Art History Honors

STUDY GUIDE

, Marissa Murphy, Ernesto Weisson, and Arturo Brito

I.I. CHAPTER OUTLINES:CHAPTER OUTLINES:A.A. IntroducIntroduc

titi ononChapter Outline: Introduction

1. The Great Sphinx Giza Egypt, Dynasty 4

BCE Sandstone Carved from living rock of

the Giza plateau Placing head of King

Khafre on the body of a huge lion the sculptors merged human intelligence and animal strength in a single image to evoke superhuman power of ruler

4,600 defied desert sands, today must withstand sprawl of Greater Cairo + impact of air pollution

Symbolizes mysterious wisdom + dreams of permanence, of immortality

2. Flower Piece With Curtain 1658 oil on panel, 181/4

X 25 ¼, Art Institute of Chicago

ADRIAEN Van der Spelt and Frans Van Mieries

5th Century BCE, Rivalry two painters, Zeuxis and Parrhasios as to whom was a better painter

Zeuxis painted a picture of grapes so accurately, birds flew down to peck at them.

Parrhasios took his turn Zeuxis ask rival to remove curtain, but he pointed out, that the curtain was his painting.

Spelt and Mieries paid homage to Parrhasios curtain and Pliny anecdote of Pausias and Glykera

Pausias had been enamored of flower seller Glykera and he learned his art by painting exquisite flower garlands that she made.

Which bring question which has greater beauty the flower or the painting of the flower

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3. Corinthian Capital from Tholos at Epidaurus

350 BCE Archeological museum Epidaurus Greece.

Carve top or capital of Corinthian column, a type that first appeared in ancient Greece during 4th Century BC.

Inverted bell shape surrounded by acanthus leaves

Inspired by the appearance of natural vegetation.

Sculptured who carved leaves eliminated blemishes, irregularities in order to create the platonic ideal of the acanthus plant foliage.

4. Succulent Edward Weston 1930

Gelatin Silver Print Use straight forward

camera work without manipulating the film in the dark room in order to portray his subject.

Argued that although the camera see more than the human eye the quality of the image does not depend on the quality of the camera but of the choices made by the photographer artist.

Studied living plants. 1886 – 1958

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5. Red Canna Georgia O’Keeffe 1924 oil canvas mounted

on masonite Sought to capture plants

essence not its appearance by painting canna lilies organic energy rather than the way it actually looked,

created a new abstract beauty conveying in paint the pure vigor of the flower life forms.

This abstraction in which this artist appears to transform a visible or recognizable subject from nature in away that suggest the original but purposely does not record the subject in an entirely realistic or naturalistic way.

6. Cubi XIX David Smith 1964

stainless steel Non representational art Important to distinguish

between subject mater and content

Does not have subject matter but does have content, which is a product of the interaction between the artist intention and viewers interpretation.

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Some viewer may see the Cubi works as robotic plants sprung from the core of unyielding earth a refection of today’s mechanistic society that challenges natural forms of trees and hills.

7. Medici Venus Roman copy of first

century BCE Greek Statue via Medici Florence Italy

Plump arms and legs and sturdy body, figure represented peak of female beauty.

Artist had skill to represent women as she actually appeared but he choose instead to generalize her form and adhere to the classical cannon of proportions.

Created image for universe an ideal rather than a specific women

Represent a goddess but artist also repressed living people as idealize figures creating symbolic portrait rather accurate likeness.

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8. Charles V Triumphing over Fury, Without Armor

Leone Leoni, Museo National del Prado, Madrid, 1549-1555

Commissioned to create a monumental bronze statue of emperor Charles V

Expressed the power of this ruler of Holy Roman Empire vividly

Emperor endowed with muscular torso + proportions of classical ideal male athlete or God

In his muscular nakedness he embodies the idea of triumphant authoritarian rule

Full suit of armor was made for statue

9. Woman At The Height of Her Beauty

Kitigawa Utamaro Mid-70’s color woodblock print

Reflects a social context regulated by convention + ritual

Simplified shapes depict woman’s garments + suggest underlying human forms

Treatment of rich textiles turn the body into an abstract pattern + pins turn hair into another abstract shape

Rendered silks and carved pins meticulously but depicted woman’s face

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and hand with a few sweeping lines

10. Lacoon and His Sons Hagesandros,

Polydoros, and Athandoros of Rhodes

Probably the original of 1st century CE or a Roman copy of 1st century CE, Museo Vaticani

Iliad Homer’s epic poem about Trojan War, Lacoon was a priest who forewarned Trojans about invasions from Greeks

Although he spoke the truth Goddess Athena took the Greeks side and dispatched serpents to kill him and his sons

Features twist in agony and the muscles of his and his son’s extend and knot as they struggle

11. Throne of the Third Heaven of the Nations

James Hampton, 1950-1964

Gold and silver aluminum foil, colored kraft paper, and plastic sheets over wood, paperboard and glass

His monument to face New testament imagery

on the right, Old on the left

Even created own language

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12. The Triumph of Venice

Veronese(Pablo Caliari) 1585 ceiling painting

City officials wanted a painting that showed their beloved Venice surrounded by peace, abundance, fame happiness honor + security

All in vivid colors and idealized forms

Symbol of the city- Saint Mark-oversees triumph

Bound prisoners + trophies of armor to attest to Venice’s military powers

13. Rue Transonian Le 15 AVRIL 1834

Honore Daumier Period of urban unrest,

French National Guard fired on unarmed citizens killing 14 people

Used lithography, cheap means of illustration

spread message as widely as possible

Created such controversy + horror government bought all newspapers + had them destroyed

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14. Diary (Minidoka Series #3) Roger Shimomura 1978 Grandmother’s account

of a camp into which Japanese Americans were taken and put in during WWII

Idaho, grandmother writing in diary while he and his mother stand by a door

Door signifies not freedom but opens onto a field bounded by barbed wire

Two stylistic traditions, Japanese art of the color woodblock + American Pop Art of the 1960s

15. Saint Luke Displaying a Painting of the Virgin

Guercino 1652-53 Combined idea that

saints + angels have miraculously made works of art with the concept that painters have a special divinely inspired gift

Evangelist considered patron saint of artists

Christians believed Luke had painted a portrait of the Virgin Mary holding Jesus Christ

Saint Luke is a divinely endowed artists then surely all other artists share in this special power + status

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16. Violet Persian Set with Red Lip Wraps

Dale Chihuly 1990 Skilled in ancient art of

glass-making When multipart pieces

assembled take on a new life according to the owner who may assemble them as he likes

Viewer/owner becomes a part of creative team

Twenty separate pieces but owner determines composition

17. The Drawing Lesson Jan Steen 1665 Well-lit artists studio Surrounded by a

tapestry backdrop, an easel, a stretched canvas, a portfolio, musical instruments and decorative objet’s d’arte

Painter instructs two youngsters, boy apprentice at a drawing board and young woman in an elegant arm chair

Artists pupil has been drawing from sculpture and plaster-cast because women were not permitted to see nude models

18. The Last Supper Leonardo Da Vinci 1495-1498

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turned traditional theme into a powerful drama when Christ announces someone will betray him

depicted scene in balanced symmetrical composition typical of the Italian Renaissance

regularly spaced tapestries and ceiling panels lead the viewer’s eyes to Christ

19. Pheidas and the Frieize of the Patrhenon

Lawrence almas Tadema, Athens 1868

19th Century British Artist conveys accomplishments of Athens Architects Sculpture and painters who were led by the artist Pheidias

Imagines moment when Pheidas show the carve and painted Freize at the top of the wall of the temple of Athena to Perikles and a group of Athenean citizens his civic sponsors.

Civic sponsorship epitomized by 5th century BCE, Athens a Greek city State who’s citizens who practiced an early form of democracy.

Led by Perikles, the Athenians defeated the Persians who then rebuild Athens, civic and religious center the acropolis as a tribute to

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the goddess Athena. 20. The Last Supper

Rembrandt von Rijn mid 1630’s drawing n red chalk

Working 130 years later in the Netherlands never going to Italy and copying Da Vinci painting from a print drew the last supper in red chalk.

He did in rework the drawing in softer chalk assimilating Leonardo’s lessons but revising the composition and changing the mood of the original.

Shifted Jesus position to the left giving Judas more emphasis.

More an academic exercise and a sincere tribute from one master to another.

21. Christine de Pizan presenting her book to the Queen of France. 1410, Tempra and gold on

vellum. Isabeau the Queen of

France was her patron She specially admired a

painting of a women Anastaise, who’s work she considered unsurpassed in the City of Paris.

Christine was in turn Anastaise patron and all the women seen in the painting were patrons of the brilliant textile workers who supplied brocades for

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their gowns, tapestries for the wall and embroideries for the bed.

15th century manuscript illustration

22. Harmony in Blue and Gold, the Peacock room

James McNeill Whistler, NE Corner from a house own by Fredrick Leyland, London 1876-1877

Leyland ask Whistler what color to paint shutter in dining room where he planned to hang Whistler’s painting, the Princess from the Land of Porcelain.

Room design by Thomas Jekyll to show off Leyland collection of Chinese porcelain.

While Leyland was away, whistler inspired by the Japanese theme of his own painting and the Chinese porcelain painted the window shutters with splendid turquoise and gold peacocks. The walls and ceiling with peacocks feathers and gilded the walnut shelves.

Leyland shock and angry destruct the room and paid him less than half of the agreed on price. Whistler then added a painting of himself and Leyland as fighting as peacocks.

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23. The Farnese Hercules Third century BCE copy

of the weary Hercules by Lysippos

Found in the bath of Caracalla in 1546, exhibited in the Farnese Palace until 1787.

Marble Signed “Glykon” on the

roc under the club Left arm restored

24. Dutch visitors going to Rome looking at the Farnese Hercules.

Hendrick Goltzius 1592 After Goltzius returned

from a trip from Rome in 1591-1592 he made engravings from his drawings.

The all struck viewers have been identified as two of his Dutch Friends.

Participate in the recreation of a work of art, it meaning changes from individual to individual from era to era.

