Exam 2 Flashcards Preview

Art History > Exam 2 > Flashcards

Flashcards in Exam 2 Deck (64)
Loading flashcards...
1
Q

Hellenistic

A

300-200 BCE

-refers to the influcence of greek art and culture intermixed with non-Greek elements from vaious regions after Alexander the Great

Works:

  • Nike of Samothrace
  • Boxer
  • Arphrodite of Melos
2
Q

356-323 BCE Greece

A

Conquered by Romans

-influenced with financial insentives to migrate to Asian Minor to spread Greek culture to conqured lands.

3
Q
A

Nike of Samothrace 8” high (Island of Samothrace)

-to celebrate a navel victory by the kingdom of Rhodes - wet drapery and subject from greek designed to be seen by ships from a sculpted shot on cliffs (looked up to) -in an active pose, in the moment (unusual for female figure) -free standing, in the round -drapery and pose are logically displayed in correspondence to geography and weather -finely detailed wings (feathers) for cultural and visual value (not realism as in Greek art)

4
Q
A

Boxer (ar rest) 4’3” Bronze Original

  • found in Constentine Basilica (possibly hiden from invaders). Olympic sport, only headshots
  • inset eyes, heroic nudity from greeks
  • older man, well worn boxer. Wearing leather gloves
  • scultpure in the round, lost wax csting, hollowed out
  • damages to face(copper insets to show wounds) broken nose, swollen collaflowered ears. (Pathos-emotion)
  • realism of human frailty (not idealism from Greek)
5
Q
A

Aphrodite of Melos (Venus de Milo) 6’10” high

  • Marble, free standing, over lifesized, in the round
  • Artist: Alexandros of Antioch-on-the-Meander. (Greek name in Asian Minor)
  • Roman copy of the Aphrodite of Cnidos (no backstory needed)
  • Wet drapery (naturalistc application)
  • contraposto (Greek)
  • Drapery as support, stabalization
  • Suggests time, and drama, as if subject will change or move
  • Unknown what happened to arms
  • No emotion in face (Greek)
6
Q

Roman Republic Art

A

200-27 BCE

  • City of Rome had flourishing urban culture by 600BCE.
  • Rise of Roman power in the west began in 323BCE following the death of Alexander the Great
  • Government developed as a limited democracy with a senate elected by members of the aristocracy
  • Absorbed Greece in 100 BCE
  • Shared pantheon of Gods with Greeks
  • Admirred Greek culture and absorbed ancient Greek art, literature, and philosphy into own traditions

Works:

  • Patrician with two Ancestor Busts
  • Pompeii, House of the Silver Wedding
  • Pompeii, House of the Vettii
  • Pompeii, House of the Vettii, Hercules Strangling the Serpents
7
Q
A

Patrician with two ancestor Busts Lifesize Marble

  • Subject from aristocratic (high social class) family. Wearing toga and sandles (significant of class)
  • Controposto, wet drapery (greek)
  • Support beam incorporated as part of the subject (functionality)
  • Clothed older (realistic) male, with busts of other older men (not idealized). Shows importance of family ineage (wax death masks)
  • possibly used as political propoganda. possibly painted originally
8
Q

Pompeii

A
  • Sea side town, destroyed by Mt. Vesuvius eruption in 79 CE
  • Toxic gases isolated the city and killed all people in it. Ash burried the city and preserved every aspect of life including people (shows how people lived)
  • Excavations began around mid-eighteenth century (found after destructive earthquake)
  • Plaster casts of inhabitants of Pompeii and Herculaneum
  • Resort town with many brothels (Brothels contained erotic frescoes)
9
Q

Roman Advances

A
  • Romans called “the Americans of the ancient world” becasue of their focus on “real world” issues such as urban planning and civil engineering.
  • Organized cities by grid system
  • Created street names, sidewalks, pedestrian cross walks (elevated and even with sidewalk), unified street widths (average axel width, for miltary advantage). Some streets only for pedstrians.
  • Buildings even with the sidewalk (prime realestate)
  • Roman aquaducts bring in clean water and flush out dirty water. Some aquaducts still in use in small Itallian cities.
  • Community gyms, and spas
10
Q

Concrete

A

Mixture of limestone rubble, water and pozzolana (volcanic dust) poured over rubble laid in courses between wooden forms.

