History of Arts Notes

WEEK 1 PREHISTORIC intercrossed solve, mammoth ivory, ca. 40,000-28,000 BCE To correct split ironical mammoth tusk, scarpe into shape (using sharp blad) half(a) man, half animal= human alineed to kill(p) as animal for hunting habit Bear, Chauvet Cave, ca. 30,000-28,000 BCE hand motion pictures, hand silhouettes discover animals took advantage of cont destinations eg. bump f weapons bears shoulder disc every purposeed in 1994 So-c each(prenominal)ed Venus of Willendorf, limest ace, ca. 28,000-25,000 BCE no ingrainedism- song fetidness emphasizing reproductive features= fertility fair game Spotted horses and human hands, Pech-Merle Cave, ca. 16,000-15,000 BCE shamanism- spirit in spirit world accessed finished with(predicate) alternative states of consciousness hand dots- toilette find how many finesseists varicoloured in genius cave saliva, water, course- MIXED- applied with b dwell, finger, moss, chewed stick, join Rhinoceros, wounded man, and bi son, Lascaux Cave, ca. 15,000-13,000 BCE sense of mogul pathetic, no part mightily Hall of the bulls, Lascaux Cave, ca. 5,000-10,000 BCE human never lived in Lascaux cave (no objects, rest instead bear b mavens, torches) non visual take cargons insteadCOMPOSITE- many periods of animal Stonehenge, ca. 2,100 BCE, Salisbury Plain, Wiltshire, Eng shore up marked passing of fourth dimension/oceansons megalith(stone forming prehistoric monument) in circles= CROMLECHS simple kindly structure= post and lintel Babylonian form of address of sale, clay with cuneiform indite, ca. 1,750 BCE refined pictogram touch in series of wedge-shaped signs= cuneiform utilize for dministrative accounts poetry invention of writing WEEK 2 SUMERIAEGYPT Remains of the innocence synagogue on its ziggurat, ca. 3500-3000 BCE Uruk, Iraq Tripartite lay pop from 3sides- tin can see observation ascent of non-Christian priest leaders stairs- counter clockwise dear mound= indirect a pproach= Mesopotamian synagogue archietecture Cylinder seal of priest- poove feeding blessed sheep, ca. 3300 cylindrical made of stone with great circu full-bodiedly running through centre fleshly body carved into sur formula of seal- when pressed in soft clay= reverse image unf aged(prenominal)Statues from Abu synagogue, Tell Asmar, ca. 2700-2500BCE perchance wors pelvic girdleers exaggerated fondnesss- responding to perfections awe, warding finish evil break Panel of Hesy-ra, ca. 2660 BC wooden stele nonnaturalistic 3000 years of same system of screening body same compo pose synthetic way of showin g body SHOWS that it was more than more important to borrow customs instead of realism, point is non that they cannot ferment naturalistic art this convention was elect on purpose Imhotep, Step benefit and Necropolis of faggot Djoser, ca. 681-2662 BCE made for world-beater Djoser-ruled 2630-2611- king emailprotected was NECROPOLIS-cemetery -encirclin g entire complex is rectangular stone groin r distributivelyingign oer slub in length and 33ft lofty -DOMINANT gambol= STEPPED PYRAMID-oriented to cardinal points of compass zygarat- elevate tabernacle in mesopotamia- this is not a synagogue nevertheless a grave this is single image of palace meant for eternity there was a statue of king in nerve centre believed that soul could live in a staute of king statue enclosed in a room in relate with windows and disembodied spirit emerge rest of complex so king could live eternily monumental archeitectureRoyal well-worn of Ur, ca. 2600 BCE bottom= charioteers pulled bu oagers. Riding over enemies nerve centre= prisoners plain of clothing legor argon escorted top= prisoners brought to central anatomy- head is off canvas banquet= top= pose for banquet, cups raised to music played by harp PANELS represent pooves hep Prince Rahotep and Nofret, 2580 BCE carved from limeston- softer than diorite- motley come u p tones, pilus, garments, jewelry rahotep is government positive and wife is bloodsucking of king- ritualized gesture in full frontality frozen frontality norm