View
215
Download
0
Category
Preview:
Citation preview
Countdown to the Exam: 24 Days
Art History General CharacteristicsAfrican
Jijora- combination of realism and abstraction Symmetry around vertical axis Curving cylindrical forms Frontality and static poses; rigid, upright Calm facial expressions Use of negative space Odo- prime of life Parts of body that are considered most important are emphasized
Example: Dogon Primordial Couple
Japan-Early Buddhist Japan Buddhism inherited from China – Shaka
Triad Idealized figures based on forms in nature –
lotus leaf Use of symbols Mudras- hand positions Attributes to identify deities Architectural settings – celestial
architecture Pure Land Buddhism
Examples: Shiva NatarajaPriest – Shunjobo
Chogan
Art of Later Japan Ascendance of Zen Buddhism (samurai like it – discipline) Muromachi, Momoyama, Edo (Rimpa, Nanga(literati), Zen, Ukiyo-e), Meiji (modern)
Examples: Chinese Lion by Kano EitokuFujin and Raijin by SotatsuGeisha as Daruma Crossing by Harunobo36 Views of Mt. Fuji Series by Hokusai
EgyptianExample: Palette of Narmer
Extreme conservatism: very little change in art for 3000 years (exception: Akhenaton & Amarna Pd)
Hieratic scale Combination of text and images Use of registers Things may be seen from the front, the side, or above Rules for depicting pharaoh and family; very stylized and
idealizedo Shown in prime of lifeo Broad shoulders, narrow hips, some muscle definition o Calm faceo Limited poses include composite view and Egyptian sculptural stance
Naturalism for depiction of non-royalty, landscape, and animals in natural surroundings Men are dark, women are light Continuous narrative Sculpture serves as a home for the spirit/ka Symbols Architecture
o Old Kingdom : mastabas; pyramids serve as burial sites and monumentso Middle Kingdom: cliff side tombs and temples with reserve columns
Countdown to the Exam: 24 Days
o New Kingdom: funerary temples; corridor axis approach Amarna Period (Akhenaton): Exception to all the Egyptian art rules; shows
naturalismPredynastic: 3500 - 3000 BCE
Palette of Narmer (above)
Old Kingdom: ~3000 - 2200 BCE
Khafre Menkaure and Khamerernebty Seated Scribe Ti Watching a Hippo Hunt Prince Rahotep and his wife Nofret Pyramid of King Djoser by Imhotep
Middle Kingdom: ~2100 - 1600 BCE Rock-cut tomb
New Kingdom: ~1500 - 40 BCE (includes the Amarna Period* 1355 – 1325 BCE) Funerary Temple of Hatshepsut Temple of Ramses II Temple of Amen-Re at Karnak Akhenaton* Akhenaton and His Family*
Mesopotamian SANTA ANNA NEVER BAKED A
NUTTY PANKAKE (Sumerians, Akkadians, Neo-Sumerians, Babylonians, Neo-Babylonians, Persians)
Sumerians ~3500 - 2300 BCE Example: Standard of Ur Votive figures Stylized figures with large eyes
(reflecting sense of fear), curly hair and beards
Gestures of humility Cylindrical, curving figures Heraldic arrangement Use of Egyptian characteristics- registers, repeated figures, composite view,
slight hieratic scale, linear and flato Ziggurats; bent axis approach o Standard of Uro Ram offering stando Bull-headed lyreo Bull holding a Vase
Akkadians ~2300 - 2200 BCE Example: Victory Stele of Naram-Sin More confident, arrogant attitude; claims kings are divine Use huge hieratic scale
o Victory Stele of Naram-Sin
Neo Sumerians ~2200 - 2000 BCE - bring back Sumerian characteristics: King Gudea shows humility toward gods
Imhotep was an ARCHITECTImhoTEP rhymes with STEPImhotep = STEP Pyramid
Countdown to the Exam: 24 Days
Example: Seated Gudea
Babylonians ~1900 - 1600 BCE Example: Stele of Hammurabi Symbolism Heraldic arrangement Composite human animal form
o Stele of Hammurabi
Assyrians ~900 - 600 BCE Example: Lamassu