11
Q

Atrium

A

A courtyard partly open to the sky with depression in ground to collect water. The common roman housing style during the Roman Republic.

12
Q
A

Pompeii, House of the Silver Wedding

  • Atrium and Peristyle (colonade) house
  • Painted exterior walls, decorative plants, suclpture/fountains
  • Marble reventment (expensive) most used fresco paintings to mimic marble
13
Q

Fresco

A

Pigment and water mixture painted on wet concrete (absorbed pigments). Marble dust sometimes included to mimic marble (could be polished)

14
Q
A

Pompeii, House of the Vettii

  • Owners were well known buisness men (brothers)
  • Frescos on walls as illusions of windows
  • Hercules Strangling the Serpents
15
Q
A

Pompeii, House of the Vettii, Hercules strangling the Serpents

  • hercules an illegitamate child of Jupiter (zeus). Hera sends snakes to kill hercules in his crib.
  • Eagle to symbolize Jupiter (Zeus). Alkmene- mother Amphitryon- “father)-Marble reventment (expensive) most used fresco paintings to mimic marble”
  • Naturalistic, fresco painting (potentially influenced by Greek paintings)
  • Heroic nudity, idealized bodies (Greek)
  • Atmospheric Perspective and Forshortening
16
Q

Atmospheric Perspective

A

an illusion of 3 demensionality where things farther away apear cloudy, less color, detail, and sharpness

17
Q

Forshortening

A

the distortion by shortening to create an illusion of receeding or projecting for 3 demensionality

18
Q

Roman Early Imperial Sculpture

A

27 BCE -200CE

  • From 50-27 BCE was a period of civil war between leading families (Julius Caesar, Pompey, Mark Anthony). Julius Caesar defeats others and gains leadership of senate.
  • Octavian, named as Julius Caesar’s successer (grandnephew).
  • Julius Caesar murdered in 44BCE and begings another period of civil war.
  • Octavian ends civil war and is recognized by the Roman senate as emperor in 27BCE

Works:

-Augustus of Prima Porta

Equestrian Portrait of Marcus Aurelius

19
Q
A

Augustus of Prima Porta

  • Marble, 6’5” (overlifesized)
  • formal pose of giving speech
  • oversized, for a symbol of power. Emperor seen as deities after death
  • Clothing: standard roman battle armor and referance to toga (suggests capable of leading army and senate) (was also high preist)
  • Many copies throughout empire. (age never changed throughout years). Not realistic rendering (known to have been sickly).
  • general youthful facial features, expressionless
  • No shoes (gods depicted with no shoes, to show status)
  • dolphin and Arros to show decendence from Venus
  • Armor depicts historic conquering
  • Originally painted (different colors in different regions)
20
Q

Equestrian Portrait

A

A person depicted on a horse (power, status, death)

-Equestrian Portrait of Marcus Aurelius

21
Q
A

Equestrian Portrait of Marcus Aurelius

  • In Rome. 11’6”
  • Bronze original, (mistaken as Constantine and was not melted by Christians).
  • Has been moved. Always been on display
  • Power portrait, showed wealth (expensive), military (nobility status)
  • regins and bridal lost
  • Made it so others would always look up at them
  • Possibly oversized
22
Q

Roman Early Imperial Architecture

A

27BCE-200CE

  • created roads, and infustructure to make life easier. (100 gallons of water per person per day)
  • to avoid or stop revolts

Works:

-Rome, Colosseum

Rome, Pantheon

23
Q

Arches

A

A building style that was more versitile and stable than post and lintel.Created by the Etruscans.