for olympian and elite sculpturesPyramids of Menkaure, 2533-2515 BCE, Kafra, 2570-2544 BCE, and Khufu, 2601-2528 BCE, Giza pyramid only a part of necropolis- city of exanimate King djoser had a flubbrick palace made of wood, mishandle brick, reeds has archeitect which give notice how important buildling is stones dress precicly so that they can interlock together and raise serene surface pyramid 440ft elevated- 45 stories Menkaure and cig atomic number 18tte Khamerernebty II, 2515 BCE carved in one piece with an up discipline back slab, rigid frontality almost identical height, left over(p) introduction forth King is more unchewable and half au naturel(predicate) and queen mantled in thin dress hemmed at ankles= smooth surfaces and luxuriously polishestablish outance of sensation man cardin al arms put down and woman arms just to the highest degree man- dependent Seated Scribe, ca 2400 BCE, limestone -frontal, stiff in traditional poses in earlier society- gamy and label of age could be signs of honour- pay off s throw in cheeks, sagging jaw, loose jut egress= social status succeed in career, eats well, relies on subordinates to do physical acidulate on his behalf Head of an Akkadian ruler, ca.2250-2cc BCE naram-sin (sargans grandson) stretched Akkadian empires explited art to reflect and establish power= synopsis hair and beard= surd symmetry= contrl and separate damage do whitethornbe by Medes- who invaded Nineveh= gaughe eyes, ears and nose hacked= as if really banging person big(p) Ziggurat of King Urnammu, Ur, ca. 2100 BCE Mud bricks clay mixed with vegetable and straw to go along clay cracking when dry mud mixture put into wodden strays- knocked out and nurture under sun joined wall with wet clay not perdurable so sealed with BITUMEN thattresses= articulate walls= video of strength, lines= add dynamic energy, 100 step Stele with the Law Code of Hammurabi, ca. 1760 BCE TOP- hammurabi appears in relief- standing with arm raised in greeting before the enthroned sun- perfection Shamash- divinitys shoulders arise sun rays- god extends hand, holding circuit ring and the measuring rod of kingship= THIS question unifies scenes committal to writing and purpose of the 2 star characters gauzyer scale of Hammurabi compared to seated god= shepherd earlier than god himselfFe mannish figurine, 12th-13th dynasties (ca. 1650 BCE), faience object placed in tombs along with loose from tomb in Thebes, represents a schematized woman- stages leave office at knees, restrict her mobility/ or legs possibly not essential to her function piebald cowrie-shell girdle to emphasize belly and hips, guide breats and pubic area= function may crap been as fertility objects, raise family continuity blue-green color of fa ience associated with fertility, diversity and goddess hathor Temple of Hatshepsut, ca. 478-1458 BCE New Kingdom funerary tabernacle= Hatshepsut- fe priapic king bakshish pyramid- mastaba and terraces extending into cliff face rise white limestone courts, linked by full(a) ramps on a central axis of rotation trees lined entrance way and paired sphinxes faced each divergent Queen Hatshepsut kneeling, ca. 1473-1458 BCE Hatshepsut kneeling as she makes offering beca consumption kingship is male office, she wears regalia of a male king(kilt, mendacious beard and nemes headdress(striped cloth worn by kings))Akhenaten and his family, 1355 BCE akhenaten with family- consort Nefertiti and 3 oldest daughters sun life-giving beams radiate downward with hands at their terminals- reed columns fire scene is at heart garden pavilion stocked with drink jars king and wife sit cladding each othe on stools- hold daughters, on laps, in arms, uniting composition with alert gestu res- contrast to STATIC persona of scenes of other times emphasis on daughters puerility marks changeAkhenaten, 1353-1335 BCE break dramatically long-established conventions for delineation royal hookeds- different proportions- narrow shoulders, abstracted musculature, marked potbelly, wide hips, generous