Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

ARTH > Midterm > Flashcards

Midterm Flashcards

1
Q

Visual (formal) analysis

A

making objective, visual observations or descriptions about features of a work, focuses on form (ex: format, scale, composition, viewpoint, space, form, line, color, light, texture)
Also includes analyses of the effects of visual features

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Contextual analysis

A

trying to determine subject matter, cultural characteristics, and historical significance; the time/place in which a work was created, why and by whom it was made, how it originally functioned; the interpretation of subject matter

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

style/representational mode

A

shared characteristics between artists working in the same time/place

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

iconography

A

the subject matter of images

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

iconographic analysis

A

the interpretation of the subject matter’s meaning; finding the purpose beyond the aesthetic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Mexica artists, Templo Mayor, c. 1400–1521, in Tenochtitlan, Mexico City. Mixed-Media.

A

Dedicated to 2 main deities (Tlaloc and Huitzilopochtli)
Reconstructed during 7 main building phases
Located in the sacred precinct at the heart of the city, which was at the center of 4 quadrants
Symbolized “atl-tlachinolli” meaning burnt water, which connotated warfare, the primary way of gaining power/wealth
Huitzilopochtli Temple: sacrificial stone, standard-bearer figures, serpent balustrades, Coyoxauhqui monolith found at base of stairs
Tlaloc temple: chacmool (a male figure holding a vessel to receive offerings), altar of the frogs, symbolizes the mountain of sustenance, which was a fertile mountain that produced high amounts of rain
After the Spanish conquest the temple was destroyed and the remains were buried
Each ruler was responsible for growing the temple
The temple was restricted to rulers and high priests
Meant to commemorate the origin story but also aid in the reenactment of the origin story every year

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Mexica artist, Coyolxauhqui Monolith (She of the Golden Bells), from Tenochtitlán, Mexico City, Mexico, ca. 1469. Stone

A

Relates to the myth of the birth of Huitzilopochtli (born from immaculate conception)
Portrays the moment after Huitzilopochtli banished Coyoxauhqui and threw her body down the mountain for attempting to kill their mother along with her brothers
By placing the stone at the base of the temple, the Mexica effectively transformed the temple into Coatepec
Used to be painted in many colors
Portrayed as naked = symbol of humility and defeat
Jewelry indicates her of high status
Rolls in her stomach were a symbol of motherhood
Pinwheel composition = chaotic motion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Spolia

A

the Spanish reused the remaining stones of the indigenous buildings/structures they conquered and destroyed to build their own structures (ex: the Templo Mayor)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Mexica aesthetic

A

Time: begins 1375, transforms/adapts after 1521 (post-Columbian)
Representational mode: interest in abstraction but also in the natural world (curvilinear, smooth, monochromatic, 3D carving, natural stone) *use of the natural world to make characters that don’t exist in the natural world
Important subject/these: Tlaloc, religion, warfare
Context: religious setting, offertory, pre-Columbian

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Tlaloc

A

the Aztec rain and agriculture god

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Huitzilopochtli

A

the patron deity of the Mexica; “hummingbird”; lead the Mexica to the Valley of Mexico and Lake Texoco

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Coyolxauhqui

A

the sister of Huitzilopochtli; “she of golden bells”; depicted on a monolith, which led to the discovery of the Templo Mayor

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Coatlicue

A

the mother of Huitzilopochtli and Coyolxauqui; “snake skirt”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Centzonhuitznahua

A

the 400 brothers of Coyolxauhqui who attempted to kill Coatlicue, but were defeated by Huitzilopochtli

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Mexica artist, Tlaloc Vessel, c. 1440–70, found Templo Mayor, Tenochtitlan, ceramic

A

Maya blue – a special bright blue pigment used in Mesoamerican culture; Connotations with water, preciousness, vegetation
Key features of Tlaloc are goggle eyes and a fanged mouth
Important to Mesoamerican cultures
A type of offering that was found at the Templo Mayor; these offerings were buried within and under the temple
Tlaloc temple: chacmool (a male figure holding a vessel to receive offerings), altar of the frogs, symbolizes the mountain of sustenance, which was a fertile mountain that produced high amounts of rain

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Inka artist, Qorikancha, Peru, 15th c. Limestone

A

The most sacred shrine of the Inka; “the golden house”
The most important structure in the inka empire
dedicated to the worship of the sun because the Inka claimed descent from the sun
located in hurin the lower section
after conquest, turned into Christian holy space
double-jambed doorways signify importance of building
walls covered in sheets of gold to signify dedication to Inti (the sun)
houses manco capac’s mummy
trapezoidal niches and doorways
garden of gold and silver

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Inka aesthetics

A

Time: origins in the 13th century, but the empire, 1438-c. 1534
Location: west south America, from Ecuador to chile
Representational mode/style: fondness for geometric, abstraction, standardization, a culture of stone, textiles
Important subjects/themes: natural world, Sapa Inka, ancestors, textiles, Cuzco, Qorikancha, Machu Picchu
Context and Important terms: the ancestor Manco Capac; the establishment of Cuzco and Tawantinsuyu, the reign of Pachakuti; tinkuy