Contains:

piers-botom side stones

Impost Block: Similar to Greek capitals

Vossoir: wedge stones (layed on centering)

keystone: top or center stone that holds arches together and sends the weights down sides to stablize a structure

24
Q

Amphitheater

A

two theaters built into one for sporting events or theatrics. One in every small town for recreation.

25
Q
A

Rome, Colosseum

  • Largest Amphitheater (after burning of Rome) of stone and concrete (10 years to build)
  • 159’high X 617’long X 512’wide. Drained lake to build (Manipulated land)
  • 76 numbered enterances. Seated 55,000 based on neighborhood and economic status
  • For naval battle recreations, gladiator battles. (model for all other sporting arenas)
  • Poles at top held sail-cloth to sheild from sun and rain (operated by sailors, a created job)
  • Corridors to access seating through groin vault. 3 exterior arch styles (with colums)
  • Original name was the Flavian amphitheater (Paid for by Flavian family). Given name Colusseum due to close proximity to collosal Nero statue.
  • Interactive experience (thumbs down), public bathrooms and water fountains (no alcohol)
  • Trap doors, dungeons and cages, pulley systems, drainages and water systems, under cental floor (operated by slaves)
26
Q

Groin Vault

A

Groin is the point of intersection of two barrel vaults that intersect at right angles

27
Q

Barrel Vault

A

strongest most supported vault design. Tunnle design to direct in only a straight line

28
Q

Vault

A

Support structure built on an arch of concrete by the Romans

29
Q
A

Pantheon, Rome

  • Unique temple structure (only enterable temple for worship) Concrete and arches to create a Dome. Post and lintel Temple front (possible to mask arched buildign behind when entering)
  • Dedicated to all gods (possibly designed and finaced by Hadrian)
  • shifted to envisioning emperors as divine gods
  • Preserved interior, was not desroyed by Christians but was converted into a church
  • 7 interior niches dedicated to the 7 planetary gods.
  • Occulus for natural sunbeam (moved with rotation of Earth) and rain. Not closed off from the natural world
  • Interior has an acurate spherical shape that is hidden by exterior (stepping buttress to lessen thickness)
  • Circles and squares from exterior also part of interior (flooring, wall detail, and coffering)
  • Coffers were painted blue and had a rosset of guilded bronze (melted down during Renisance) (Raphel is burried inside)
  • Hadrian ordered scripted ceremonies of his standing in pool of sunlight to show he was of a godlike nature
30
Q

Dome

A

an arch that is rotated 180 degrees

31
Q

Temple Front

A

simplified Greek temple to 3 main parts: Pediment, Entabliture, Columns

32
Q

Coffer

A

A relief or recessed section for structural and visual purposes. Structually used to reduce the amount of weight on dome. Visually used to help viewers make sence of the space and shape of the dome.

33
Q

Roman Late Imperial Sculpture

A

200 CE - 410 CE

  • Later Roman Empire is marked by a prolonged period of instability and decline caused by poor leadership and corruption of emperiors (assassination of Emperor by would-be successor).
  • “Barbarian” (non-Romans) tribes threatened Roman boarders. Empire too large to be properly controled, funded, protected, and stable
  • Constaintine (regins 306-337) called the last “great” Roman Emperor. Wins battle over rival emperor (Maxentius).
  • Known to have a vision of an angel holding up a cross and telling him “in this sign you shall conquer.” (Wins battle over Maxentius) Signs Edict of Milan in 313Ce to legalize Christianity
  • Christianity and Roman polytheism coexist in the Empire until 391 when paganism is officially banned.