thighs, considerable lips, distinctive nose, chin, narrow eyes make face recognizable. Queen Tiy, 1352 BCE Akhenatens mother- utilize dark wood of yes tree with wanted metls and semiprecious stones for details downturned mouth and imitate lines running from sides of nose to mouth= forward- moving years initially queen wore gilt jewlry and silver headdress decorated with gilded cobras= expose her with funerary goddesses Isis and Nepthys wig embellished with sparkler beads topped with plumed meridian Queen Nefertiti, 1348-1335 BCE Nefertitis bust- plastered over limestone core and sundry(a) left eye not inished- bust remained unfinished but elegance still derive s from carvers command of geometry The weighing of the heart and astuteness of Osiris The withstand of the Dead of Hunefer, 1285 BCE books of perfectly book of instructions on how to escape the great living creature and make it through afte rlife needed to go ceremony and weight their heart with ost exuberant feather- if free from sin- heart should be illumination than ostrich feather Temple of Ramses II, Abu Simbel, ca. 1279-1213 BCE Ramesses fit out most room decoratorural projects- including monumental tabernacle king marked his claim to the land of Kush in Lower Nubia(origin of old, viroy and enimal pelts) mingled with statues legs- small figures represent member of royal family.INTERIOR- gigantic figures of Ramesses- 32ft Fugitives crossing a river, ca. 883-859 BCE walls covered with grown scale stone reliefs narrative images- keystoneed in places for emphasis- glorified king with elaborated depictions archer and two women look on with hands raised NO rel ation SCALE, primary purpose of scenes to recount special(prenominal) enemy conquests Gate of Citadel of Sargon II, with lamassu, 742-706 BCE (photo taken during excavation) lamassu- great guaridian figures powerful and terrifying deities to anyone who index enter embody kings fearful authority- tall horned headdresses, deep- identify eyes, powerful muscularity of legs and bodies reconstructive memory of Citadel of Sargon II, Dur Sharrukin, ca. 21-705 BCE Sargon II had plan for city of Dur Sharrukin where he had royal residence unexcavated but estimate to cover a shape mile enclosed within an elevated mud-brick wall 30 court yards- 200 board Lion hunt, ca. 645 BCE king collide with lion way of demonstrating power over beast EGYPT- royal lion hunts were events that took place in palace grounds roal attendants released animals from cages into a square formed by host with shields ritual symbolical showcasing kings strength and component part as metaphor for war ma chine skillsPalette of King Narner, ca. 310-3125 BCE TOP CENTER hieroglyphs spell out narmers pertain BESIDE hieroglyphs= cow heads represent chuck out goddess LEFT= King Narmer holds enemy by hair and raises mace- sign of kingship KING- wears white crown of Upper Egypt and belt of kilt hangs tail of bull- symbole of power kings wear as part of ceremonial dress- hulkingr scale establish authority BOTTOM-enemy stripped of clothing- humiliateion BEHIND king attendant carries kings sandals adept of Narmer appears falcon holding rope other SIDE- king wears red crown of note egypt- by sandal carrier and long-hared figure= FOLOWS quadruplet flock holding something to inspect bodies of prisoners with their heads between their legs CENTRAL register= 2 animals roped by male figure- twist long necks to frame a circle in composition symmetrical, balanced= maat press down- bull rep. king attack city and tramples down enemy channel BY ombine several(prenominal) diff types of signs on one object some literal representations and symbolic representations- bull=strength MESSAGE king embodied unified UPPER and LOWER EGYPT- though human, he occupied forebode office shown by placement of name in sky WEEK 3 GREEK Amphora with meander pattern and funeral, ca. 750 BCE vase from cemetery- cognise as Dipylon Vase- one of a group of large vessels Athenians used as funerary markers over burials- holes in its human