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Polygonal masonry

A

the shapes of the stones are irregular but the way they fit is regular

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Ashlar masonry

A

stones of similar shapes smoothed together; reserved for buildings of the highest quality

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Inti

A

the sun

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Inka/Inca

A

people of the sun

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Sapa Inka

A

the inka emperor

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Manco Capac

A

first sapa inka that establishes cuzco

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Mama Ocllo

A

wife of Manco Capac

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Tawantinsuyu

A

“the land of the four quarters”; what the inka called their empire

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

Inka artist, El Torreon, Machu Picchu, Peru, 15th c. Limestone

A

The emperor would only reside at Machu Picchu for part of the year
Commanded colonists to work for the Inka nobility which was an expression of imperial power
Uses ashlar masonry
Extension of living rock that encapsulates a sacred stone
Staircases that go nowhere to create an optional illusion that what is natural and Inca is the same (tinkuy)
Reminding people of their relationship to the sun and to the earth. They are married to the earth

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Inka artist, Royal Unku, Peru, 15th/16th c. camelid fiber

A

Signified the geographical regions that the inka conquered
An elaborate collage of other unkus that signifies the emperor as a person of power
Geometric/abstract – symbolizes mountains/rocks

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Unku

A

article of clothing made of cotton and camelid fiber covered with geometric patterns; essentially a robe

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Masaccio, Tribute Money, c. 1427, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, fresco, patron: Felice Brancacci

A

Tax collecter comes and Jesus tells peter to pluck a fish out of the ocean and pay the tax

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

fresco

A

usually done on a wall; involves plastering in sections before painting so if you look closely you are able to see “a days work” colors are less vibrant and you are able to include less detail; uses tempura paint which is made of egg yolk/pigment: very sticky and dries quickly

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Italian Renaissance art

A

Emotion
Figures from many points of view
Modeling (chiaroscuro)
Revival of classical interest in anatomy/proportion
Illusion of space (an earthly setting)
Atmospheric perspective
Naturalism: the faithful representation of the observable world

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

Chiaroscuro

A

the body takes up space and interacts with light

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

Contrapposto

A

a more naturally positioned body where weight is all on one leg

34
Q

Vanishing point

A

the illusion of 3D space on a 2D surface (linear perspective)

35
Q

Aerial/atmospheric perspective

A

background is blurry to indicated depth, more blue in color

36
Q

Historia

A

from Leon Battista Alberti’s “On Painting” which he argues is one of 3 components that make a painting “good.” It needs to depict a narrative where a convincing action takes place

37
Q

Humanism

A

interest in humans and human bodies

38
Q

Robert Campin, Merode Altarpiece, c. 1425, oil on wood, patron: Inghelbrecht family

A

Intended for private devotion
Center panel: “the annunciation” Gabriel tells mary she is pregnant with Jesus
Right panel: joseph the carpenter; in his workshop making a mousetrap = sign for ensnaring the devil
Left panel: patrons of the painting (Inghelbrecht and Scrynmakers) watching the annunciation
Inghelbrecht = husband, angel bringer
Schrynmakers = wife, cabinet makers
Status symbol, shows devotion of mary, coat of arms
Examples of disguised symbolism: white cloth = purity, copper put = purity, lilies = virginity, 3 flowers = trinity, extinguished candle = presence of god, open book = new testament, scroll = old testament)

39
Q

Northern Renaissance art

A 
Perfection of oil paint
Representation of minute detail/reality effects
Light/textures
Naturalism
Material objects
Antiquity less important
Empirical spatial conceptualization (slanted/elongated space to show maximum area)
Symbolism/iconography and setting
40
Q

Disguised symbolism

A

objects with a larger message/deeper meaning

41
Q

oil painting

A

allow for a greater color palette, dries slowly so the artist is able to layer and add texture/detail

42
Q

Albrecht Dürer, Rhinoceros, woodcut, 1515, Germany

A

Circulates after Guttenberg invents the printing press
People had never seen an exotic animal and much of what people knew about rhinos was from the print
Allowed them to experience something they had never actually seen before because prints are easily produced and portable

43
Q

Woodcut

A

printmaker carves image into wood, rub ink on surface; parts that remain transfer to paper while areas gouged out do not; each color = different block

44
Q

Engraving

A

engraver uses a burin to incise metal (usually copper); surface inked, then wiped clean; incisions retain ink, pressed onto paper; evolution of print making, allowed for more detail

45
Q

Sofonisba Anguissola, Self-Portrait at Easel, 1556, oil on canvas

A

Depicted herself painting; portraiture was a way to show skill and intellect
Not normal for a woman to be an artist
Looking directly at us which was uncommon because women were not supposed to look people directly in the eye; outside the boundaries of her gender
Provocative moment
Self taught but she studied with other males
Became well known for skill in painting
Recruited by the court of Philip II to paint portraits = great honor

46
Q

El Greco, Burial of the Count of Orgaz, 1586–88, oil on canvas, Santo Tomé, Toledo, Spain