Use general Mesopotamian characteristics in addition to a mix of naturalism and abstraction Common theme of the royal lion hunt
o Lamassu (Winged Human-Headed Bull)o Lion Hunt Bas Reliefs
Proto-GreekCycladic plank idols - continuation of the ancient fertility figure; abstract, simple, geometric, tubular
Minoans ~2000 - 1500 BCE Images of animals, recreation, marine life, flora and fauna Playful, curving lines; “Minoan swirlies” Bright, rich colors Happy mood Stylized, idealized human form; tall, slender, broad shoulders Celebration of youth Men are darker, women lighter Continuous narrative
o Snake Goddesso Palace at Knossoso Dolphin Frescoo Toreador Frescoo Octopus Vase
Myceneans ~1500 - 1100 BCE Weapons, death masks, walled cities and palaces (war-like) Adopt Minoan writing and art forms Use repoussé
o Corbelled vaults, beehive tomb "Treasury of Atreus" with its corbelled vault
o Repoussé maskso Lion Gate at Mycenaeo Inlaid dagger blade with lion hunt
GreekGeometric ~900 - 700 BCE
Vases- huge pots that function as grave markers Stylized, triangular human form Very little detail No text b/c writing disappeared
Countdown to the Exam: 24 Days
o Diplyon Vase
Archaic ~700 - 480 BCE Egyptian influence Kouros/Korae figures: stylized and idealized; goofy smile/Archaic smile;
curly ravioli hair; nudes in the prime of life; Egyptian sculptural stance
o Kouros Figureso Temple of Artemis in Corfu with pediment relief of
Medusao Siphnian Treasury with frieze of the battle of the
giantso Black-figured then red-figured vases
Classical 480 - 323 BCE Severe Style 480 - 450 BCE: calm faces; contrapposto stance (Kritios Boy); realistic but
idealized male nudes; focus on mastering body mechanics and showing motion o Kritios Boy—contrapposto stanceo Warrioro Poseidon or Zeus
o Discobolos by Myron
High Classical 450 - ~370 BCE: use of earlier characteristics + focus on perfect proportions
o Doryphorus by Polykleitoso The Parthenon by Iktinos and Kallikrates, sculpture by
Phidiaso Temple of Athena Nike
Late Classical ~370 - 323 BCE: Praxiteles does 1st female nude; subtle changes that lead to Hellenistic
o Knidos Aphrodite by Praxiteleso Hermes and Dionysos by Praxiteles
Hellenistic 323 - 31 BCE Loss of Greek independence leads to different mood Wider range of subject matter Art expresses emotion, especially negative ones Intentionally erotic art Realistic and naturalistic Eastern influences
o Dying Gaulo Seated Boxero The Altar of Zeus at Pergamon o Venus de Miloo Laocoön and His Sonso Nike of Samothrace
Greek Architecture: Doric and Ionic columns (Corinthian on inside) Peristyle (or peripteral) temples with entry from all sides Decorated pediment Triglyphs and metopes (Doric temples); frieze (Ionic temples) Vertical and horizontal lines; balance and proportion Post and lintel system Religious structures
Countdown to the Exam: 24 Days
Focus on exterior decoration Significance of location of buildings
Etruscans 800 - 500 BCE Tuscan columns - bases but no flutes Round arch Tombs arranged in cities called
necropolises "Happy" wall paintings w/ curving
lines, sense of vitality Temples: made of wood; solid walls
with columns only in front on a portico; plain pediments, roofline
sculptureso Apollo of Veiio Sarcophagus from Cerveterio Tomb of the Reliefso Tomb of the Leopards with Banqueters and Musicianso Capitoline Wolf (or She-Wolf of the Capital)
Romans
Roman Republic: ~500 - 40 BCEo The Battle of Issus Mosaic o First Style Wall Paintingo Second Style Wall Paintingo Third Style Wall Paintingo Busts—Verism, Head of a Roman
Imperial Rome: ~40 BCE - 476 CEo Augustus of Primaportao The Pantheono The Colosseum o Basilica of Constantineo Equestrian Statue of Marcus Aurelius o Colossus of Constantineo Four Tetrarchs