foot allowed mourners to pour liquid offerings during funerary rituals- ashes of dead inside(a) vases placedBlack-figured amphora Exekias, Achilles and Ajax Playing Dice, ca. 540-530 BCE desolate-figured technique- painted throw in lightlessness silhouette against ruddy clay- incised details into design with needls, painted white and purple over black to make chosen areas stand out Athenian amphora- signed by Exekias- both potter and painter- painting shows Homeric heroes Achilles and Ajax playacting dice- episode not exist in surviving litera ry sources- two figures thin on their spears shields stacked behind them black silhouettes create rhythmical composition, symmetrical or so table in centerKouros, ca. 540-525 BCE (means youth) male- slim, broad-shouldered, left leg forward, arms by side, clenched fists, shoulders, hips and knees are take Kore, ca. 530 BCE (wearing a peplos) (means maiden) female- -BOTH HAVE stylise wig- bid hair, show techniques and proportional systems used by Egyptian sculptors- rigid, frontal, four distinct sides, no backslab, (GREEK space between forms, public openness acceptable for males/not females. EGYPT figures embedded in stone. forced bareness on slaves) Red-figured amphora Euthymides, bound revelers, ca. 510-500 BCE black-fig. imit artist to incision for detail- develop red-figured tech- scence not dependent on profiles- freedom with brush translates into freedom of movement in dancing- hightail it of poses, twisting bodies, age of intensive and conscious experimentation Red -figured kylix (wine cup) Douris painter, Eos and Memnon, ca.490-480 BCE Eos, goddess of dawn abducts hitch body of her dead son, Memnon whom Achilles killed- Douris(maker)- traces contours of limbs to a lower place blanket and balances expeditious outlines with more delicate strokes- dead weight of memnons body contrats with lift of Eos move Kritios Boy, ca. 480 BCE (marble) contrapposto weight shifted creating unbalance in two sides of his body. Knee of forward leg is lower than the other, decline hip is thrust down and in, left hip up and out, axis of body not straight vertical line, reversed S- distort stands at ease- CHIASTIC POSE (balanced asymmetry of relaxed natural stance) muscles betoken motion Temple of Hera II at Paestum, ca. 460 BCE construct made of DORIC order simple capital, no lowly, columns sit directl on step platform columns look huge, small-minded space between them archeitects worried most rooms go pasting down genus genus Zeus or Poseidon, ca. 460-450 BCE, bronzy nude bronze from sea near Greek coast- 7ft tall- depicts spread-eagled male figure in act of throwing- Zeus casting thunderbolt or Poseidon throwing his trident. -sculptor catures and contrasts vigorous action and firm stability- express gods awe-inspiring power.Shows artists understand of bodies in motion and too knowledge of strength of bronze= allow gods arms to stretch out without support. Warrior, ca. 450 BCE, imbed in the sea off of Riace, Italy over-life-size figure found in sea near Riace- used lost-wax technique- not just cutting away stone- artist build clay model- where marble fellate light, bronze surface reflect= search surface texture for hair and skin Roman replica after a bronze pilot burner by Myron, Diskobolos, ca. 50 BCE bronze, Myron condensed a sequence of movements into single pose, achieved through violent twist of torso that brings the arms into same place as legs -Pose conveys shopping center of action by presenting coiled figure in perfect balance Iktinos and Kallikrates, Parthenon, 447-432 BCE building made when athens was at war- created by money in military- dominant temple on Akropolis- Perikles conceived it to play focal reference in cult of genus Athene- chief center of cult practice remained on Erechtheion(north f Parthenon)- strengthened of gleaming white marble- flexitects Iktinor and Kallikrates OCTASTYLE(eight-column arrangement)- around-the-clock sculpted frieze runs around all sides in variation of bonce musical mode- depicts