy / Early Byzantine Europe, 526-547 CE, #51
Content: -glass mosaic -Justinian in the center -static frontal position -stylized facial features |
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Formal Analysis: San Vitale: Theodora Plan, Ravenna, Italy / Early Byzantine Europe, 526-547 CE, #51 |
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Formal Analysis: Haiga Sophia, Constantinople (Istanbul) / Anthemius of Tralles and Isidorus of Miletus, 532-537 CE, #52
Content: -virgin thiotcos and child (virgin Mary and Christ) -over 16 feet tall -commissioned to replace on of the plasters that had been destroyed
-classical Byzantine -gold halo -highly stylized face--nose and eyes -feet--dangle from underneath clothing -characteristic hand positions--signify sainthood and the belief in Christianity -face ages children--small bodies, old man faces -mosaic |
-Leo the 3 believed the worship of icons was causing the fall of Rome--created movement iconiclaism -two branches of iconiclaism--one wants to protect the worship of icons and people against the worship of icons |
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Formal Analysis: Merovingian looped fibula, Early medieval Europe, mid-sixth century CE, gold and precious stones, #53
Content:
Style: -zoomorphic |
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Formal Analysis: Virgin (Theotokos) and Child between Saints Theodore and George, Early Byzantine Europe, 6th or early 7th century CE, #54 |
Contextual Analysis: -survived iconiclaism |
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Formal Analysis: Lindisfarne Gospels: St. Matthew, cross-carpet page, Early medieval Europe / (Hiberno Saxon), 700 CE, #55
Content: -illuminated manuscript -highly decorative -cross carpet page -original bibles--religious books -appeal to literate and illiterate -northern European -reliance on linear design -produced in a scriptorium--several monks would sit at desks and copy the manuscripts -gold leaf, mineral paints, vellum (lamb skin)
-zoomorphic style |
-influenced by islamic rugs -rise of islam at the same time christianity was in Europe |
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Formal Analysis: Lindisfarne Gospels: St. Luke portrait page, Early medieval Europe / (Hiberno Saxon), 700 CE, #55
Content: -intricate decorations that almost appear to be animals (peacocks and butterflies) |
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Formal Analysis: Lindisfarne Gospels: St. Luke incipit page, Early medieval Europe / (Hiberno Saxon), 700 CE, #55
Content:
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-islam spread throughout Southern Europe -started in Syria |
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Formal Analysis: Great Mosque, Cordoba, Spain / Umayyad, 785-786 CE, #56
Content: -Islamic approbriation of the arch--especially on exterior -key hole looking entrance way -little representation of living things (no humans only animals)--geometric design -candied cane decorated arches
Style: -greek and roman structures with Islamic approbriation (columns, arches, domes) -angular, geometric--very mathematic -borrowed tremendously from the hypostyle hall |
Contextual Analysis: -shift from living depictions to heavy in geometric design--change from Christianity to Islamic -domes, arches, columns with Islamic approbriation--specific style |
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Formal Analysis: Great Mosque Plan, Cordoba, Spain / Umayyad, 785-786 CE, #56
Content: -islamic mosque surrounding a previously Christian Church -three stories tall -highly decorated
Style: -buttress--external support -quibla wall--special to the islamic mosque--generally south facing--must face towards Mecca |
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Formal Analysis: Pyxis of al-Mughira, Umayyad, 986 CE, #57
Content: -belonged to al-Mughira--son -inscription to al-Mughira around rim -box -motifs symbolic of royal power -luxury item -unique because there is depiction of human-like figures -ivory |
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Formal Analysis: Church of Sainte-Foy, Conques, France / Romanesque Europe, Chruch: 1050-1130 CE, #58
Content: -center of a community -two towers on the westwork (front fascade of a Romanesque church) -relatively stark looking still -massive construction -ceiling is much higher -radiating chapels surround the apse to house the reliquaries and reliques |
-more about massive functional church--not about being ornate -needed to house all the pilgraming worshipers -Christian church is essentially funding the rebirth of Europe--saving the people--tremendous amount of power -all about the pilgrammage and housing the reliques |
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Formal Analysis: The Last Judgement (tympanum), Conques, France / Romanesque Europe, ninth century CE, #58
Content: -most decorative aspect of the outside of the church -relief sculpture -right above the front doors -subject matter = last judgement -carved out of stone -half is heaven half is hell--split down the middle |
-reminder of how the morals of how you live on earth will reflect in your afterlife -entrance into heaven--entrance into the church -grotesque creatures that are damned to hell -remind the pilgrim that they will be judged -way for church to gain support |