Mosaics: earth colors; tesserae (flat tiles) Cities laid out according to
ideal grid plan Use arch (round), vault
(barrel, groin), dome, concrete in monumental ways
Basilicas: rectangular; apse; entrances on sides; roof higher than side aisles; barrel and groin vaults; coffered ceiling; clerestory windows; Corinthian
columns Exterior and interior decoration Triumphal arches Wall painting
o 1st style: emulates marbleo 2nd style: illusion of 3D space- atmospheric and linear perspective, diminution, foreshortening,
overlapping (all not perfected)
Countdown to the Exam: 24 Days
o 3rd style: reasserts primacy of the wall; framed pictures
o 4th style: combines earlier 3 Sculpture
o Roman Republic: super-realism/verismo Early Empire: idealizedo 3rd Century: expressionistic
Early Christian ~30 - 500 CE Art in catacombs and on sarcophagi Jesus shown as good shepherd and later as Pantocrator
Use of lunettes Denaturing - moving back to conceptual art Architecture: basilica plan; clerestory windows; post
and lintel (wooden ceiling); triumphal arch over apse; round arch/arcade; very light
Continuous narrativeo Painted catacomb ceiling of Jesus and Jonaho Sarcophagus of Junius Bassuso Old St. Peter'so Christ the Good Shepherd mosaic in Ravennao St. Michael the Archangelo Illumination of Rebecca and Eliezer at the Well from the
Vienna Genesis
Byzantine ~500 - 1300 CE Architecture: central and quincunx
plan churches Mysterious, irrational, very
decorative Columns with basket capitals Mosaics with lots of gold Stylized forms: large eyes, long thin
fingers and noses Central, frontal, symmetrical Figures lack mass and have down-pointing feet Hieratic scale Flat, linear; no shadows, no landscape background, little modeling Isocephalic- heads at same level
o San Vitale (in Ravenna) with Emperor Justinian and his Attendants mosaic
o Hagia Sophia commissioned by Emperor Justinian o St. Mark's, Venice
Islamic: About 700 CE on Hypostyle halls with lots of open space for communal prayer Wall of a mosque that is closest to Mecca is called the qibla; it is
marked by a domed niche called a mihrab Tower called minaret marks the entrance Courtyard that serves as preparatory experience Horseshoe and lobed arches Gold color; bands of geometric figures; Arabic calligraphy;
stylized intertwining plan formso Dome of the Rock, Jerusalemo Mosque at Cordoba, Spain
Countdown to the Exam: 24 Days
o The Alhambra, Granada, Spaino The Taj Mahal, Agra, India
MedievalGermanic, Hiberno Saxon, and Viking: ~400 - 800 CE
Interlace patterns Imaginary animals Appears on small portable objects, usually with a
practical purpose o Purse Cover from Sutton Hoo Ship Burialo Animal Head Post from Oseberg Ship Burialo Lindisfarne Gospel
Carolingian (ca 750-900, period around rule of Charlemagne)
Evidence of Classical Illusionism: modeling, landscape background, attempts at perspective
Expressionism: intensely emotional, with energetic lines, emphasis on expression of inner emotional state
o Ebbo Gospels, Illumination of the evangelist Matthew
o Palatine ChapelOttonian: ~900 - 1000
Stylized figures with big eyes Completely linear and flat “Too many peopleism” Hieratic scale Composition: central, frontal, symmetrical Isocephalic
o St. Michael's at Hildesheim, Germanyo The Annunciation to the Shepherds illumination from the Lectionary
of Henry IIo Otto III Enthroned … illumination from the Gospel Book of Otto III
Romanesque ~1000 – 1150Sculpture:
Attached to churches, completely dependent on the architecture
Stylized, elongatedArchitecture:
Use of Roman round arch and barrel vault