procession moving from west-east- horsemen jostle with musicians,water carriers, sacrificial beasts- figures overlap to create conjury of crowd- encircling colonnade gave view that visitor can approach temple from all sides. appears less massive than synagogue OF HERA II at PAESTUM= columns more slender, capitals littler and less flaring-cornice projects less. East freize of the Parthenon, ca. 440 BCE part of festival held to honor genus Athene- exalts mortal Greeks by deicting them in space reserved for divine and mythologic scenes. cloth is a new adorn for genus Athene(woven by Athenian girls and depicting Athenas triumph against giants in gigantomachy) Model of Pheidias, Athena Parthenos, ca. 438 BCE enormous statue of Athena by sculptor PHEIDIAS- stood with one hand supporting a personification of Victory, and shield resting against her side. Figure out of ivory and silver(combo known as CHRYSTELEPHANTINE)- back up by wooden armature- valuable terzetto goddesses, from the east pediment of the Parthenon, ca. 38-432 BCE Hestia, Dione and Aphrodite (recent, Leto, Artemis, Aphrodite)- pediment figures embedded in building- forms are strong and solid- masterpiece of swirling drapery, garments cling to bodies beneath as if wet- drapery not follow lines of body- there is twisting around legs(struggle with them) Temple of Athena Nike, 427-424 BCE, Akropolis, Athens (ionic order) has a bas- papery columns- taller- fluting on columns is like womens adorn or skirt- base is like shoes- more feminin and elegant- tiny temple of athena nike- godess of perception and war- nike= VictoriaAkropolis, Athens, 421-405 BCE dedicated to goddess Athena Erechtheion, 421-405 BCE, Akropolis, Athens Mnesikles project-architext had to deal with difficult terrain- build to serve several religious functions- included four rooms and basement on western side- two porches attached to its flanks- one dedicated to Poseidon face north and is main entrance- smaller one juts out toward ParthenonErechtheion, Porch of the Maidens 421-405 BCE, Akropolis, Athens 6 caryatids of columns support roof- represent women of Caryae (city-state in Peloponnese that formed alignment with Persians in Persian wars)- when war over, Greeks took women as slaves- architects THUS designed images of these women to bear the slant of their states dishonor in perpetuity Nike, from the balustrade of the Temple of Athena Nike, ca. 10-407 BCE Nike takin g off sandles-about to step on holy ground- move keep her stable so she performs awkward act with elegance and ease- Pheidian style evident in deeply cut folds of her wet look garments clinging to her body and fall in deep swags between her legs. good stele of Hegeso, ca. 410-400 BCE Pheidian style recognizable in drapery and in addition in smooth planes of faces- delicacy of carving clear in forms fathest away from viewer- servants left arm, veil behind Hegesos right hsoulder= relief merges with background ratifying illusion that background is empty space rather than solid surface.Roman duplicate after an original by Praxiteles, Aphrodite of Knidos original from ca. 340-330 BCE first nude monumental statue of godess in Greek world- about to bathe, or rising from bath- right hand, she covers nudity in gesture of modesty, grasping for robe with her left- head slightly turned so does not engage viewers compliments directly Roman model after an original by Praxiteles, Hermes a nd the babe Dionysius original from ca. 320-310 BCE Hermes holding infant Dionysos- sandals= papistical print in style- chiastic pose is exaggerated and creates fuly relaxed curve of torso- youthful more than athleticWEEK 4 papist & ITALY genus Ara Pacis Augustae, 13-9 BCE Republican practice of charge narrative reliefs to record specific events- reliefs mount on public buildings and monuments(ara pacias augustae) Imperial procession, Ara Pacis Augustae, 13-9 BCE below Parthenon frieze, ca. 440 BCE inclusion of women and small children= herald importance of dynasty as well as referring to moral legislation