B.B. Chapter 1Chapter 11. Wall Painting with

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Horses, Rhinoceroses and Aurochs

Chauvet Cave, Vaallon-Pont-d’Arc, Ardeche Gorge, France,

30,000-28,000 BCE, paint on limestone

Images of horses, deer, mammoths, aurochs(extinct ancestors of oxen), and other animals that lived 30,000 years ago cover walls and ceilings

Forms seem to bulge + seem to shift + move

Images are easily identifiable, painters transformed their memories of active, 3D figures into 2D by capturing essence of well-observed animals (meat bearing flanks, powerful legs, + dangerous horns +tusks)

Communicate to us using only formal language of line color shading + contour

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2. Reconstruction Drawing of Mammoth- Bone Houses

Ukraine 16,000-10,000 BCE

Treeless grasslands of Upper Paleolithic Russia, builders create settlements of up to ten houses using the bone of the now extinct wooly mammoth

Long, curving tusks made excellent roof supports and arched door openings

Bone framework probably covered with animal hides + turf

Most activities centered around the inside fire pit, or hearth, where food was prepared and tools were fashioned

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3. Lion-Human Hohlenstein-

Stadel, Germany 30,000-26-000 BCE

Sculpture in the round, male figure with human body and feline head

When excavating found broken pieces of ivory from a mammoth tusk, then realized were part of a whole figure

Nearly a foot tall, statue surpasses most early figurines in size and complexity

Created unique creature, part human part beast

Shows highly complex thinking and creative imagination: the ability to conceive + represent a creature never seen in nature

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4. Woman from Willendorf Austria 24,000

BCE Carved from

limestone and originally colored with red ocher

Rounded forms make it seem much larger than it really is

Exaggerated female attributes by giving it pendulous breasts, big belly, with a deep navel, wide hips, dimpled knees and buttocks, + solid thighs

Expressing health and fertility which could ensure ability to produce strong child = survival of clan

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5. Woman from Ostrava Petrkovice

Czech Republic c 23,000 BCE

Less than 2 inches tall

Excavating an oval house stockpiled with flint stone and rough chunks of hematite discovered figure next to the hearth

Torso and things of a youthful, athletic figure with one angular hip slight raise and knee bent as if she were walking

Marks left by artists carving tools still visible

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6. Woman from Brassempouy

Grotte du Pape, Brassempouy, Lands, France, 30,000 BCE

Captured the essence of a head Memory Image (those generalized elements that reside in our standard memory of a human head)

Egg shape rests atop a long neck, wide nose, strongly defined brow-line suggests deepset eyes, engraving squaring may suggest a headdress

Image is an abstraction the reduction of shapes and appearances to basic yet recognizable forms that are not intended to be exact replications of nature

Looks uncannily modern to contemporary viewer

7. Spotted Horses and Human Hands

Perch-Merle Cave, Dorgone, France 25,000-24,000 BCE

Used and abandoned several

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times Small, finely

detailed heads, heavy bodies, massive extended necks and legs tapering almost to nothing at the hooves

Right hand horse’s head follows shape of the rock

Horse images overlaid with red dots representations of rock weapons being hurled at painted horses

Positive and negative handprints

8. Hall of Bulls Lascaux Cave,

Dorgone, France, 15,000 BCE

Cows, bulls, horses, and deer along the natural ledges of the rock where the smooth white limestone of the ceiling and upper wall meets a

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rougher surface below

Utilize wall curving to suggest space

Animals appear singly in rows face to face tail to tail and even painted on top of each other

Twisted perspective

9. Bird Headed Man With Bison

Shaft Scene, Lascaux Cave, Dorgone, France, 15,000 BCE

Only painting that tells a story

Figure could be a hunter either a bison looming over him, below a staff, and spear thrower

Bison disembowel and will soon die

Shaman proving his excellence because he would have draw this and shown the rest of clan for them to go scavenge

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10. Bison Ceiling of a Cave at

Altamira Spain c 12,500 BCE

Created sculptural effects by painting over and around natural irregularities in cave walls

Herd of bison on ceiling used rich red and brown ochers to paint large areas of the animal’s back, shoulder’s and flanks

Sharpened contours of the rocks and added the details of head, legs tails, and horns in black and brown

Mixed yellow and brown from ochers with iron to make red tones and derived black from manganese or charcoal

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11. Bison Le Tuc d’Audobert

France c. 13,000 BCE

Two bison leaning against a ridge of rock

High relief: (extend well forward from background), display the same conventions as earlier painted ones with emphasis on broad masses of the meat bearing flanks and shoulders

More lifelike engraved short parallel lines to display shaggy coats

Numerous small footprints found in the clay floor suggest important group rites took place here

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12. Lamp with Ibex design Le Mouthe Cave,

Dorgone, France, c.15,000,13,000 BCE

Decorated underside of lamp with an ibex

Distinctive head is shown in profile + sweeping horn reflecting lamp itself

Made by people whose survival depended on gathering wild grains and other edible plants

13. People and Animals Detail of rock-

shelter painting, Cogul, Leirda, Spain c. 4000-2000 BCE

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Artists represents men, women and children going about daily activities

No specific landscape patterns are indicated but occasionally painted patterns of animal tracks give the sense of a rocky terrain, lie that of the surrounding barren hillsides

Number of women seen strolling or standing some in pairs holding hands

Women stand near large animals some of which are shown leaping forward with their legs fully extended flying gallop

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14. Plan of Village of Skara Brae

Orkney Islands, Scotland c.3100-2600 BCE

Village consists of compact cluster of dwellings linked by covered passageways

Each of the houses has a square plan with rounded corners corbelling

Walls stopped short of meeting and the remaining space was covered with hides or turf

One room is possibly a latrine, has a drain leading out under its wall

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15. House Interior of Skara Brae

Equipped with space saving furniture

Large, rectangular hearth with stone seat at one end occupies the center of the space

Rectangular stone beds stand against the walls on two sides of the hearth filled with heather mattresses and covered with warm fur

Left corner sizable storage room is built into the thick outside wall

Stone tank lined with clay to make it waterproof

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16. Tomb Interiors with Corbeling and Engraved Stones

New Grange Ireland c. 3000-2500 BCE

Mound of elaborate passage grave

Built of sod and river pebbles and was set off by a circle of engraved standing stones around its perimeter

Leaders to a 3 part chamber with a corbel vault rising 19 feet

Some of the stones, are engraved with linear designs, mainly rings, spirals and diamond shapes

Public architecture fostered communal pride and a group identity

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17. Stonehenge Salisbury Plain,

Wiltshire England, c.2750-1500 BCE

Not the largest circle or the hardest to build but it is the most complex

Stones were brought from great distances during at least 4 major building phases

During earliest stage dug a deep, circular ditch, placing excavated material on inside rim to form embankment more than 6 feet high

Dug through the chalk substratum

An avenue from the henge toward the northeast led well outside the embankment to a outside sarsen megalith brought from 23m away

Whoever stood at the exact center of Stonehenge would have seen the sun rise directly over the heel stone

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18. Diagram of Stonehenge By 2100 BCE

included of internal elements seen today

Dominating center was a horseshoe shaped arrangement of 5 sandstone trithons

This group was surrounded by the so-called sarsen circle

Uprights were tapered slightly toward the top and the gently curved lintel sections secured by mortise and tenon joints

Just inside the circle was once a ring of bluestones, from Southern Wales highly prized

Because of its orientation w/the sun it is believed to be an observatory or a site of major public ceremonies

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19. Figures of Woman and a Man

Cernavoda, Romania, c. 3500 BCE

Shaped their bodies out of simple cylinders of clay but managed to pose them in ways that make them seem very true to life

Woman sits directly on the ground expression of the mundane world

Woman’s ample hips could suggest continuity of her family

Upwardly tilted head could suggest she is watching her partner adoringly, the smoke coming out heath or worrying about the holes in the roof

The man is slim with massive legs + shoulders

Rests head in hands= thoughtfulness or sorrow

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20. Vessels Denmark c.3000-

2000 BCE Earliest picesare

the clobular bottle with a collar around its neck, inspired by egg or gourd containers + the flask w/loops

Often made pots with loops just for design

Some of the ornamentations include; hatched engraving and sticklike patterns

Large engraved bowl, potter slightly incised sides w/ delicate linear pattern, then rubbed white chalk into the engraved lines so that they would stand out against the dark body of the bowl

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21. Horse and Sun Chariot and Schematic drawing of Incised Design

1800-1600 BCE Trundholm, Denmark

Wheeled horse pulling a cart laden w/ large upright disk commonly thought to represent the sun

Could have been rolled from place to place as a reenactment of the suns passage across the sky

Horse, cart and sun were cast in bronze

After two faults in the casting had been repaired the horse was given its surface finish + head + beck were incised with ornamentation eyes= suns

Bronze sun was cast as two disks, thin sheet of gold was applied to one of the bronze disks

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22. Openwork Box Lid Cornalaragh

County Monaghan, Ireland c. 1st Century BCE

Openwork box lid, in which space is work into the pattern. Illustrates the characteristic Celtic style + use of bronze

Pattern consists of a pair of expanding, diagonally symmetrical trumpet-shaped spirals surrounded by lattice

Openwork trumpets—forms defined by the absence of material—catch the viewers attention

Shapes inspired by compass-drawn spirals, stylized vines and serpentine dragons seem to change at the blink of an eye artists has eliminate any distinction between figure + background

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C.C.Chapter 2:Chapter 2:1. Human Headed Winged Lion

Assyria, Kalhu, 883-858 BCE, Mesopotamia, (Neolithic)

Lammasus- extraordinary guardian protectors of the palaces and throne rooms

Colossal gateway figures combined the bearded head of a lion or bull, wing of an eagle, and the horned headdress of a God

Designed to be viewed frontally and from the side, when seen from front two foreleg placed together creature appears immobile, when looked at from the side legs shown vigorously striding

Size symbolizes strength of ruler they defend, forceful forms + prominent placement architecture of domination, exquisite detailing of beards, feathers + jewels wealth= power

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2. Walls and Tower, Jericho Mesopotamia, Jericho,

8000-7000 BCE, (Neolithic)

Walls and towers became part of folklore when biblical Joshua fought the battle of Jericho and the walls came tumbling down

8000 BCE agricultural village grown into town of mud brick houses

Felt needed protection from neighbors/ establishing boundary built huge brick wall

Constructed a circular stone tower required sophisticated masonry skills

3. Composite Reconstruction of

Chatal Huyuk Anatolia 6500-5500

BCE, (Neolithic) Thriving trade in

obsidian, rare volcanic black glass

Single story buildings clustered around shared courtyards used as garbage dumps

No streets or open plazas and protected with continuous unbroken exterior walls

Residents could move freely by crossing from rooftop to rooftop entering through openings in the roofs

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4. Human Figure Ain Ghazal, Jordan

7000-6000 BCE, (Neolithic)

Thirty painted plaster figures

Some figures were life-size

Molded the figures by applying wet plaster to reed and cord frames in human shape

Eyes were inset cowrie shells and small dots of the black tarlike substance bitumen formed the pupils

Probably wore wigs and stood upright

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5. Ruins of the White Temple Uruk 3300-3000 BCE First Sumerian City-

State Two large architectural

complexes, one dedicated to Inanna, godess of love and war and the other to sky God Anu

Inanna administrative complex as well as temples

Anu built up in stages over the centuries

White Temple was erected on the top

Was a simple rectangle oriented to the points of the compass

Off-center doorway on one of the long sides led into a large chamber containing a raised platform and altar, small spaces opened off this main chamber

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6. Face of a Woman, known as the Warka Head

Uruk, Summer, 3300-3000 BCE

Statues of gods and donors were placed in the temples

Life-size marble face may represent a goddess

Could have been attached to the wooden head on a full-size wooden body

Stripped of its original paint wig and inlaid brows and eyes appears as a stark white mask

Shells may have been used for the whites of the eyes and lapis lazuli for the pupils and the hair may have been gold

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7. Carved Vase known as the Uruk Vase

Uruk, Sumer, 3300-3000 BCE

Tall carved alabaster vase found near temple complex of Inanna

Organized picture into registers and condensed the narrative

Stylized figures are shown simultaneously with profile heads, legs, ¾ views of torso making both shoulders visible and increasing each figures breadth

Lower register natural world beginning w/water and plants

Above the plants alternating rams + ewes stand on solid ground line

Middle register nude men carry baskets of foodstuffs

Top register Inanna stands in front of her shrine accepting offer from the priest king

Interpreted as a ritual marriage between Goddess and human priest king during New Year’s festival

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8. Votive Figures Square Temple,

Eshnunna, 2900-2600 BCE, Sumer

Early example of ancient Near Eastern religious practice: placement in shrine or statues of individual worshippers before a larger more elaborate image of a god

Anyone who was a donor to the temple might commission a representation of him or herself and dedicate it in the shrine

Many are figures of women + simple inscription

Longer inscriptions recount in detail accomplished in gods honor

Served as a stand in perpetual gaze eye contact

Simplified faces + bodies clothing = cylindrical shape

9. Nanna Ziggurat Ur, 2100-2050 BCE,

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Sumer Ziggurat devoted to

Nanna moon god + sin Three sets of stairs

converging at an imposing entrance gate atop the first of what were 3 platforms

Each platforms walls slope outward from the top to base = prevent rainwater from forming puddles + eroding