Larger churches built to accommodate pilgrimages: second aisle, ambulatory, radiating chapels
Stone barrel vaults replace flammable wooden roofs, cause walls to be thicker, w/ smaller windows so darkero Gislebertus, tympanum at St. Lazare, Autun, France
o St. Sernin, Toulouse, Franceo Durham Cathedral, Englando Churches with round arches, stone barrel vaults, buttresses, etc. o Cathedral complex in Pisa, Italy
Countdown to the Exam: 24 Days
o Bayeux Tapestry (commemorating Battle of Hastings, 1066, victory of William the Conqueror over King Edward)
Gothic ~1150 – 1300Sculpture:
Increasingly less stylized and more naturalistic Increasingly Classicistic: Gothic sway is close to contrapposto
stance, Classical proportions, idealization Becoming more independent from the architecture, moving out
from the walls behind it.o The Virgin of Paris (Gothic sway)o Sculpture at Pisa by Giovanni Pisanoo Rottgen Pieta
Architecture: POINTED arch + Ribbed
groin vault makes ceilings much higher
Flying buttresses take weight out, can make big stained glass windows
o Notre Dame, Paris
o Chartreso Gloucester Cathedral,
England (Perpendicular Style)
Late Gothic/Proto-Renaissance aka TRECENTO: ~1300 – 1400Giotto re-introduces naturalism to painting:
shading shadows individualization landscape settings moving away from hieratic scale
o Madonna Enthroned by Cimabueo Madonna Enthroned by Giotto
o Maestá Altarpiece by Duccioo Arena Chapel in Padua painted by Giotto (the Lamentation)
International Gothic Style ~1350 - 1400 Co-mingling of Northern European and Italian style Tons of gold and bright rich colors Processions of wealthy looking people who are richly dressed Very crowded canvases- horror vaqui Intentionally ornamental and decorative style, meaning a loss of realism Thin, two dimensional, flatter figures; less modeling and shading
o Les Tres Riches Heures du Duc de Berry by the Limbourg Brothers
Early Italian Renaissance ~1400 – 15001st half of 15th century - Quattracento
Humanism Illusion of depth- linear and atmospheric
perspective; unified light source Contrapposto stance Heavy modeling
Countdown to the Exam: 24 Days
Realistic arrangement of figures in space Individualized, realistic, often idealized figures In architecture, a return to Classical architectural vocabulary, more human scale, more rational design
based on mathematical ratios, balance, and proportiono David, St Mark, Mary Magdalen by Donatelloo The Holy Trinity by Masaccioo The Tribute Money by Masaccioo Florence Duomo Dome by Brunelleschio San Lorenzo by Brunelleschi
2nd half of 15th century- Quattracento All earlier features PLUS Focus on motion and emotion Foreshortening, middle ground
o The Resurrection of Christ and The Flagellation of Christ by Piero della Francesca
o The Dead Christ by Mantegnao The Birth of Venus and La Primavera by Botticelli o Delivery of the Keys by Peruginoo Alberti: Palazzo Rucellai, façade of Santa Maria Novella in Florence
Northern Renaissance ~1400 – 1600 Disguised symbolism Miniature detail Surface realism Patterns, textures Bright oil colors Combination of everyday and supernatural Frail, pale, elongated figures Realism of everyday details, actual unidealized human faces, and landscapes
(when depicted) Puddles of drapery with angular golds Humanism: artists’ signatures, secular subject matter, depiction of donors in paintings, frontal
portraits, personality in portraitso Arnolfini Portrait (Wedding Portrait) by Van Eycko Merode Altarpiece by Campino The Ghent Altarpiece by Van Eycko Deposition by Rogier van der Weydeno Portinari Altarpiece by Hugo Van der Goeso Garden of Earthly Delights by Boscho Isenheim Altarpiece by Grunewald o Four Horsemen of the Apocalypse by Dürero Henry VII by Holbeino Peasant Wedding by Bruegel