Works:

  • Rome, Arch of Constantine
  • Head of Constantine
34
Q

Spolia

A

Sculpture from one work that is reused of repurposed on another

35
Q
A

Rome, Arch of Constaintine

  • Marble, 70’high X 85’8” wide
  • Triumphal Arch for victory over Maxentius (given to emperor by senate). Last triumhal arch built.
  • Covered in relif suclptures depicting the victory and reign of Constaintine. Portions covered in Porphyry (color purple) only for the ruling. With a dedicatory inscription in center of arch (who was for and why)
  • Spolia from works dedicated to 3 early period emperors. (Hadrian, Marcus Aurelius, Tragan)
  • Hadrian Roundels of Emperor hunting a boar and giving an offering to Apollo
  • Constaintine’s reflif panel looks medevil (not proportionate, not naturalistic, less detail)
36
Q
A

Head of Constantine

  • Collossal Statue of Constantine (comissioned)
  • Torso of wood and covered in Bronze, rest in marble
  • Orginal seated atatue 50’ high. Head 8’6” (God-like)
  • Diminished quality (less naturalistic) abstract facial features with almost Archaic hair styling.
  • Shows shift from visual acuracy to meaning with the use of Geometric shapes. Constantine moved the Capital of the Roman Empire from Rome to Constantinople (named after Constantine).
37
Q

Early Christian Art

A

313-500 CE (overlaps with Late Roman imperial)

  • Jesus Christ crucifed in 33 CE. Constantine legalizes Christianity in 313
  • Earliest Christian imagery dates from 2nd and 3rd centuries and found in catacombs.
  • Early Christian art draws from Roman artistic traditions in terms of style, media, and iconography.
  • Christian Art is didcatic in nature (purpose was to educate illiterate for conversion)
  • Christianinty and Polytheism coexist for 80 years, until Peganism outlawed.

Works:

  • Rome, Catacomb of Priscilla, Christ as the Good Shephard fresco
  • Good Shepherd sculpture
  • Rome, St Paul’s outside the Walls
38
Q

Roman Catacombs

A

Subteranian burial chambers for intact human remains. Wealthy Roman families had own catacomb that was well decorated by frescos with a chapel. Often had images from polythesitic and Christianity.

39
Q
A

Rome, Catacomb of Priscilla, Christ as the Good Shepard Fresco

  • Shepards often major religious figures starting points (David, Moses, Abraham)
  • To Romans only a nature scene. For Christians shows stories from the Bible (typology)
40
Q

Typology

A

Study of types. Pairing events from Old testement to the life of Jesus in the New testement. Ex. Jonah as a type of Christ

41
Q
A

Good Shepard Sculpture

  • 12” heigh. Marble
  • Minimal naturalism
  • Goes back to Greek “calf bearer” Archaic and sacraficial
  • Young, Poor- appeals to lower classes
  • Christ as the Sheep - Lamb of God and as a sacrafice
42
Q

Basilica

A

Multipurpose Roman building for Legal and Finacial uses

43
Q

Basilical Plan

A

an axial plan derived from the layout of the Roman Basilica

44
Q
A

Rome, St. Paul’s Outside the Walls

  • Outside the Walls of the City of Rome
  • Land and money donated by Emperor. Puts Christians outside the city to Keep the peace
  • Roman archetecture with: Colonade, courtyard, archade, coffers, geometric floor design
  • Similar Basilical Plan (connected back to Rome) with only one alter and now forms a cross to display to God where the Christians were. Axial Plan
  • Maiestas Domini mosaic “Majesty of the Lord”-Revelations (similar to Constantine’s Triumphal Arch Relief Pannel
45
Q

Clerestory

A

Row of Windows directly below roof, for lighting.

46
Q

Evangelist

A

4 major Converters of Christian religion (Matthew, Mark, Luke, John)

-symbols of Lion, Eagle, Man, and Cow

47
Q

Mosaic

A

Decoration, arrangment of small shapes (Tesserae) to form a large images. In most early Christian churches.