First two levels have been reconstructed in recent years

10. The Great Lyre with Bull’s Head

Royal Tomb, Ur, c.2550-2400 BCE, Sumer

Lyre combines wood, gold lapis, lazuli, and shell

Projecting from the base of the lyre is a sculptured head of a bearded bull

intensely life-like despite the decoratively patterned blue lapis lazuli beard

lapis lazuli had to be imported from Afghanistan widespread trade in region

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11. Front Panel, The Sound Box of the Great Lyre

Front panel of the sound box four horizontal registers present scenes executed in shell inlaid in bitumen

Bottom register scorpion man holds a cylindrical object scorpion men = land of demons

Scorpion man is attended by a gazelle standing on its hind legs holding out to cups filled from the large container from which a ladle protrudes

Register above depicts a trio of animal musicians, donkey plucks bull lyre while a standing bear braces a sistrum

Next register shows animal attendants who bring food and drink for a feast imagery inspired by Epic of Gilgamesh

Depicts a funeral banquet

12. Cylinder seal and its impression

Ur, 2550-2400 BCE, Sumer

Human hero protecting rampant bulls from

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lions in the upper register

five fighting figures in lower register

Ancient Near Eastern leaders were expected to protect their people from both human and animal enemies as well as control over natural world

Seal belonged to queen of Ur, Ninbanda

13. Head of a Man known as Akkadian Ruler

Nineveh, c.2300-2200 BCE, Akkadians during Sumerian period

Earliest major work of hollow-cast copper sculpture known in Ancient Near East

Facial features + hairstyle= generalized male

Enormous curling beard + elaborate braided hair indicate both royalty and the ideal male appearance

Deliberate damage to left side of face and eye suggests that the head was symbolically mutilated to destroy its power

No eyes + ears= not see or hear

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14. Stele of Naram Sin Sippar, 2220-2184

BCE, Akkadians during Sumer time

Memorialized one of Naram-Sin’s military victories + one of first works to celebrate a specific achievement of an individual ruler

Inscription states stele commemorates the king’s victory over the people of the Zagros Mountains

Naram-Sin made himself devine during his lifetime big size

Watched by 3 solar deities symbolized by rayed suns ascends a mountain wearing horned helmet crown associated with deities

Magnified position at the dramatic center if the scene, closest to the mountaintop and silhouetted against the sly

Used stele’s pointed shape to underscore the dynamic role of the carved mountain in the composition

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15. Votive Statue of Gudea Girsu, c.2090 BCE Guti

conquered Akkadians but Girsu stayed under Sumerian Rule

Images present Gudea as a strong peaceful, pious ruler worthy of divine favor

Wears long garment to provide more room from cuneiform inscriptions

Right shoulder bare + barefooted

Cap w/ wide brim carved with a pattern to represent fleece

Holds a vessel from which life-giving water flows into two streams, each filled with leaping fish

16. Stele of Hammurabi Susa, c. 1792-1750 BCE

Babylonians Systematic codification

of his people’s wrongdoing

Code engraved on black diorite

Top of the stele Hammurabi standing before a mountain where Shamash, sun + justice god sits

Gives laws to king Punishments based on

wealth, class + gender

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17. Lion Gate Hattusha, c.1400 BCE,

Hittites of Anatolia Carved from building

stones lions seem to emerge from gigantic boulders that form gate

Harmonizes colossal scale of wall

Despite extreme weathers the lions have endured over the millennia and still possess a sense of vigor + permanence

18. Assurnasirpal II Killing Lions

Palace complex of Assurnasirpal II, Kalhu c. 850 BCE, Assyrians

Vivid lion hunting scene Assurnasirpal stands in a chariot pulled by galloping horses + draws his bow against an attacking lion that already had four arrows protruding from its body

Another beast pierced by arrows lies on the ground

Ceremonial hunt, in which the king, protected by men with swords + shields, rode back and forth killing animals as they were released by one into an enclosed area

Visual narrative

19. Reconstruction Drawing of the Citabel and Palace

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Complex of Sargon II Dur Sharrukin, c.721-

706 BCE Assyrians Northwest side, walled

citadel containing several palaces and temples straddled by city wall

Guarded by 2 towers only accessible by a wide ramp leading up from an open square around which the residences of important government + religious officials were clustered

Heart of the palace protected by a reinforced wall with only two small off-center doors lay past main courtyard

Ziggurat towered in an open space between temple complex + palace, declaring might of Assyrian kings + symbolizing claim to empire

Seven levels each a different color

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20. Assurbanipal and his Queen in the Garden

The Palace at Nineveh, c.647 BCE, Assyrians

Unusually peaceful scene shows kings and queen in pleasure garden

King reclines on couch and queen sits in chair at his feet

Servants arrive with trays of food, while others wave whisks to protect royals from insects

Victory celebration weapons are on table behind him + enemy’s head

21. Reconstruction Drawing of Babylon in the 6th century BCE

Neo-Babylonians Older eastern sector

traversed by Processional Way, route taken by religious processions honoring city’s patron god, Marduk

Street paved w/large stone slabs set in a bed of Bitumen

Ran from Euphrates bring through temple district and palaces and finally through Ishtar Gate, ceremonial entrance to city

Beyond Ishtar gates walls on either side of the route were faced with dark blue glazed bricks

22. Ishtar Gate and Throne Room

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Wall Babylon, c.575 BCE Double-arched gate is

symbol of Babylonian power, guarded by 4 crenellated towers

Decorated w/tiers of mushhushshu that were sacred to Marduk

Lions walk beneath stylized palm trees

Didn’t survive but, marvel Hanging Gardens

23. Air View of Ceremonial Complex, Persepolis

Iran 518-640 BCE, Persians

Name Greeks gave it, one of best preserved and most impressive ancient sites in near east

Darius imported materials, workers, artists from all over empire to build Parsa

Ordered work to be built in Egypt and transported to the capital

Result was a new style of art that combined many cultural traditions

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24. Woman Spinning Susa, 7th, 8th century BC

Persians Important looking b/c

wearing elegant hairstyle, many ornaments + garment w/patterned border

Sits barefoot + cross-legged on a lion-footed stool covered w/sheepskin spinning thread w/ a large spindle

Servant stands behind her fanning her

Fish and six round objects lie on offering stand in front of her

25. Apadana(Audience Hall) of Darius and Xexes

Ceremonial Complex, Persepolis, Iran 518-460 BCE, Persians

Set above the rest of the complex on a second terrace

open porches on three sides and a square hall large enough to hold several thousand people

displays reliefs on animal combats

Lion attacks bulls

26. Darius and Xeres Receiving Tribute

Detail of a relief from the stairway leading to

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the Apadana, Persepolis, Iran 491-486, Persians

Darius holds an audience while his son and heir listens from behind the throne

Would have looked different in freshly painted rich tones of deep blue, scarlet, green, purple, and turquoise w/metal objects such as Darius’s crown covered in gold leaf

Other reliefs depict displays of allegiance + economic prosperity

27. Daric Coin first minted under

Darius I of Persia 4th Century BCE

Most valuable among coins today

“archer” it shows the well-armed emperor wearing his crown + carrying a lance in his right hand

Lunges forward as if he had just let fly an arrow from his bow

D. Chapter 3: Egyptian ArtChapter 3: Art of Ancient Egypt

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1. Funerary Mask of Tutankhamen- 18th Dynasty- Gold funerary mask

placed over head and shoulders of mummified Tutankhamen

- Enclosed in 3 nested coffins

- Coffins were placed in a yellow quartzite box

- Box was itself encased within gilt wooden shrines rested in one another

- Discovered in 1922

2. Narmer Palette - Hierakonpolis, Early

Dynastic period, c.2950-2775 BCE

- Announces unification of Egypt + growth as a powerful nation-state

- First King, Narmer, + palace protected by Hathor, depicted as a human face with cow ears and horn + shown on each side of his name

- Palettes used for grinding eye paint

- Narmer dominates scene on palatte; images of conquest proclaim him to be the great unifier,protecter + leader of Egyptian people Hierarchtic scale

- Narmer wears white

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crown of upper Egyptm ceremonial bulls tail (strength) hangs from is waistband, barefoot + attendant stands behind holding his sandals

- Bashes enemy w/club, above his kneeling foe God Hourus holds a rope tied around the neck of a man whos head is attached to block of sprouting stylized papyrus(symbol Lower Egypt) Narmer has tamed Lower Egypt

- Top register on other side of palette Narmer wears Red crown of Lower Egypt indicate that he now rules both lands

- With his attendant the sandal-bearer, he marches behind the minister of state and four men carrying standards that may symbolize different regions of the country

- Center register elongated necks of two feline creatures each held by a leash by an attendant curve gracefully around rim of the cup of the palate

- Intertwining union of two lands

- Bottom king symbolized as bull menaces a fallen fore outside the walls of

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the fortress

3. Old Kingdom Standard Grid- An Egyptian canon of proportions for representing the human body- Cannon sets the

height of the male body from heel to hairline at 18 times the width of the fist which is one unit wide

- There are 18 units between the heel and hairline

- The knees align with fifth unit up, the elbows with the twelfth, and the junction of the neck and shoulders with the sixteenth

- Whole process was simplified

- Size depended not on the object but the amount if space it occupied

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4. Plan of Djoser’s Funerary Complex, Saqqara- Third Dynasty c.2630-

2575 BCE- Commissioned

earliest known monumental architecture in Egypt

- Designer of complex was Imhotep, the highly educated prime minister who served as one of Djoser’s chief advisers

- First architect known by name

- His name as well as king’s name inscribed on base of a statue of Djoser found near step pyramid

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5. The Step Pyramid, and Sham Buildings. Funerary Complex of Djoser, Saqqara - Imhotep first planned

Djoser’s tomb as a single story mastaba and then later decided to enlarge upon the concept

- In the end would produce a step pyramid, formed by six mastaba-like elements of decreasing size placed on top of each other

- Intention was as a stairway to Sun God Ra and to protect a tomb

- Descending corridor at the base of the pyramid provided an entrance from outside to a granite-lined burial vault

- Adjacent funerary temple, In the form of ka statue Djoser intended to observe these devotions through 2 peepholes in the wall between the serab and funerary chapel

- To the east of the pyramid building filled with debris represent actual structures in which the deal king could continue to observe the sed rituals that had insured his long reign

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6. Great Pyramids, Giza- Fourth Dynasty c.