High Renaissance 1500 – 1520 - Cinquecento Many Classical characteristics Balance, harmony, proportion Calm dignity and rationality Central, symmetrical Realistic but idealized human figures; proportionate Figural pyramid Realistic deep space
o Mona Lisa by Leonardo o The Last Supper by Leonardo
Countdown to the Exam: 24 Days
o School of Athens by Raphael o David by Michelangelo o Ceiling of the Sistine Chapel by Michelangeloo The Tempietto and the design of St. Peter's by Bramante (St. Peter’s altered when redesigned
and constructed by Michelangelo)
Venetian Style 1500 – 1600 Rich oil colors- red, gold, green “Miller Time”- soft late afternoon light Pastoral Arcadian landscape Painterly style Plump figures with golden skin; often in
motion Dynamic composition Asymmetrical with asymmetrical balance Diagonal lines Lightheartedness, sensuality, worldliness
o Feast of the Gods by Bellini o Pastoral Concert by Giorgioneo Bacchanal by Titian o Venus of Urbino by Titiano Madonna of the House of Pesaro by Titian
Mannerism 1520 – 1600 Anti-naturalism; trying to make viewers
uncomfortable
Intentionally distorted, disproportionate figure - elongated with small heads Figura serpentinata - twisting figures
Chaotic sense of space- too many peopleism
Centrifugal composition; no focal point; figures pushed out around edges and to front Clashing colors Overly dramatic; theatrical hand gestures
Phase I: intense emotionalism Phase II: hyper-elegance
o Deposition or Decent from the Cross by Pontormo o The Madonna with the Long Neck by Parmigianino o The Rape of the Sabine Women by Giovanni da Bologna
Proto-Baroque: late 1500s Combines elements of Venetian Style and Mannerism for dramatic Counter Reformation art
o The Last Supper by Tintoretto o The Burial of Count Orgaz by El Greco
Baroque 1600 – 1700 Matter in motion through time, space, and light Action, drama, motion, tension Chiaroscuro, tenebroso
Countdown to the Exam: 24 Days
Snapshot in time Emotional involvement and intensity- lots of diagonals, emotional faces, figures in motion Space is outward and expansive; comes out towards us, involves us Profusion of ornament; “more is more” First style: Baroque naturalism- images of a realistic,
uncleaned-up natural world; Caravaggio, Artemesia Gentileschi, Velasquez, Rembrandt, Hals
Second style: Baroque classicism- idealized natural world; more resembles Renaissance art; Carracci, Bernini, Poussin, Claude Lorrain
Third style: Proto-Romantic- hyper dynamic natural world; spiraling composition; Rubens
David and Ecstasy of St. Theresa by Bernini
The Conversion of St. Paul by Caravaggio Judith beheading Holofernes by Artemisia
Gentileschi St. Peter's extension and façade by
Maderno San Carlo at the Four Fountains by
Borromini
Las Meninas by Velazquez The Elevation of the Cross by Rubens The Nightwatch by Rembrandt Still Life by Heda The Kitchenmaid by Vermeer Fortune Teller by La Tour Burial of Phocion by Poussin The Palace at Versailles St. Paul's in London by Wren
Rococo 1700 – ~1750 Rich people doing rich people things Light-hearted, sensual, indulgent, playful Pastel colors Painterly style Nature is wild but nice, metaphor for the
carefree lives of the nobles Curvy lines Frivolous
o The Pilgrimage to Cythera by Watteau
o The Swing by Fragonard Reactions against the Rococo ~1700 – ~1750: Patrons were often the middle class, who sought art of a more serious nature, usually in the Academic Style
o Grace at Table by Chardin o Marriage a la Mode by Hogarth o Robert Andrews and his Wife by Gainsborough o The Death of General Wolfe by Benjamin West o Watson and the Shark by Copley