Augustus enacted to promote child-birth among the elite. Roman copies of a Greek original by Lysippos, Portrait of Alexander the Great, original late fourth C.BCE to have idealized quality- planes are smooth especially around eyebrow and individuality emerge in indocile hair, raised at fron (cowlick) and twist of head- does not engage with a viewer- has distant gaze Th e Abduction of Persephone, wall painting in tomb 1, Vergina, ca. 340-330 BCE from small tomb at Vergina- subject=abduction of Persephone- appropriate to funeral setting-Pluto-carries away Persephone to be queen-pluto seizes Persephone into travel chariot-her handmaiden rearing back in fright The Battle of Alexander and the Persians arial mosaic copy of ca. 00 BCE of a classical painting of ca. 315 BCE popish copies of Greek wall painting- may be copy of Philoxenos painting- depicts Darius and the fleeing Persians on right and damaged left-hand portiong depict figure of Alexander- mosaic- follows fourcolor scheme(yellow,red,black,white)- widely used in late 4th vitamin C Portrait, called Brutus, ca. 300 BCE rome- develop upon greek style-form art that became popular in this period= real PORTRAIT lips thin, lips one over the other, overbite= corresponding notion of greek emphasis on individual = maybe a republican ideal, video display elf as god, flaws, allude philosophica l stance Epigonos of Pergamon (? ), Dying toad trumpeter, perhaps a Roman copy of a bronze original of ca.230-220 BCE found in Sanctuary of Athena on Akropolis of Pergamon- sculptor identifies enemy as salientian through his bushy hair and moustache and by torque around his neck(braided gold band)- dies sinking quietly to ground/ assay to prop imself up as blood pours from wound in chest. Drunken old woman and market woman, Roman copies of originals of ca. 00 BCE depict unidealized and realistic everyday life- genre=Hellenistic realism- Roman- crouches on ground, clasping wine bottle, head flung outlying(prenominal) back-wrinkles cover face, skin on her opened shoulder and chest sags with age- wears buckled tunic= identify as member of wealthy social class- (other sculptures of this kind focus on hick life on poor) Nike of Samothrace, ca. 190 BCE celebrates nautical victories-nike-means achievement- of Eudamos- Rhodian marble of sculptures base suggest sculpture comes from Rhodes.Victory goddess seems to be landing on prow of ship as if to bestow crown of victory upon Eudamos- maybe about to take flight, massive wings soar out behind her, wings make statue appear weightless patronage mass of stone- neither leg holds the bodys full weight. Great altar of Zeus at Pergamon, ca. 166-156 BCE Eumenes II or Attalos II built it to tick territorial victories over Pontos and Bithynia and establishment of a grand victory festival(Nikephoria). Altar stood high on a podium with large rectangular encloser defined by Ionic colonnade. wide staircase at fron provided access. Stood on Pergamene Akropolis- reconstructed in Berlin-frieze encircle base-extends 400ft in length and 7ft in height-subject is battle of Gods and Giants Athena and the giants, from the frieze of the Great Altar of Zeus at Pergamon, ca. 166-156 BCE muscular bodies rush at each other, overlapping, entwining, wings beat and barments blow in wind or twist around those they robe, texture contras ts with smoothness of giants flesh. -giants emotion agonize in torment of defeat- brows creased in painSanctuary of Fortuna Primigenia, Praeneste, archaeozoic maiden C. BCE -in italy- made to celebrate military victory of sola- oracular center where priests interpret divine will- architec used concrete to modelling structures over entire surface of hillside and to shenanigan spaces- sanctuary ascend in 7 levels- BOTTOM=basilica&senate house- UPPOER TERRACE= arise in grand crescendo-4TH=colonnaded exedrae enclose altars Wall paintings from the villa of Publius Fannius Synistor at Boscoreale, mid 1st.Century BCE irregular style- employed architectural vistas to open wall into a