2575-2450- Erected by Menkaure,

Khafre, and Khufu - Greeks were so

impressed by these monuments they numbered them among the world’s architectural marvels

- Pyramids Greek Term

- Acknowledged desire of these rulers to commemorate themselves as divine beings

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7. Model of Giza Plateau- Oldest and largest

pyramid is Khufu 13 acres at its base

- Pyramid Khafre, only one that still has a bit of veneer on top is slightly smaller than Khufu’s

- Menkaure’s pyramid is considerably smaller than the other 2 and had a polished red granite base

- Site was carefully planned to follow sun’s east to west path

- Next to each pyramid was a funerary temple connected by a causeway or an elevated road to a valley temple on the bank of the Nile

- When a king died his body was embalmed and ferried west across the Nile where it was received with elaborate ceremonies

- Designers of the pyramids tried to ensure the king and his tomb would never be disturbed

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8. Valley Temple of Khafre- Giza, Old Kingdom,

c.2570-2544 BCE- Khafre’s funerary

complex is the best preserved

- Massive blocks of red granite form walls and piers supporting a flat roof

- Tall, narrow windows act as clerestory in upper walls

- Let in light which reflects off the polish alabaster floor

9. Khafre- Giza, Valley Temple of

Khafre, Fourth Dynasty

- As was custom Khafre commissioned many portraits of himself

- Over life-size statue Khafre was portrayed as an enthroned king

- Sitting erect on elegant but simple throne

- The falcon God Horus perches on the back of the throne protectively enfolding the king’s head with his wings

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10. Khafre, Detail of the Head- Lions (symbols of

regal authority) form the throne’s legs and the intertwined lotus and papyrus plants beneath the seat symbolize the King power over Upper (lotus) and lower (papyrus) Egypt

- Wears traditional royal costume: short pleated kilt, linen headdress w/the cobra symbol of Ra and false beard a symbol of royalty

- Holds a cylinder, probably a rolled piece of cloth

- Figure conveys a strong sense of dignity, calm, and permanence

- Arms are pressed tight to the body and the body is firmly anchored in the block

- Statue was carved in an unusual stone; anorthosite gneiss imported from Nubia

- Produces rare optical effect: In the sunlight it glows a deep blue celestial color of Horus

- Through skylights in the valley temple, the sun would have illuminated the alabaster floor, and the figure, creating a blue radiance

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11. Menkaure and a Queen - Perhaps his wife

Khamerernebty, from Giza, 4th Dynasty

- Couple’s separate figures, close in size, are joined by the stone out of which they emerge, forming a single unit

- They are further united by the queen’s symbolic gesture of embrace

- Her right hand comes from behind to lie gently against his ribs, and her left land rests on his upper arm

- King, depicted in accordance with the Egyptian ideal, as an athletic, youthful figure, nude to the waist, and wearing the royal kilt and head cloth, stands in a typical Egyptian balanced posed, with the striding left foot forward and his arms straight at his sides and his fists clenched over cylindrical objects

- Sculptor exercised remarkable skill in rendering her sheer close-fitting garment which clearly reveals the curves of her body

- Polishing was never completed

- Traces of re paint remain on king’s face, ears and neck, as do traces of black on queen’s hair

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12. Pepy II and his Mother, Queen Ankhnes-Meryre- Sixth Dynasty, c.

2323-2152 BCE- King wears the royal

kilt and headdress but is reduced to the size of a child seated on his mother’s lap

- Pays homage to Queen Ankhnes-Meyre who wears a vulture skin headdress linking her to the goddess Nekhbet and proclaiming her royal blood

- If Pepy II inherited the throne at age of 6 queen may have acted as regent until he was old enough to rule alone

- Placed the king at a right age to his mother, proving 2 frontal views, the queen facing forward, the king to the side

- Freed queen’s arms and legs from the stone block of the throne, giving he figure greater independence

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13. Seated Scribe- Found near the

tomb of Kai, Saqqara, 5th Dynasty

- Old Kingdom sculptors produced figures not only of kings but of less prominent people more lively and less formal than royal portraits

- Statue was discovered near tomb of government official named Kai, evidence it may be Kai himself

- Sedentary vocation has made his body a little flabby, a condition that advertised a life freed from hard physical labor

- He sits holding a papyrus scroll partially unrolled on his lap, his right hand clasping a now-lost reed pen, and his face reveals a lively intelligence

- Because the pupils are slightly off-center in the irises, the eyes give the illusion of being in motion, as if they were seeking contact

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14. Ti Watching a Hippopotamus Hunt- Tomb of Ti, Saqqara,

5th Dynasty- Ti was a commoner

who had achieved great power at court and amassed sufficient wealth to build an elaborate home for his immortal spirit

- Shown watching a hippopotamus hunt, an official duty of the members of the court

- Believed that Seth, the God of Darkness, disguised himself as a hippo, they were thought to be destructive

- Illustrated the valor of the deceased and the triumph of good over evil

- Erect figure of Ti looms over all rendered in the traditional twisted pose

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15. Head of Senusret III- 12th Dynasty - Reflects a special

awareness of the hardship and fragility of human existence

- Senusret was a dynamic king and successful general who led 4 military expeditions into Nubia, overhauled the central administration at home, and did much toward regaining control over the country’s increasingly independent nobles

- Portrait statue seems to reflect not only his achievements but his inner thoughts wise man in the ways of the world but lonely, saddened and burdened by the weight of his responsibilities

- Eyes sunken, eyelids droop, sagging cheeks pessimistic view of lime

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16. Rock- Cut Tombs, Beni Hasan- 12th Dynasty- At the left is the

entrance to the tomb of a provincial governor and the commander in chief Amenemhat

- Chambers and ornamental columns, lintels, false doors, and niches were all carved out of solid rock

- Each one was like a single, complex piece of sculpture that was usually also painted

- Typical included entrance portico, main hall, shrine w/burial chamber under the offering chapel

- Afterlife always open to danger equipped w/variety of objects meant to meet not only practical needs but also objects designed to ensure the safety and well-being of individual in perpetuity

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17. Pectoral of Senusret II- Tomb of Princess

Sithathoryunet, el-Lahun, 12th Dynasty

- Royal dress was very splendid as shown by a pectoral or chest ornament

- Design executed in gold and inlaid with semiprecious stones, incorporates the name of Senusret II and a number of familiar symbols

- 2 Horus falcons perch on its base and above their heads is a par of coiled cobras, symbols of Ra, wearing the ankh

- Between 2 cobras, cartouche contains the hieroglyphs of the king’s name

- Sun-disk of Ra appears at the top and a scarab beetle is at the bottom

- Below the cartouche a kneeling male figure helps the falcon support a double arch or notched palm ribs

18. Hippopotamus - Tomb of Senbi, Meir,

12th Dynasty

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- Rotund body on stubby legs, the massive head w/protruding eyes and the tiny ears and characteristic nostrils

- Example of Egyptian Faience

- Made the hippo the watery-blue of its river habitat, then painted the lotus blossoms, on its flanks, jaws and head giving it the impression that the creature is standing in a tangle of aquatic plants

- Such figures were often placed in tombs, especially women since the goddess Taweret, protector of female fertility and childbirth was a composite figure with the head of a hippo

19. Stele of Amenemhat I - Assaif, 12th Dynasty - Funereal offerings

represented statues and painting would be available for the deceased’s use through eternity

- Table heaped with food is watch over by a young woman named Hapi

- Family sits together

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on a lion-legged bench

- Everyone wears green jewelry and white linen garments produced by the women in the household

- Amenemhat and his son Antef link arms and clasp hands while Iyi holds her son’s arm with a firm but tender gesture

20. Model of a House and Garden- Tomb of Meketre,

Deir, el-Bah, 11th Dynasty

- Made of wood, plaster, and copper depicts the home of Mekertre, the owner of the tomb

- Colorful columns carved to resemble bundles of papyrus support the flat roof of a portico that opens onto a garden

- Trees surround a central pool only wealthy could afford

- Shade + water provided natural cooling and pool was probably stocked w/fish

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21. Plan of the Northern Section of Kahun- Built during the

reign of Senusret II bear Moden el-Lahun, 12th Dynasty

- Unique view of Middle Kingdom social structure

- Parallel streets laid out w/rectangular blocks divided into lots for homes and other buildings reflect 3 distinct economic social levels

- House of priests, court official and their families were large and comfortable, with private living quarters and public rooms grouped around central courtyard

- Workers and thief families made do with small give room row houses built back to back along narrow streets

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22. The Ruins of the Great Temple of Amun at Karnak Egypt- Tombs and temples

erected to glorify kings themselves

- Home of God structure of Egyptian house; simple, rectangular, flat-roofed building preceded by a courtyard and gateway

- Enlarged elements; gateway became a massive pylon w/tapering walls, semipublic courtyard was surrounded by columns, an outer hypostyle hall, and inner-rooms, halls + sanctuary

- Design was symmetrical + axial creating a processional path, rooms became smaller, darker, and more exclusive as they neared the sanctuary (only priests + pharaohs

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enter)- 2 temple districts

consecrated primarily to the worship of Amun, Mut, and Khones, arose near Thebes—s huge complex at Karnak to the north and joined to it by an avenue of sphinxes, a more compact temple at Luxor to the south

23. Reconstruction Drawing of the Great Temple of Amun at Karnak, Egypt- New Kingdom- Acess to the heart of

temple, a sanctuary containing a statue of Amun, was from the west through a principal courtyard, a hypostyle hall, and number of smaller halls and courts

- Halls and courts behind Thutmose I and Rameses II underwent a lot of renovation

- Sacred lake to the south of the temple where the king and priests might undergo ritual purification was added

- In the sanctuary priests washed the God’s statue every morning and clothed it into a new garment

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24. Reconstruction Drawing of the Hypostyle Hall, Great Temple of Amun at Karnak- 19th Dynasty- Column supporting

higher part of the roof have massive lotus flowers

- On each side of the smaller columns with lotus bud capitals seem to march off forever into darkness

- In each side wall of the higher center section there is a clerestory

- Opening were filled with stone grillwork, so they cannot have provided much light but they did permit a cooling flow of air through the hall

- Despite the dimness of the interior, artists covered nearly every inch of the columns, walls, and cross-beams w/reliefs

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25. Flower and Bud Columns, Hypostyle Hall, Great Temple of Amun at Karnak - 19th Dynasty- Column supporting

higher part of the roof have massive lotus flowers

- On each side of the smaller columns with lotus bud capitals seem to march off forever into darkness

- In each side wall of the higher center section there is a clerestory

- Opening were filled with stone grillwork, so they cannot have provided much light but they did permit a cooling flow of air through the hall

- Despite the dimness of the interior, artists covered nearly every inch of the columns, walls, and cross-beams w/reliefs

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26. Hatshepsut Enthroned- Deir el-Bahri, 18th

Dynasty - Represented as a

male ruler would have been; even as a human-headed sphinx called His Majesty

- Portraits often show her in full royal trappings

- Wears a kilt, linen headdress, and has a bull’s tail hanging from her waist

- In some portraits wears false beard of king

27. Funerary Temple of Hatshepsut, Deir el-Bahri - 18th Dynasty- Not intended to be

her tomb - Her funerary temple

was magnificently positioned against high clogs and oriented toward the Great Temple of Amun at Karnak

- Follows an axial plan- Was to be buried in

Valley of Kings

28. Plan of Funerary Temple of Hatshepsut- Deir el-Bahri- Raised causeway

lined w/sphixes once ran from a valley temple on the Nile to the huge open space of the first court

- Visitors ascended a long straight ramp

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flanked by pools of water to a second court where shrines to Anubis and Hathor occupy the ends of the columned porticos

- Relief scenes and inscriptions in the south portico depict Hatshepsut’s expedition to the exotic, half-legendary kingdom of Punt from which rare myrrh trees were obtained for the temple’s garden terraces

- Temple’s uppermost court, colossal royal statues fronted another colonnade and behind this lay a large hypostyle hall w/chapels dedicated to Hatshepsut, her father and the gods Amun and Ra-Horakhty

29. Akhenaten, Colossal

Figure- In the new temple to

Aten that he built at Karnak when he openly challenged state Gods

- Strange softly swelling forms suggest an almost boneless, androgynous figure w/long thin arms and legs a protruding stomach, swelling thighs, and a thin neck supporting skull

- All facial features elongated to point of distortion

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- Eyes are slits + slightly downturned, while nearly smiling and very full lips, add to our discomfort

- Holds the traditional royal insignia, the flail (symbolizing protection) and the shepherd’s crook (the scepter if absolute sovereignty)

30. Akhenaten and his Family - Akhenaten (present-

day Tell el-Armana) 18th Dynasty

- Painted relief of Akhenaten, Queen Nefertiti, and 3 if their daughters exemplifies the new openness and a new figural style