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Formal Analysis: Reliquary of Saint Foy, Conques, France / Romanesque Europe, ninth century CE, #58
-sculpted containers that held the reliecks -wood with gold and silver with inlayed stones sculpted on top of the wood -one of the most lavishly decorated -18 to 24 inches tall--not big |
-great amount of wealth went into them |
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Formal Analysis: Bayeux Tapestry, Calvary Attack, Romanesque Europe / (English or Norman), 1066-1080 CE, #59
Content: -textile -tells a story of the Battle of Hasting -woven linen -uniting of England and France -simplified depiction of human form
Style: -anglo-saxon, Romanesque -embroidered -center register--two borders -eight colors of colored yarn -simplistic stylized |
-narrative story -unique--not many tapestrys survive |
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Formal Analysis: Bayeux Tapestry, First Meal, Romanesque Europe / (English or Norman), 1066-1080 CE, #59
Content: -text helps document and narrate the story -depicts the celebration of the war being over and the two sides unifying
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Formal Analysis: Chartes Cathedral, Chartes, France / Gothic Europe, Original:1145-1155 CE, Reconstructed: 1194-1220 CE, #60
Content: -emphasis on geometry -jamb statues (of past queens and kings--relation between royalty and the church)--purely decorative
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-France is birth place of Gothic style
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Notre Dame
Content: -stained glass -only three part elevation--allows for longer glass pieces and higher ceilings -not seen until the Gothic Cathedral -depicts the Virgin Mary and Christ the child
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-ceilings reach higher to gods -bring in correlation of light |
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Cathedral plan
Content: -all focused on the life of Virgin Mary (whole cathedral)
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-every aspect is a work of art -typanum--Romanesque but still utilized--West work is Romanesque
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dedication page
-heavily illustrated bible--generally for a Royal Family -famous Queen who took over after her husband dided--people didn't support her--assured the rein of her son King Louis the ninth -patron and scribe
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foreshortening--the idea of creating realistic depth--application of a subject, creates movement |
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Formal Analysis: Golden Haggadah (The Plaques of Egypt, Scenes of Liberation, and Preparation for Passover), Late medieval Spain, 1320 CE, #64
Content: -huge change from polytheistic religions to monotheistic religions -domination of Judaism, Christianity, and Islam in Europe -illuminated manuscript -phases of -
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Formal Analysis: Alhambra Palace, Granada, Spain / Nasrid Dynasty, 1354-1391 CE, #65
Content: -named for rose colored stone found in the region that the building is made of
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Formal Analysis: Alhambra Palace: Court of the Lions, Granada, Spain / Nasrid Dynasty, 1354-1391 CE, #65 |
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Formal Analysis: Alhambra Palace: Hall of the Sisters, Granada, Spain / Nasrid Dynasty, 1354-1391 CE, #65
Content: -water has tremendous symbolism in Islam -symbolic of oasis' that allowed Islam to spread -dome--ornimentation of the architectural standard
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-height of Islamic religion in Spain as well as the fall of Islamic faith |
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Formal Analysis: Alhambra Palace Plan, Granada, Spain / Nasrid Dynasty, 1354-1391 CE, #65
Content: -added onto multiple times--unique unorganized plan -the court of the lions (cross)--most tell tale feature |
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Formal Analysis: Annunciation Triptych (Merode Altarpiece), Workshop of Robert Campin, 1427-1432 CE, #66
Content: -prominent 3 panel altar piece -relatively simple appearance -egg-tempra paint is introduced--applied to wood -richer color pallet -natural form--return to humanism -maniera greca--Greek style -advancement of space--one point perspective - |
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Formal Analysis: Pazzi Chapel, Basilica di Santa Coroce in Florence, Italy / Filippo Brunelleschi (architect), 1429-1461 CE, #67
-reviving classical architectural elements and developing it into a new style -central plan -creamy white with green-gray borders -Italian style is defined by Brunelleschi |
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Formal Analysis: The Arnolfini Portrait, Jan van Eyck, 1434 CE, #68 |
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Formal Analysis: David, Donatello, 1440-1460 CE, #69 |
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