fantasy realm suggest another world beyond room Portrait of a man, proto(prenominal) 1st carbon BCE wrinkles cover face, etching deep crags into cheeks and brows- visualized distinguishing marks=warts,hooked nose, receding hairline Temple of Portunus, Rome, ca. 80-70 BCE borrow Greek forms- in ita lic style- stands on podium and engaged later onal columns emphasize frontal approach- Ionic coluns have slender proportions of Classical Greek temples Scenes of Dionysiac closed book cult, Villa of the Mysteries, Pompei, ca. 0-50 BCE 1st of MAUS FOUR STYLES OF PAINTING-(4 styles of roman wall painting= used paint and stucco to imitate expensive modify marble paneling- lower part of walla(the dado) and pep pill section to a higher place the cornice level are painted in rich mottled colors to resemble strange stoneWall painting of a garden, Villa of Livia at Primaporta, ca. 20 BCE fresco -dining room- painted on all of the walls and ceiling so it looks like you are in a garden- frescos on all sides- light hitting different kinds of leaves- birds- leaves move in the wind- moving sensation Augustus of Primaporta, possibly a later copy of an original of ca. 0 CE depicted as ageless youth- appears in battledress with arm raised in gesture of address- romans tog sculptures, rel axed gesture- armor- pictures of his family, battles- represent life in armor- showing status- romans show specificperson- more political purpose, hint war with hand, armor, heigh preist, leader-CUPID=rides dolphin- acts as strut to strengthen marble- dolphin eoked sea Wall paintings, Ixion room, place of the Vettii, Pompei, 63-79 CE fourth style- united aspects of all three preceding styles tocreate extravagant effect- desegregate imitationmarble paneling, framed mythological scenes resembling panel pictures set into wall Atrium of the House of the Vettii, Pompei, 2nd century BCE-79 CE eilte Roman house-distinct feature=atrium-square of unsubdivided central hall lit by opening in roof with shoal pool(impluvium) in ground to collect rainwater-airy quality=grandeur upon house, romans kept portraits of ancestorsWEEK 5ROMAN & BYZANTINE effigy of the Madonna Enthroned, late 13th c. CE, poster color inside, Cathedral of Monreale, Italy, 1180-1190 CE Interior, St. Marks, Venice, begun 1063 CE Dome with mosaic of the Pantocrator, 11th c. CE church service of the Dormition, Daphni, Greece Crucifixion, mosaic, 11th c. CE Church of the Dormition, Daphni, Greece Emperor Justinian and his attendants, 547 CE mosaic, San Vitale, Ravenna Empress Theodora and her attendants, 547 CE mosaic, San Vitale, Ravenna Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Istanbul (previously Constantinople), 532-7 CE San Vitale, Ravenna, 526-47 CE Interior, San Vitale, Ravenna, 526-47 CEIcon of Christ, 6th c. CE, encaustic Iconoclasm Mausoleum of Galla Placidia, Ravenna, 425-50 CE unspoiled Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna, 425-50 CE The Good Shepherd and Stories of Jonah, 4th c. CE Catacomb of Ss. Pietro e Marcellino, Rome Constantine the Great, early 4th century CE large and deeply carved eyes- see something beyond this world-soft modeling to cheeks and mouth-more natural than tetrach-full cap of hair and absense of beard it reference to Traja n and Augustus Santa Costanza, Rome, ca. 350 CE Interior of Old St. Peters, Rome, built 324-400 CE (drawing by Jacopo Grimaldi, 1619) Arch of Constantine, Rome, 312-315 CE people of rome dedicated triple-bayed arch to Constantine near colosseum to celebrate 10 year anniversary- largest over-embellished arches- little of sculptural relief on its surface was specifically designed for this monument- free-standing Dacian capties on attic originated in Trajans fabrication as did Trajanic Frieze on ends of attic and inside central bay- Arch of Constantine, 312-315 CE detail of Hadrianic rondels and Constantinian relief Constantine addressing a crowd, Arch of Constantine, 312-15 CE figures crowd the scene- heads are disproportionatel large- bodies stocky- poses unnaturally rigid- lines cared on flat surface render anatomical reference details- foster row of heards arranged above first indicates recession- The Tetrarchs, 305 CE, porphyry during tetrachy-portraiture took radically abst ract quality- two porphyry sculptural groups mount on columns- each group shows two tetrachs in elaborate military dress with bird-headed sword hilts and flat pannonian caps=represent powerful Illyrian officer class-proportions are squat and nonnaturalistic, seventh cranial nerve features abstract rather than individualized.