- Sunken relief- King and queen sit on

a cushioned throne playing with their children

- Base of queen’s throne is adorned with the stylized plant symbol of unified Egypt, led some historians to conclude Nefertiti acted as a co-ruler with her husband

- Receiving the blessings of Aten, whose rays end in hands that penetrate the open pavilion and hold ankhs to their nostrils breath of life

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31. Queen Tiy- Kom Medinet el

Ghurab, 18th Dynasty

- Mother of Akhenaten - Portrait existed in

two versions; original, made for cult of dead husband, queen was identified w/funerary goddess Isis and Nephthys, sisters if Osiris

- Wore a silver headdress covered with gold cobras + gold jewelry

- Later when her son had come into power and established his new religion portrait was altered

- Brown cap covered w/blue headdress

32. Nefertiti- Akhenaten, 18th

Dynasty - Proportions of

refined, regular features, long neck, and heavy lidded eyes appear almost to ideal to be human

- Part of beauty of this head is the result of the artist’s dramatic use of color

- Hues of the blue headdress and its colorful band are repeated in the rich red, blue, green and gold of the jewelry

- Queens brows, eyelids, cheeks, and lips are heightened with color as they no

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doubt were heightened with cosmetics in real life

33. Inner Coffin of Tutankhamen’s Sarcophagus- Tomb of

Tutankhamen, Valley of the Kings, near Deir el-Bahri, 18th Dynasty

- Surface is decorated w/colored glass and semi-precious gemstones as well as finely incised linear designs and hieroglyphic inscriptions

- King holds a crook and a flail, symbol associated w/Osiris and had become a traditional part of royal regalia

- A nemes head cloth w/cobra and vulture on forehead covers head

- Necklace indicates military valor

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34. Queen Nefertari Making an Offering to Isis- Wall painting in

tomb of Nefertari, Valley of the Queens, near Deir el-Bahri, 19th Dynasty

- Nefertari offers jars of perfumed ointment to the goddess Isis

- Queen wears the vulture-skin headdress indicating her position, a royal collar, and a long semitransparent white linen gown

- Isis seated on her throne behind a table heaped with offering, holds a long scepter in her left hand the ankh in her right

- She wears a headdress surmounted by the horns of the Hathor framing a sun disk, clear indications of her divinity

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35. Judgment of Hunefer Before Osiris - Illustration from the

book of the Dead, 19th Dynasty

- 3 successive stages into afterlife

- At the left Anubis, leads him by the hand t the spot where he will weigh his heart against the feather of truth

- To the right of the scales Ammit, the dreaded eater of the dead watches eagerly for a sign from the god Thoy

- Hunefer passes the test and Horus presents him to the enthroned Osiris

36. Mummy Wrapping of Young Boy- Hawara, Roman

Period- Painted on a wood

panel in encaustic inserted over the face in the tradition of the mask of Tutankhamen

- Great staring eyes dominate images

- Artists recorded individual features of deceased

- Link Egyptian w/Roman Art

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Chapter 4: Aegean Art

 

Flotilla FrescoPort of Akrotiri, on the Island of Thera- Cycladic IslandVolcano erupted and buried town- 3500 years agoDiscovered in 1967Still excavating the cityShows boats, landscapes, and people on roofs and streets (daily life)

 

Two figures of women- Cyclades Made out of white marble from Cycladic islandsFound lying on gravesUsed obsidian chisels and emery polishing stones13 and 25 inches tallHad painted faces, hair, and ornaments

 

Seated harp playerKeros, CycladesBody shape simplifiedSits on high-backed chair, head tilted back-singing, arms raised playing harpMade out of white marble2700-2500 BCE11.5 inches tall

 

Reconstruction of palace complexKnossos, CretePalace of the Minoan civilizationLocated on Crete’s north coastOccupied in Neolithic period, then built over with Bronze Age buildingsDiscovered by Arthur Evans- 1900 CECalled the great architectural complex a palaceAerial view of Knossos palaceWalls of buildings made of rubble and mud bricks faced with cut local stoneFirst use of dressed stone in the AegeanColumns and interior made of wood- flat roofed, many columnsTimber used for farming and bracing wallsEarthquake destroyed palace

 

Knossos interiorMaximized light and air, defined access and circulation patternsWalls coated with plaster and painted with muralsWorkshops in and around palace formed commercial centersEnormous storerooms with clay jars for oil and wineSquare with central courtyard, with corridors leading out to suitesKamares ware jugPhaistos, Crete Discovered in cave on Mount Ida Exported as far away as Egypt and SyriaExtremely thin walls, use of color, painted decorationGlobular body and beaked pouring pout

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Decorated with brown, red, white pigments on black body

 

Pendant of gold beesChryssolakkos, CreteArched a pair of bees around a honeycomb of gold granulesSleek bodies, one pair of wingsHang from a spiderlike form, long legs encircling a tiny gold ballSmall disks dangle from wings and where bodies meetSimplified geometric shapes convey actual appearance

 

Young girl gathering saffron crocus flowers- AkrotiriYoung women’s initiation ceremonySaffron crocus- yellow dye, flavoring for food, alleviates menstrual crampsWears Minoan skirt with open-breasted bodice, earrings, braceletsHas the shaved head and long ponytail of a childBlue scalp indicated hair is growing

 

Pylos Palace PlanMegaron: Great RoomDirect Approach to Principal RoomRoof above hearth is raised=allows light and air to enter/smoke escapesMegaron associated with RoyaltyGreeks adapted megaron form when building temples= earthly palaces for gods

 

Reconstruction Drawing of the Megaron in the Palace at PylosPalace at Pylos: focused on ruler’s residence and megaronPylos megaron: magnificent display of architecture and decorative skillReconstructed view: combined throne room and audience hall might have lookedMinoan type columns support ceiling beamsEverything was painted: abstract designs/ large mythical creatures/stylized plants/landscape

 

Tholos, Treasury of AtriusTholos tombs=beehive tombs: rounded, conical shape tombs above groundShaft tombs: vertical pits ≠ Tholos tombChevrons: inverted VsRunning spirals: decoration based on the shape of a spiraling lineRunning spiral: favorite Aegean motif

 

Corbelled Vault, Interior of TholosCorbel vault: a vault made by projecting layers of stoneCourses: layersAshlars: squared stonesTomb became a conical hill: covered with earthRemarkable engineering feat

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Mask of Agamemnon5 death masksSchliemann: seemed to be face of Homer’s heroMask’s image: commanding=hero’s faceGallant of mask=questioning of authenticityMask: significantly different than all the others found at the site

 

Dagger Blade with Lion HuntDecorated with inlaid scenesWealth of ruling eliteDecorations on dagger: cut shapes from metals, inlaid them on blade, added details in nielloDepicts lion attacking deer; 4 other animals spring forward in the flying gallop poseFlying gallop pose=speed and energy

 

Two Women with a ChildCarved ivory group of 2 women and a childFound in the palace shrine at MycenaeMinoan-Mycenaean artistic exchangeInterlocking composition; finely detailed renderingSculpture in the roundInterpretations: generational/2 nymphs or devotees attending child god=affection and tenderness

 

Warrior VaseKrater: bowl for mixing wine and waterUsed in feasts and grave markersTechnically superior wares being produced between 1300 and 1100 BCEScene of marching menNOT vibrant energy; regular rhythm of tramping feet of disciplined soldiersWoman’s arm raised to her head= symbol of mourning

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Chapter 5: Art of Ancient Greece

Discus Thrower (Diskobolos)First Olympic game=religious ritualsAthletes gathered in sacred ground to pay tribute to ZeusAwards=crowns of olive leaves from the Scared Grove of GodsGreatest athletes: idealized in Greek sculpturesOriginally created in bronze by Myron

Sanctuary of Apollo, DelphiDelphi: sacred home of ApolloGreek myth: Zeus released 2 eagles from opposite ends of the Earth; met up on the site of DelphiGreek myth: Apollo fought/killed PythonPython: serpent son of earth god Ge; guarded his mother’s shrineOracle: a place where the god and human communicated by means of a medium (the Pythia)

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CentaurCeramic figureCentaur: half-horse, half-manUse of geometric forms in painted decorationReduction of human and animal body parts to simple geometric solidsSlip: a mixture of water and clay

Funerary Vase (Krater)Used as grave markersComplex decoration= typical of Geometric style properFirst time: humans are depicted as part of narrativesKrater: grave markerDetailed record of funerary rituals: Greek cremation

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Man and CentaurMade in BronzeTheme of battling man and centaurMan stabbed centaur with a spearSculptor reduced figures’ bodies to simple, geometric shapes Votive offerings to the gods

Pitcher (Olpe)Orientalizing style; began in CorinthOlpe: wide-mouthed pitcher…TWSSRosettes: stylized flower formsBlack-figure pottery: dark shapes of lions, serpent, and hybrid creatures against the pale color of clayGloss: clay slip mixed with metallic color pigments

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Temple of Hera I, PaestumDoric orderPeristyle, row of columns, surrounds the cella, main roomDoric column: shaft and a capital, made up of echinus and abacusEntablature: frieze, metopes: flat areas, and triglyphs: blocks with 3 vertical groovesMetopes: painted or carved in relief and then paintedEntasis: swelling of column towards the middle

West façade of the temple of ArtemisLarger, more complex temples = sculptural decoration more importance600-580 BCEDoric order temple on island of CorfuFigures in pediment= carved on different limestone slabsMore than 9 feet tall at peak of pediment

Gorgon medusaMedusa- one of three winged female monsters called gorgonsHad power to turn humans to stone if they look at her faceGreek hero Perseus- killed medusaPegasus to the left, giant Chrysaor on the rightFelines and dying human warriors- on ends of pediment

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Treasury of the Siphnians, DelphiBuilt in the sanctuary of Apollo- 530-525 BCEUsed caryatids- columns carved in the form of clothed womenWomen stand on raised pedestal with ornate capitals on their headsIonic order- plain architrave and continuous friezeElegant and richly ornamented

Battle between the gods and the giants (titans)Frieze of the treasury- filled with relief sculptureShows a legendary battleEarliest example of a Greek relief sculpture toward a more natural representation of spaceOverlapped many sculptures to give a sense of 3DAll figures made the same height and on the same ground line

East pediment of the temple of Aphaia, AeginaShows military expedition against troyFallen warriors at each endImage of Athena, warrior goddess, in the middleFlanked by two defenders approaching opponentsThe erect goddess dominates the center and stabilizes the composition

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Dying warriorBest preserved fragment from the pedimentA tragic but noble figure trying to risePulls arrow from his side as he diesOriginally painted and fitted with bronze accessoriesCaptured his agony and vulnerability

Standing youth (Kouros) – AtticaFollows pose and proportions of Egyptian art- Menkaure and his wifeStands upright at his side fists clenched, one leg slightly in frontHave a notable athletic quality unlike Egyptian statuesHead is oval with hair knotted and tied backArchaic smile= closed-lip smile, made of marble

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Anavysos Kouros Powerful, rounded bodyMore lifelikeThe massive torso and limbs suggest heroic strengthMonument to a fallen war hero6’4 feet tall, marble

Berlin Kore.Keratea cemetery at Athens. 570-560 BCE marble and red paintGoddess OrderlyHas pomegranate symbol of Persephone.Once gilded.

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Peplos kore.Acropolis Athens530 BCE Marble.Softer and named after her dress.Natural, once had encaustic painting.Captured by Persians.

Kore, Acropolis Athens.520 BCE. Marble.From ChiosMore natural.Lost limbs.Wears chiton.

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Dionysus with maenads.Amasis painter.540 BCE.Black figure decoration on amphora.Ceramic. Has sense of 3d.Shows female worshippers presenting offerings to Dionysus happily.