Neo Classical: ~1750 - ~1820 (considered the 1st phase of Romanticism) Polished, linear academic style Idealized figures “Noble art” showing scenes from ancient Athens or Roman Republic Meant to teach a moral or lesson Classical architectural settings
o Cornelia Mother of the Gracchi by Angelica Kauffmano Oath of Horatii by Davido Death of Socrates by David
Romanticism ~1790 – 1850 Dramatic historical scenes and contemporary scenes Images of heroism, suffering, the exotic Nature as vast, powerful, awe-inspiring
Countdown to the Exam: 24 Days
Images of fear, cruelty, insanity Neo-Baroque techniques: intense color, intense drama, dramatic light, dynamic motion
o
Third of May 1808 by Goyao The Raft of the Medusa by Gericault o Liberty Leading the People by Delacroix o Death of Sardanapalus by Delacroix o Salisbury Cathedral across the Meadow by Constableo Slave Ship by Turnero The Ox Bow by Cole (Hudson River School)
Realism ~1830 – 1860 Reaction against Romanticism Artists painted only what they could see Much of their art was used for calling attention to the needs and
problems of the working poor Everyday scenes, often of the lower class, who are usually depicted
sympathetically and with dignityo The Gleaners by Milleto Stonebreakers by Courbeto The Burial at Ornans by Courbeto Third Class Carriage by Daumier
Impressionism 1870 – 1890 Influenced by Realists and French Barbizon School Paint only what they can see Wanted to capture fleeting impressions of light and color Loose, rapid brushstrokes (“the revolution of the color patch”) Paint everyday scenes, usually of the middle class at leisure Avoided blacks and grays
o Luncheon on the Grass (and) Olympia by Manet (precursor to movement)o Impression: Sunrise by Moneto Le Moulin de la Galette by Renoir o The Glass of Absinthe (or ballet dancers or race horses) by
Degaso The Floorscrapers and Paris Street, Rainy Day by Caillebotteo Pissarroo Morisot, usually women and/or childreno JAPONISME1. Cassatt (Influenced by Japanese woodblock prints) Mostly ALL
Women and their enviro.2. Nocturne in Black and Gold by Whistler (also influenced by Japanese woodblock prints)
Post Impressionists 1880 – 1900 SOUTH CAROLINA VEGETABLES GROW TALL (Seurat, Cézanne, Van Gogh, Gauguin, Toulouse Lautrec) Feel Impressionism is too limiting with its focus on fleeting impressions of light and color
Countdown to the Exam: 24 Days
Retain the bright color palette but explore aspects of structure/form (Seurat and Cézanne) or expression (Van Gogh, Gauguin, Toulouse-Lautrec)
Symbolists 1890 – 1900 Think realism is trivial Fascinated by the inner workings of the mind Believe their task is seeing through things to their
deeper meaning and realityo The Scream by Muncho The Sleeping Gypsy by Rousseau
Fin de Sícle Culture (End of the 19th century style) Political upheaval, wealthy middle class dominated especially in Austria immersed in the unconscious (much like later surrealism)
o The Kiss by Gustav Klimt
20th Century (4 trends) Expressionism: artists use art to express their own emotional
responses to the world; influenced by Van Gogh, Gaugin, non-Western art Abstraction: artists explore the internal structure of forms in the visible world; influenced by Cézanne
and non-Western art
Countdown to the Exam: 24 Days
Fantasy: artists explore the interior of the human psyche, focusing on the non-rational, such as dreams, fantasy, imagination, fears; influenced by Symbolists and Freud
Realism: artists reveal their life in the 20th century, focusing frequently on mechanization, urbanization, war, and isolation; influenced by Courbet and Daumier
Recommended