=portrait suggest authority resides in office of emperor butterfly not in who holds office. =sameness of portraits underlines the tetrachs equality-porphyry-hard Egyptian stone reserved for imperial use Hadrians Villa, Tivoli, 130-138 CE emperor built magnificient residence for self- built on site of Republican villa- villas form follo natural line of landscape but massive earthworks rearranged terrain to accommodate architecture water is a common feature- in pools, running continue=adding sound,motion,reflecting light, offering coolness in summertime heat-canal has been known as CANOPUS Pantheon, Rome, 117-125 CE Augustus right-han dman=Agrippa built first Pantheon-name intended it as temple to gods- fire destroyed this temple and Domitian built reconstruction- Pantheon now work of Trajans architect=APOLLODORUS- completed in Hadrians reign-In roman times pantheon stood raised on a podium at south end of large rectangular court-octastyle facade- dome punctured with 27ft hole(OCULUS open to sky)- 143ft(total interior height is also domes diameter= discipline=eternity and perfection Trajans Column, Rome, 106-113 CE (height 38 m) support gilded statue of emperor- bend through interior of shaft is a spiral staircase leading to a viewing platform- credited as work of Apollodorus-role as velvedere(viewing station) Titus riding in triumph, Arch of Titus, 81 CE rides triumphal chariot, high above a teeming crowd- horses appear in profile but chariot is frontal=illusion that procession is approach path viwer before turning sharply- behind emperor-personification of victory crowns him for his success Procession of spoils from the Temple in Jerusalem, Arch of Titus, 81 CE soldiers carry booty through the streets including seven-branched menorah and other sanctified furniture looted from Temple- panel marks important move toward spatial illusionism Colosseum, Rome, 72-80 CE held over 50 000 spectators-concrete-faced with travertine- 80 curve entrances led into building framed with Tuscan columns- second story, Ionic columns framed second set of arches, third engaged man-about-town columns. WEEK 6Sinan, Mosque of Selim II, 1569-74, Edirne, Turkey Sultan-Muhammed, Allegory of celestial and Earthly Drunkenness, from a manuscript of the divan of Hafiz, 1529 Detail of a carpet from Iran, ca. 1575-1600 Behzad, myopic man refused admittance to a mosque, from a manuscript of the Bostan of Sadi, 1486 CE Court of the Lions, Alhambra, fourteenth c. CE, Granada, Spain Dome, Hall of the Abencerrajes, Alhambra, 14th c. CE, Granada, Spain Cloak of Roger II of Sicily, 12th c. CE The Temptation and Fall, Doors of Bishop Bernward , Hildesheim Cathedral, ca. 1015 CE Detail of qibla wall, Great Mosque, Cordoba, 10th c. CE Interior of Prayer Hall, Great Mosque, Cordoba, 8th-10th c.CE St. Matthew, from the gospel singing Book of Archbishop Ebbo of Reims, 816-835 CE St. Matthew, from the Gospel Book of Charlemagne, ca. 800-810 CE Equestrian Statue of a Carolingian Ruler, 9th C Kufic script from a Quran, 9th c. qi Rho Iota Page, Book of Kells, ca. 800 CE St. Matthew, Lindisfarne Gospels, poster paint on vellum, ca. 700 CE Cross Page, Lindisfarne Gospels, poster colour on vellum, ca. 700 CE Dome of the Rock, Jerusalem, ca. 690 and later Interior, Dome of the Rock, Jerusalem, ca. 690 CE and later charge buckle, Sutton Hoo transmit Burial, ca. 600-650 CE Purse cover, Sutton Hoo Ship Burial, ca. 600-650 CE Clasp, Sutton Hoo Ship Burial, ca. 600-650 CE