Achilles and Ajax playing a game.Exekias. 540 BCE.Black figure decoration on amphora.Ceramic. Shows Achilles and his cousin Ajax playing dice before Achilles dies the next day.

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The suicide of Ajax.Exekias. Black figure decoration on amphora. Ceramic. Shows Ajax preparing to kill himself because his cousin died and he was embarrassed.

Death of Sarpedon.Potter is Euxitheos, painter is Euphronios.515 BCE. Red figure decoration on a calyx krater. Ceramic. Had demigod Sarpedon being killed and carried away by Hypnos and Thanatos. Hermes watches. Used foreshortening shortens things closer to viewer to make depth.

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OUTLINES FROM ERNESTO AND MARRISSA-------------------------

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DIAGRAM IDENTIFICATION:

Plan Village of Skara Brae

98

Diagram of Stonehenge

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1. Post and Lintel2. Cross-Section of a Post and Lintel Underground Burial Chamber3. Cross-section of Corbeled Underground Burial Chamber4. Wood-Post Framing of Prehistoric Structure5. Granite Post and Lintel Construction

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Art of Ancient Egypt Diagram:

Old Kingdom Standard Grid- An Egyptian canon of proportions for representing the human body

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Plan of Djoser’s Funerary Complex, Saqqara

102

Plan of Northern Section of Kahun

103

Reconstruction Drawing of Hypostyle Hall

104

Plan of Funerary Temple of Hatsheput

105

Reconstruction Drawing of the Great Temple of Amun at Karnak

106

107

108

109

110

111

Jewish, Christian, and early byzantine

112

113

Islamic art

114

AEGEAN ART:

Pylos palace plan

Cutaway drawing of Tholos

ART OF ANCIENT GREECE:

In Antis (Siphnian Treasury)

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Amphiprostyle (Temple of Athena Nike)

Peripteral (Temple of Hera I)

Peripteral (Parthenon)

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117

Greek Vessels

Plan of the Agora (Marketplace, Athens)

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Plan of Miletos

Plan and Section of the Tholos,

Santuary of Athen Pronaia, Delphi

EARLY MEDIEVAL ART IN EUROPE:

119

Reconstruction drawing of the Palace Chapel of Charlemagne

120

Diagrams of wood buildings in Northern Europe

121

Schematic diagram of the message of the doors of Bishop Bernward of Hildesheim

ROMANESQUE ART:

Plan of Church of Sant Vincenc, Cardona

Plan of Cathedral of Sint James, Santiago de Compostela

Cross section of the Cathedral of Saint James, Santiago de Compostela (Drawing after Conant)

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Plan of the Abbey of Notre-Dame, Fontenay

Plan of Durham Cathedral

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ASSOCIATION EXERCISE GREEK ARTIST TO PIECE

Myron:Discus Thrower (Diskobolos)

Exekias:Achilles and Ajax Playing a GameThe Suicide of Ajax

Euphronios and Euxitheos:Death of Sarpedon

Polykleitos:Spear Bearer (Doryphoros)/ Achilles

Foundry Painter:A Bronze Foundry

Pan Painter:Artemis Slaying Actaeon

Kallikrates and Iktinos:Parthenon, Arcopolis

Alan LeQuire:Athena, The Parthenon

William Pars:The Parthenon When it Contained a Mosque

Priam Painter:Woman at a Fountain House

Style of Achilles Painter:Woman and Maid

Praxiteles:Hermes and the Infant DionysosAphrodite of Knidos

Skopas:Panel from the Amazon Frieze

Lysippos:The Man Scraping Himself (Apoxyomenos)Alexander the Great

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Philoxenos of Eretria or Helen of Egypt:Alexander the Great Confronts Darius III at the Battle of Issos

Gnosis:Stag Hunt

Epigonos:Dying Gallic Trumpeter

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INTRODUCTION ARTIST TO PIECE:

Piece = Great SphinxArtist = unknown

Piece = Flower Piece with Curtain Artist = Adrian van der Spelt and Frans van Mieris

Piece = Corinthian Capital from the Tholos at Epidaurus Artist = unknown

Piece = Succulent Artist = Edward Weston

Piece = Cubi XIXArtist = David Smith

Piece = Red Canna Artist = Georgia O’Keeffe

Piece = Medici Venus Artist = unknown

Piece = Charles V Triumphing Fury, Without Armor Artist = Leone Leoni

Piece = Woman at the Height of her Beauty Artist = Kitagawa Utamaro

Piece = Lacoon and his Sons Artist = Hagesandros, Polydoros and Athanadoros of Rhodes

Piece = Throne of the Third Heaven of the Nations Artist = James Hampton

Piece = The Triumph of Venice Artist = Veronese

Piece = Rue Transonain Artist = Honore Daumier

Piece = Diary Artist = Roger Shimomura

Piece = Saint Luke Displaying Paintings of the Virgin Artist = Guercino

Piece = Violet Persian Set with Red Lip Wraps Artist = Dale Chihuly

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Piece = The Drawing LessonArtist = Jan Steen

Piece = The Last Supper Artist = Leonardo da Vinci

Piece = Pheidias and the Frieze of the Parthenon Artist = Lawrence Alma-Tadema

Piece = The Last Supper Artist = Rembrandt van Rijn

Piece = Vietnam Veterans Memorial Artist = Maya Ying Lin

Piece = Christine de Pizan Presenting her Book to the Queen Artist = unknown

Piece = Harmony in Blue and Gold, the Peacock Room Artist = James McNeill Whistler

Piece = The Farnese Hercules Artist = unknown

Piece = Dutch Visitors Looking at the Farnese Hercules Artist = Hendrick Goltzius

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ASSOCIATION (PIECE TO PERIOD):1. Great Pyramids of Giza – Old Kingdom Egyptian

2. Valley Temple of Khafre – Old Kingdom Egyptian

3. Khafre – Old Kingdom Egyptian

4. Menkaure and a Queen – Old Kingdom Egyptian

5. Pepy II and his Mother, Queen Ankhnes-Meryre – Old Kingdom Egyptian

6. Seated Scribe – Old Kingdom Egyptian

7. Ti Watching a Hippopotamus Hunt – Old Kingdom Egyptian

8. The Narmer Palette – Pre-Dynastic Egyptian

9. Discus Thrower (Diskobolos) – Greek High Classical

10. The Acropolis – Greek High Classical

11. The Parthenon – Greek High Classical

12. East Pediment of the Parthenon – Greek High Classical

13. Lapith Fighting a Centaur – Greek High Classical

14. Horsemen – Greek High Classical

15. Marshals and Young Women – Greek High Classical

16. Erechtheion – Greek High Classical

17. Porch of the Maidens (South Porch), Erechteion – Greek High Classical

18. Temple of Athena Nike – Greek High Classical

19. Nike (Victory) Adjusting her Sandal – Greek High Classical

20. Grave Stele of Hegeso – Greek High Classical

21. Woman and Maid – Greek High Classical

22. Temple of the Olympian Zeus, Athens, Acropolis in Distance - Hellenistic

23. Theater, Epidauros - Hellenistic

24. Gallic Chieftain Killing his Wife and Himself - Hellenistic

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25. Dying Gallic Trumpeter - Hellenistic

26. Reconstructed West Front of the Altar from Pergamon, Turkey - Hellenistic

27. Athena Attacking the Giants - Hellenistic

28. Nike (Victory) of Samothrace - Hellenistic

29. Veiled and Masked Dancer - Hellenistic

30. Old Woman - Hellenistic

31. Aphrodite of Melos (also called Venus de Milo) - Hellenistic

32. Christ and Disciples on the Road to Emmaus - Romanesque

33. Those Who Work; Those Who Fight; Those Who Pray—The Dream of Henry I, Worcester Chronicle - Romanesque

34. Church of Sant Vincenc, Cardona - Romanesque

35. Cathedral of Saint James, Santiago de Compostela - Romanesque

36. The Abbey at Cluny - Romanesque

37. Reliquary Statue of Sainte Foy (Saint Faith) - Romanesque

38. Abbey Church of Notre-Dame, Fontenay - Romanesque

39. Cathedral Complex, Pisa - Romanesque

40. Church of San Clemente, Rome – Romanesque

41. Church of Saint-Savin-Sur-Garetempe, Poitou - Romanesque

42. Church of Sant’Ambrogio, Milan - Romanesque

43. Speyer Cathedral - Romanesque

44. Durham Cathedral - Romanesque

45. Church of Saint-Etienne, Caen - Romanesque

46. Dover Castle - Romanesque

47. Creation and Fall, West Façade, Modena Cathedral - Romanesque

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48. South Portal and Porch, Priory Church of Saint-Pierre, Moissac - Romanesque

49. Trumeau, South Portal, Priory Church of Saint-Pierre, Moissac - Romanesque

50. Last Judgment, Tympanum on West Portal, Cathedral (Originally Abbey Church) of Saint-Lazare, Autun - Romanesque

51. Capital: Suicide of Judas. Cathedral of Saint-Lazare, Autun - Romanesque

52. Hildegard and Volmar, Liber Scivias - Romanesque

53. Christ in Majesty - Romanesque

54. Tower of Babel - Romanesque

55. Crucifix (Majestat Batllό) - Romanesque

56. Virgin and Child - Romanesque

57. Messengers Signal the Appearance of a Comet (Halley’s Comet), The Bayeux Tapestry - Romanesque

58. Bishop Odo Blessing the Feast, The Bayeux Tapestry - Romanesque

59. Detail, Bishop Odo Blessing the Feast, The Bayeux Tapestry - Romanesque

60. Tomb Cover with Effigy of Rudolf of Swabia - Romanesque

61. Baptismal Font, Notre-Dame-Aux-Fontes - Romanesque

62. St. Matthew, from the Codex Colbertinus - Romanesque

63. Book of Homilies - Romanesque

64. The Mouth of Hell, Winchester Psalter - Romanesque

65. Page with the Tree of Jesse, Explanatio in Isaiam (Saint Jerome’s Commentary on Isaiah) – Romanesque

66. Wall with Horses- Paleolithic Period

67. Reconstruction Drawing of mammoth-bone house-Paleolithic Period68. Lion Human-Paleolithic Period

69. Woman from Willendorf-Paleolithic Period

70. Woman from Ostrava Petrkovice-Paleolithic Period

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71. Woman from Brassempouy- Paleolithic Period

72. Spotted Horses and Human Hands-Paleolithic Period

73. Bison-Paleolithic Period

74. Plan of Lascaux Caves-Paleolithic Period

75. Hall of Bulls-Paleolithic Period

76. Bird-Headed Man with Bison and Rhinoceros-Paleolithic Period

77. Bison-Paleolithic Period

78. Lamp with ibex design-Paleolithic Period

79. People and Animals-Neolithic Period

80. Village of Skara Brae-Neolithic Period

81. Rock Art in Valtellina-Neolithic Period

82. Tomb Interior with Corbeling and Engraved Stone-Neolithic Period

83. Stonehenge-Neolithic Period

84. Diagram of Stonehenge-Neolithic Period

85. Menhir Statue of a Woman-Neolithic Period

86. Head of Senusret III- Middle Kingdom Egyptian:

87. Rock Tombs, Beni Hasan- Middle Kingdom Egyptian:

88. Pectoral of Senusret II- Middle Kingdom Egyptian:

89. Hippopotamus- Middle Kingdom Egyptian:

90. Stele of Amenemhat I- Middle Kingdom Egyptian:

91. Model of House and Garden- Middle Kingdom Egyptian:

92. Plan of Northern Section of Kahun- Middle Kingdom Egyptian:

93. Ruins of the Great Temple of Amun at Karnak, Egypt- New Kingdom Egyptian:

94. Flower and Bud Columns, Hypostyle Hall, Temple of Amun at Karnak- New Kingdom Egyptian:

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95. Fish-Shaped Bottle- New Kingdom Egyptian:

96. Hatshepsut Enthroned- New Kingdom Egyptian:

97. Funerary Temple of Hatshepsut- New Kingdom Egyptian:

98. Akenaten, Colossal Figure- New Kingdom Egyptian:

99. Akenaten and His Family- New Kingdom Egyptian:

100. Queen Tiy- New Kingdom Egyptian:

101. Nefertiti- New Kingdom Egyptian:

102. Inner Coffin of Tutankhamun’s Sarcophagus- New Kingdom Egyptian:

103. Temple of Ramses II- New Kingdom Egyptian:

104. Queen Nefertari making an Offering to Isis- New Kingdom Egyptian:

105. Judgment of Hunefer before Osiris- New Kingdom Egyptian:

106. Cuneiform- Sumerian:

107. Ruins of the White Temple Sumerian:

108. Warka Head- Sumerian:

109. Uruk Vase- Sumerian:

110. Votive Figures- Sumerian:

111. Nanna Ziggurat- Sumerian:

112. Great Lyre with Bull’s Head- Sumerian:

113. Cylinder Seal and Its Impression- Sumerian:

114. Head of a Man (Akkadian Ruler)- Akkadian:

115. Stele of Naram-Sin- Akkadian:

116. Babylonia: Stele of Hammurabi

117. Human-Headed Winged Lion (Lamassu)- Assyrian:

118. Assurnasirpal II Killing Lions- Assyrian:

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119. Citadel and Palace Complex of Sargon II- Assyrian:

120. Assurbanipal and His Queen in the Garden- Assyrian:

121. Hanging Gardens- Neo-Babylonia:

122. Marduk Ziggurat- Neo-Babylonia:

123. Ishtar Gate and Throne Room Wall- Neo-Babylonia:

124. Ceremonial Complex Persepolis- Persian:

125. Apadana (Audience Hall) of Darius and Xerxes- Persian:

126. Vapheio cups- Mycenaean

127. Citadel at Mycenae- Mycenaean

128. Palace at Pylos- Mycenaean

129. The treasury of Atreus- Mycenaean

130. Lion gate- Mycenaean

131. Mask of Agamemnon- Mycenaean

132. Dagger blade with lion hunt- Mycenaean

133. Two women with a child- Mycenaean

134. Warrior vase- Mycenaean

135. Temple of Hera I and II- Greek Archaic

136. Temple of Artemis- Greek Archaic

137. Gorgon medusa- Greek Archaic

138. Treasury of the Siphnians- Greek Archaic

139. Battle between the gods and the giants- Greek Archaic

140. Pediment of the temple of Aphaia- Greek Archaic

141. Dying warrior- Greek Archaic

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142. Standing youth (kouros)- Greek Archaic

143. Anavysos kouros- Greek Archaic

144. Berlin kore- Greek Archaic

145. Peplos kore- Greek Archaic

146. Acropolis kore- Greek Archaic

147. Dionysus with maidens- Greek Archaic

148. Achilles and Ajax playing a game- Greek Archaic

149. The suicide of Ajax- Greek Archaic

150. Death of Sarpedon- Greek Archaic

151. Spear bearer (Doryphoros)- Greek classical

152. Pediment of the temple of Zeus- Greek classical

153. Apollo with battling lapiths and centaurs- Greek classical

154. Athena, Heracles, and Atlas- Greek classical

155. Kritian boy- Greek classical

156. A bronze foundry- Greek classical

157. Charioteer- Greek classical

158. Warrior A- Greek classical

159. Artemis slaying Actaeon- Greek classical

160. Porta Agusta, 3rd to 2nd century BCE-Etruscans

161. Apollo, 510-500 BCE-Etruscans

162. Burial Chambers, Tomb of the Tricilinium, Tarquinia, 480-470 BCE-Etruscans

163. Burial Chamber, Tomb of Reliefs, 3rd century BCE-Etruscans

164. Sarcophagus from cerveteri 520 BCE-Etruscans

165. mirror 400- 350 BCE-Etruscans

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166. head of a man (known as Brutus) mid third century BCE-Etruscans

167. Aulus Metellus 80 BCE-Roman Republic

168. potrait of Rompey the Great 30 CE-Roman Republic

169. Denarius with Potrait of Julius Ceaser 44 BCE-Roman Republic

170. Pont Du Gard (late 1st century BCE)-Roman Republic

171. Temple, perhaps dedicated to Portunus (late 2nd century BCE)-Roman Republic

172. Maison Coree 20 BCE-Roman Republic

173. view of the Roman Forum-Early Roman Empire

174. Augustus of Primaporta- early 1st century CE-Early Roman Empire

175. Ara Pacis Augustae (Altar of Augustan Peace) 13 - 9 BCE-Early Roman Empire

176. Imperial Procession-Early Roman Empire

177. Allegory of Peace-Early Roman Empire

178. Gemma Augustea early 1st century CE-Early Roman Empire

179. Aerial view of the city of Pompeii 79 CE-Early Roman Empire

180. Street in Pompeii-Early Roman Empire

181. Peristyle garden, house of the vettii 62-79 CE-Early Roman Empire

182. Fountain Mosaic mid 1st century CE-Early Roman Empire

183. initiation nites of cult of bacchus in the villa of the mysterie 60-50 BCE-Early

Roman Empire

184. Garden scene late 1st century BCE-Early Roman Empire

185. seascape and coastal towns late 1st century-Early Roman Empire

186. Recons trucled Bedroom late 1st century BCE-Early Roman Empire

187. Cityscape late 1st century CE-Early Roman Empire

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188. Detail of a wall painting in the house of M. Lucretius Fronto, mid 1st century CE-

Early Roman Empire

189. Still Life 79 CE before-Early Roman Empire

190. Arch of Titus 81 CE-Early Roman Empire

191. Spoils from the temple of Solomon-Early Roman Empire

192. Triumphal procession, titus in chariot-Early Roman Empire

193. flavian amphitheater (colosseum) 70-80 CE-Early Roman Empire

194. Flavain amphitheater, outer wall, 70- 80 CE-Early Roman Empire

195. Young Flavian woman, 90 CE-Early Roman Empire

196. Middle Aged Flavian Woman late 1st century CE-Early Roman Empire

197. Menorahs and ark of the covenant 3rd century-Jewish

198. Wall with torah niche 244-45-Jewish

199. The Finding of Baby Moses 244-45-Jewish

200. synagogue Floor, 530-Jewish

201. Good Shepherd, Crants, and stay of Torah late 3rd early 4th century-Early

Christian

202. Good Shepherd-Early Christian

203. Sarcophagus of the Church of Santa Maria Antigua 270-Early Christian

204. Model of Walls and Baptismal Front 240-Early Christian

205. old St. Peter’s painting of the interior 16th century-Early Christian

206. Church of santa sabina 422-32-Early Christian

207. Interior, Church of Santa Sabina 422-32-Early Christian

208. The Ascension of Elijah 420’s-Early Christian

209. Parting of Lot and Abraham 432-40-Early Christian

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210. Church of Santa Constanza 350-Early Christian

211. Harvesting of Grapes 350-Early Christian

212. Mausoleum of Galla Placidia 425- 26-Early Christian

213. Mausoleum of Galla Placidia Interior 425- 26-Early Christian

214. Good Shepard 425-26-Early Christian

215. Clerestory and dome baptism of christ and procession of apostles, gospels and

thrones, the prophets, baptism of the orthodox 450-60-Early Christian

216. Sarcophagus of Junius Bassus 359-Early Christian

217. Land walls of Constantinople, 412-13-Byzantine

218. Anthemius of Tralles and Isadorus of Miletus.-Byzantine

219. Church of Hagia Sophia 532-37-Byzantine

220. Church of Hagia Sophia interior532-37-Byzantine

221. Church of San Vitale 547-Byzantine

222. Sanctuary 547-Byzantine

223. Emperor Justinian and his attendants, north wall of the apse 547-Byzantine

224. Empress Theadora and her attendants, south wall of the apse 547-Byzantine

225. The trans fig nation of Christ with Sant’Apollnare, first bishops of Ravenra, 7th

and 9th century-Byzantine

226. Archangel Michael, early 6th century-Byzantine

227. Rebeca at the well, early 6th century-Byzantine

228. The crucifix and resurrection,586-Byzantine

229. The Ascension 586-Byzantine

230. Virgin and child with saints and angels second half of 6th century-Byzantine

231. Virgin of Vladimir 11th-12th century-Byzantine

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232. Interior cathedral of Santa Sophia 1037-46-Byzantine

233. Monastery churches of Nosias Luokas early 11th century-Byzantine

234. Central domed space and apse (the naos), kathalikon, early 11th century and

beyond-Byzantine

235. Crucifixion, late 11th century-Byzantine

236. Cathedral of Saint Mark, 1063-Byzantine

237. Harbaville triptyeh, mid 11th century-Byzantine

238. David the psalmist, second half of 10th century-Byzantine

239. Palatine Chapel, mid 12th century-Byzantine

240. Chamber of the king roger, Norman palace, mid 12th century-Byzantine

241. Funerary chapel church of the monastery of Christ, 1310-21-Byzantine

242. Anastasis-Byzantine

243. The old testament trinity (three angels visiting Abraham) 1410-25-Byzantine

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VOCABULARYChapter 1

1. Architecture- enclosure of spaces with at least some aesthetic intent

2. Relief Sculpture- surrounding material is carved away forming a background that sets off the figure

3. Abstract Art- reduction of shapes and appearances to basic yet recognizable forms that are no intended to be exact replications of nature

4. Sympathetic Magic- idea that for instance a reclining bison would ensure that hunters found their prey asleep

5. Twisted Perspective- horns, eyes and hooves are shown as seen in the front, yet heads and bodies are rendered in profile

6. Shaman- thought to have special powers, an ability to contact spirits in the form of animals or birds

7. Modeling- shaping

8. High Relief- extend well forward from the background

9. Flying Gallop- used to indicate speed in a running animal from prehistory to the present

10. Ridgepole- long horizontal beam against which the slanting of roof poles were braced

11. Wattle and Daub- branches woven in basketlike patterns

12. Thatch- plant material such as reeds or straw tied over a framework of poles

13. Corbelling- layers of flat stones without mortar form walls, with each layer, or course, projecting slightly inward over the one below

14. Corbel Vault- inward sloping walls come together at the top

15. Megalithic Architecture- descriptive term derived from the Greek word roots for large (mega) and stone (lithos)

16. Dolmen- simplest type of megalithic tomb built on the post and lintel principle, tomb chamber formed of huge upright stones supporting one or more table-like rocks (capstones)

17. Cairn- artificial hill

18. Passage Grave- entered by one or more narrow stone-lined passageways into a large room at the center

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19. Henge – a circle of stones or posts often surrounded by a ditch with built up embankments

20. Sarsen- gray standstone

21. Thrilithons- pairs of upright stones topped by lintels

22. Mortise and Tenon- joints made by a conical projection at the top of each upright that fits like a peg into a hole in the lintel

23. Ceramics- wares made of baked clay

24. Alloy- mixture (bronze=tin + clay)

25. Proto-historic- implies they left no written records but that others wrote about them

26. Relative Dating- relies on the chronological relationships among objects in a single excavation or among several excavation sites