  • From Romans (flooring) of stone or ceramic
  • Christians put on walls of Glass and gold (to maximize lighting)
48
Q

Early Medieval Art

A

600-800

  • Part of the Middle ages (313-1300)
  • Terms from Renaissance based on Greek and Roman Work.
  • “Dark Ages” Known as the black hole fo European Culture (negative reputation)
  • Constantine Moved Roman Capital to Byzantium and renamed Constantinople
  • Western Europe was overrun by various migratory tribes
  • 410 City of Rome invaded and saked by The vandals (marks official “fall” of Roman Empire)
  • 400-800 no overarching political authority in Western Europe. Christianity spread amount migratory tribes
  • No text from period. Monks and religious figures only few who could read and write in Latin (converters)

Works:

  • Sutton Hoo Purse Cover
  • Gospel Book of Durrow, Symbol of St. John
  • Gospel Book of Kells, Tunc Crucifixerant XPI
49
Q

Migration Art

A

Portable, made of preciousd materials, often employs technically sophisticate metal working techniques such as cloisonne and filigree

50
Q

Sutton Hoo

A

Anglo-Saxon burial mound site in South Eastern England. Ship burrial with treasured items of a king

51
Q

Cloisonne

A

Metal working technique where narrow stripes of gold are beaten flat and attached edge up to form geometric shapes. Then filled with precious or semi-precious metals

52
Q

Filigree

A

Thin GOld wire heated to melting point to drip gold to form designs from liquid drops of gold metal

53
Q

Interlace

A

Overlapping meandering of organic (snakes) and inorganic designs. Dense pattering with structure and coordination.

54
Q
A

Sutton Hoo Purse Cover

  • Gold with garnets and cloisonne
  • White enamel background is a modern reconstruction (originally cloth)
  • Abstract human figures and animal figures.
  • Negative Space
55
Q

Illuminated Manuscript

A

Hand written, and hand painted on Parchment

56
Q

Gospel

A

“Good new.” First 4 books of the new testement by Evangelists

57
Q
A

Gospel Book of Durrow, Lion Symbol of St. John

  • Lion Symbol of St. John (Author Portrait)
  • Tempera on Parchment 10X6
  • Smilar design to Migratory art (interlacing, boardering, abstract animals, application of Cloisonne)
  • From Monastery in Durrow
58
Q

Parchement

A

Generic term for animal skin used for written works (usually from cow, sheep, or pig)

59
Q

Vellum

A

High quality parchment made from skins of baby animals

60
Q

Tempera

A

Paint made from pigment and egg used on parchment

61
Q
A

Gospel Book of Kells, Tunc Crucifixerant XPI

  • From Monastery in Kells
  • Tempera on Vellum
  • Gospel of Matthew
  • Shift from Oral to Literate Culture
  • Historiated initial page (first initial elaborated)
  • Broad range of colors shows more funding to invest in production value
  • Literal Translation: “Then they Crucified Christ and with him two theives.” (X=Ch in Greek)
62
Q

Carolingian Art

A

800-900

  • Charlemagne (Charles the Great) King of the Franks conquers large portion of Modern day France, Italy, and Germany.
  • Put down rebellion against the church at request of Pope Leo III. Christias Mas of 800, Pope Leo III crowns Charlemagne emperor of the Holy Roman Empire.
  • Carolingian art seeks to consciously emulate ancient Roman Art and to infuse with Christian context
  • Funded the expansion of Monasteries and schools
63
Q
A

St. John, Coronation Gospels of Charlemagne

  • Tempera on Vellum. Vellum dyed purple (Royalty of Rome)
  • Author portriat Gospel Book
  • Used in coronation of Western Kings and was burried with book
  • St. John in human form not as a lion
  • Use of atmospheric Perspective and Forshortening, wearing Roman toga and sandles (back to Roman art)
  • Naturalism
64
Q
A

Equestrial Portriat of Charlemagne

  • Bronze, 9” high (back to Marcus Aurelius)
  • Emperor unknown
  • Holding world not reigns
  • small portrait due to limited resources and no lost wax casting