27. Absolute Dating- aims to determine a precise span of calendar years in which an artifact was created

28. Radiometric Dating- measures the degree to which radioactive materials have disintegrated over time

29. Potassium-argon Dating- measures the decay or a radioactive potassium isotope into a stable isotope of argon

30. Thermoluminescence Dating- measures the irradiation of crystal structure of a material subjected to fire (pottery)

31. Electron-spin-resonance- involve using magnetic field and microwave irradiation to date a material such as tooth enamel + soil surrounding

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Chapter 21. Lamassus- extraordinary guardian protectors of the palaces and throne rooms

2. Fertile Crescent- outline of which stretches along the Lebanese mountain range on the Mediterranean and circles the northern reaches of the Tigris and Euphrates rivers down through the Zagros mountains

3. Mesopotamia- land between the rivers

4. City- state- own gods and government

5. Cuneiform- symbols into clay tablets with a stylus

6. Stylus- pointed writing instrument to keep business records

7. Ziggurat- he stepped structures with a temple on shrine on top

8. Inlaid- set-in

9. Registers- horizontal bands

10. Phonograms- representations of syllable sounds

11. Votive Figures- images dedicated to the Gods

12. Lyre- a kind of harp

13. Sistrum- a kind of rattle

14. Iconography- the narrative and allegorical meaning

15. Cylinder Seals- small cylindrical stone decorated with incised patterns, when rolled across soft clay or wax, the resulting raised pattern or design (relief) served in Mesopotamian culture as an identifying symbol

16. Stele- upright stone slab

17. Hieratic Scale- size associated with importance in ancient art

18. Citadel- fortress

19. Palace Complex- the group of buildings where the ruler governed and resided

20. Glazed- outermost layer of vitreous liquid

21. Crenellations- notched walls—notches called crenels—built as a part of military defense

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22. Mushhushshu- horned dragons with the head and body of a snake, the forelegs of a lion, and the hind legs of a bird of prey

23. Grid- system of crossed lines

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Chapter 3:

1. Heb sed/ sed festival- royal jubilee, renewed and reaffirmed king’s power

2. Palettes- flat stones with a circular depression on one side

3. Memory image- generic form that suggests a specific object

4. Groundlines- establish space as a series of horizontal registers in which the uppermost register is the most distant

5. Cannon of Proportions- ratios between a figure’s height and all its component parts were clearly prescribed. They were calculated as multiples of a specific unit of measure, such as the width of the closed fist

6. Ka-life force of spirit

7. Mastaba- flat-topped one story building with slanted walls erected above an underground burial chamber

8. Serdab-small, sealed room housing the ka statue of the deceased and a chapel designed to receive mourning relatives and offerings

9. Sarcophagus- coffin

10. Necropolis-city of the dead

11. Ankh- symbol of life

12. Cartouche- oval formed by loop of rope

13. Scarab- stylized dung beetle associated w/sun and God Amun

14. Hieroglyphic Khepri- symbol of Ra and rebirth

15. Faience- type of ceramic covered w/colorful, opaque glazes that form a smooth impermeable surface

16. Pylon- massive gateway formed by a pair of tapering walls of oblong shape

17. Peristyle Court- semipublic courtyard surrounded by columns

18. Hypostyle Hall- vast hall filled w/columns

19. Clerestory- long row of window openings

20. Maat-divine truth

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21. Sunken Relief- outlines of the figures have been carved into the surface of the stone, instead of being formed by cutting away the background

22. Encaustic- hot colored wax

23. Hieroglyphs – symbols; inscriptions on monuments

24. Hieratic – simplified hieroglyphs ; religious documents

25. Demotic – less formal, cursive hieroglyphs; everyday documents

26. Coptic – Egyptian language written in Greek characters

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Chapter 4: Aegean Art

1. Dressed Stone- Local Stone

2. Labyrith- House of Double Axes, Maze

3. Buon Fresco- Still wet plaster surface

4. Fresco Seco –dry plaster Surface

5. Rhytons- vessels used for pouring liquids

6. Gold Leaf- sheets of Hammered Gold

7. Sistrum- rattlelike percussion instrument

8. Repousse- technique of hammering from the back of the sheet

9. Cyclopean- drywall masonry

10. Megaron- large audience hall

11. Shaft graves- vertical pits 20 to 25 feet deep

12. Tholos Tombs- beehive tombs b/c of rounded conical shape

13. Chevrons- inverted Vs

14. Running Spirals- favorite Aegean motif

15. Corbel Vault- built in courses of ashlar

16. Courses- layers

17. Ashlar- squared stone

18. Krater- bowl for mixing water and wine

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Etruscan and Roman Art1. Atrium- central courtyard

2. Roundels- circular decorative panels

3. Pilasters- rectangular column-like uprights

4. Round arch- arch with a rounded shape, displaces most of the weight down

5. Voussoirs- wedge-shaped pieces of the arch

6. Keystone- central piece in the arch

7. Buttressing- added support

8. Centering- wooden scaffolding

9. Springing- point where arch curves

10. Spandrels- wall areas adjacent to the curves of the arch

11. Arcade- succession of arches

12. Barrel vault- an extended round arch

13. Groin vault- an intersection of barrel vaults

14. Hemispheric dome- dome on a drum

15. Drum- circular wall

16. Oculus- circular opening

17. Tufa- volcanic rock, hardens when exposed to air

18. Tuscan order- Doric order without fluted shaft and a simplified base

19. Podium- base of building

20. Stucco- slow drying plaster

21. Sarcophagi- coffins

22. Plebian- lower class

23. Patrician- upper class

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24. Oligarchy- government by the aristocracy

25. Toga- garment

26. Verism- meticulous realism

27. Pozzolana- volcanic sand

28. Veneer- facing

29. Exedrae- semicircular niches

30. Colonnades- rows of columns

31. Engaged- set into the wall

32. Pontifex maximus- high priest

33. Meander- Greek key pattern

34. Insulae- brick apartment blocks

35. Peristyle- interior court surrounded by columns

36. Tablinum- office or formal reception room

37. Intuitive perspective- uses diagonal lines that make the object appear as if it

were receding

38. Still life- composition of inanimate objects

39. Tondo-circular panel

40. Menorah- seven-branched lamp holder from the temple of Jerusalem

41. Cartouches- shield-shaped ornaments

42. Basilica- rectangular shaped building with apse at each end

43. Apse- rounded extension

44. Clerestory- upper nave wall with windows

45. Pantheon- “all the gods”

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46. Coffers- sunken panels

47. Canopus- long reflecting pool

48. Emblemata- mosaic image panels

49. Mosaic- design made of pebbles or tesserae

50. Tesserae- pieces of colored stone and marble

51. Roundels- circular reliefs

52. Diptych- pair of panels attached with hinges

Jewish, Christian and early Byzantine art

1. Necropolis- city of the dead

2. Catacomb- small burial rooms

3. Narthex- atrium and porch

4. Dove=purity

5. Fish= Jesus

6. Lamb= Jesus’s death on the cross

7. Bishop- senior church officials

8. Parish- units led by priests

9. Cathedral- bishop’s church

10. Liturgy- elaborate religious ceremony

11. Cathedra- bishop’s throne

12. Syncretism- assimilation of images from other tradition

13. Orant- arms out

14. Loculi- rectangular niches in wall

15. Cubicula- small rooms

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16. Medallion- round ornament

17. Lunette- semicircular wall areas formed by arch

18. Rotunda- round domed structures

19. Portal- doorway

20. Aisles- on both sides of nave

21. Transept- crosses the nave in front of the apse

22. Spolia- material reused from earlier buildings

23. Chalice- wine cup

24. Paten- holds the bread

25. Tholos- round structure with a central plan and vertical axis

26. Ambulatory- encircling barrel-vaulted passageway

27. Putti- naked male child-angels

28. Cruciform- cross-shaped

29. Pendentive dome- dome continuous with its pendentives

30. Schism- split within the church

31. Tondo- circular image

32. Vellum- calfskin

33. Codex- book form

34. Quire- parchment folded and sewed together

35. Miniatures- illustrations

36. Illuminated- manuscripts decorated with gold and colors

37. Hagia Sophia- holy wisdom

38. Naos- central core

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39. Galleries- open stories overlooking the naos

40. Scriptoria-writing rooms for scribes

41. Scribe- professional document writers

42. Mandorla- almond-shaped area of light

43. Iconostasis- screen in church with images of icons

44. Iconoclasm- the banning of religion icons

45. Trompe l’oeil- “fool the eye”

ART OF ANCIENT GREECE:

1. Dressed stone – ashlar

2. Labrys – double ax

3. Labyrinth – maze

4. Buon fresco – a painting technique in which waterbased pigments are

applied to a surface of wet plaster

5. Fresco secco – painting on dried plaster

6. Lost-wax casting – a method of casting metal by a process in which a wac

mold is covered with clay and plaster, then fired, melting the wax and leaving

a hollow form. Molten metal is then poured into the hollow space and slowly

cooled. When the hardened clay and plaster exterior shell is removed, a solid

metal form remains to be smoothed and polished.

7. Inlay – to set pieces of material or materials into a surface to form a design;

material used in or decoration formed by this technique

8. Filigree – delicate, lacelike ornamental work

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9. Repoussé – a technique of hammering metal from the back to create a

protruding image

10. Niello – a metal technique in which a black sulfur alloy is rubbed into fine

lines engraved into a metal (usually gold or silver). When heated, the alloy

becomes fused with the surrounding metal and provides contrasting detail

11. Gilding – the application of paper-thin gold leaf or gold pigment to an object

made from another medium (for example, a sculpture or painting)

12. Gold leaf – paper-thin sheets of hammered gold that are used in gilding

13. Gold foil – a thin sheet of gold

14. Rhyton – a vessel in the shape of a figure or an animal, used for drinking or

pouring liquids on special occasions

15. Megaron – the main hall of a Mycenaean palace or grand house, having a

columnar porch and a room with a central fireplace surrounded by four

columns

16. Shaftgrave – a deep put used for burial

17. Tholos tomb – a small round tomb underground

18. Beehive tomb – a corbel-vaulted tomb, conical in shape like a beehive, and

covered by an earthen mound

19. Chevron – a decorative or heraldic motif of repeated Vs; a zigzag pattern

20. Running spiral – a decorative motif based on the shape formed by a line

making a continuous spiral

21. Corbel vault – a vault made by projecting courses of stone

22. Course – a horizontal layer of stone used in building

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23. Ashlar – a highly finished, precisely cut block of stone. When laid in even

courses, ashlar masonry creates a uniform face with fine joints. Often used as

a facing on the visible exterior of a building, especially as a veneer for the

façade. Also called dressed stone.

ROMANESQUE ART:

1. Romanesque – Roman style

2. Strip buttresses – bands of masonry

3. Arched corbel tables – courses of masonry

4. Spolia – architectural spoils taken from ancient Roman buildings

5. Baldachin – a canopy (whether suspended from the ceiling, projecting from

a wall, or supported by columns) placed over an honorific or sacred space

such as a throne or church altar

6. Stringcourse – a raised horizontal band or course of bricks on a building

7. Great Tower – stood in a courtyard surrounded by additional walls

8. Keep – Great Tower in England

9. Donjon – Great Tower in France

10. Bailey – courtyard

11. Moats – a large ditch or canal dug around a castle or fortress for military

defense

12. Archivolts – a band of molding resembling an architrave, around the lower

curve of an arch

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13. Trumeau – a column, pier, or post found at the center or a large portal or

doorway. Supporting a lintel

14. Glazing – an outermost layer of vitreous liquid that, upon firing, renders

ceramics waterproof and forms a decorative surface. In painting, a technique

particularly used with oil mediums in which a transparent layer of paint is

laid over another, usually lighter, painted or glazed area

15. Liber – book

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