A

Don Gonzalo Ruiz (count of Orgaz)
Donated money to the church of Santo Tome upon his death
The story is: after he died, saints Augustine and Stephen lowered him into a tomb to honor him for his good deeds
One of the world’s most recognizable and reproducible paintings
Painted by “the Greek” El Greco who trained as a byzantine icon painter, worked in titian’s workshop, and settled in spain to work for king Philip II
Malleable/elongated figures are lit from unknown sources
Depicts numerous figures/miraculous circumstances surrounding the burial of the count
Reminiscent of paintings showing the entombment of Christ where Christ’s body is lowered into the grave
Recognized for the number of portraits included within a complex composition
Combines portraits with saintly figure = witnessing of events
A reminder of judgment
Heavenly realm vs. earth realm
Uses looser brushwork that creates movement
The painting is above Count Orgaz’s tomb: this creates the effect that the saints are lowering the body into the tomb, which brings the viewer into the narrative and reminds the viewer of death/judgment; makes the moment more dramatic/leaves a greater impression

47
Q

Post-tridentine art

A

art that embodies the ideas of the Council of Trent – people who reformed the Catholic Church – images of holy figures are important, but not alive; a response to Protestants who thought art was problematic

48
Q

Nahua artist, Crucifixion, c. 1560–90, large cloister of ex-convento, San Agustín de Acolman, Mexico

A

Painted largely in black and white because they are inspired by European prints
Fresco
Educational images to tell people about the life of Jesus
Surrounded by grotesques (pretty filler imagery meant for framing)

49
Q

Tlacuilo

A

indigenous artist authors, well-educated, well-esteemed men who were trained in European art at schools attached to conventos

50
Q

Nahua artist, The Mass of St. Gregory, 1539, feathers on wood with touches of paint, Mexico

A

Narrative of when Jesus comes to life during the eucharist; jesus depicted as the “man of sorrows”
Made entirely of feathers on wood
Made during the height of the Spanish conquest
Hybrid piece
The frame translates that the artwork is going to Pope Paul III who intervened and said that Ameri Indians have souls and should be treated like human beings
Divine power and sacredness associated with birds/feathers

51
Q

Amanteca

A

featherworkers; highly regarded in society, got special privileges, special connection to Mexica ruler

52
Q

Postcolonialism

A

looking to artwork to understand histories that don’t fit into European styles; responds to the cultural legacies of colonialism and imperialism

53
Q

Hybrid

A

the result of the interactions between different cultures and moments of time; speaks to various worlds/people; “clash of cultures”

54
Q

featherwork

A

art that utilized feathers; iridescent feathers were highly prized not just for their color but for the way they interact with light; other kinds of feathers used were Quetzal and hummingbirds; usually sent back to Europe to be displayed in cabinets of curiosity

55
Q

Felipe Guaman Poma de Ayala, “His Majesty Asks, the Author Responds,” in The First New Chronicle and Good Government, c. 1615, pen and ink on paper, Peru

A

Guaman poma writes a long letter about the Andan peoples prior to the arrival of Europeans
Documented the current colonial situation
Recorded the abuses of indigenous peoples under the colonial government
Most famous manuscript from South America because it is so long and because it has many illustrations
Tells us about the pre-Hispanic Andean peoples
Written in multiple languages
First self portrait after Spanish conquest (pay little attention to the detail of faces)
Recounts the Spanish conquest and civil wars
Portrays the complexity and chaos of the time
While he was writing he stopped to draw instead of adding drawings in as an afterthought
Shows him kneeling in front of the Spanish kind and pope dressed in European and indigenous clothes
Influenced by prints
Not commissioned

56
Q

Edo peoples (Benin Kingdom), Equestrian Oba with Attendants, 1550–1680, brass plaque, Nigeria

A

Ruler surrounded by attendants, riding a horse
Features of global exchange: rosettes = European influence, brass = from trade, coral = comes from Mediterranean
Hierarchic scale: size of figures not representative of their height but of importance
Tells the story of the royal lineage
Oba has the most elaborate head gear, chest plate, beads

57
Q

Benin Style

A

hierarchic scale, balance/symmetry, 3D, rosette pattern, precision

58
Q

Lost-wax technique

A

existed prior to the arrival of Europeans
Clay core, general approximation of figure; layer of wax, sculpt detail; put sculpture on base, surround with sand/clay; pour molten brass into

59
Q

British Punitive Expedition of 1897

A

in response to the end of their trade relationship with the people of Benin, Britain seized the Oba’s palace, burned down the city and looted art and treasure; now there is a debate whether art should be returned to its people or remain in museum collections around the world

60
Q

Oba

A

King of the Benin empire

61
Q

Edo Peoples, Queen Mother Pendant Mask, 16th century, Court of Benin, Nigeria, ivory, iron, copper

A

The Queen mother was the Oba’s mother
Person of importance; the only other person to get brass portraits
made of ivory
headdress with crown of Portuguese and mudfish = symbol of power
secured the Oba’s power
depicted similarly to the Oba in terms of features and symbols
conical headdress shape was used to depict women

62
Q

Sapi artist, Lidded Saltcellar, 15th–16th century, ivory, Sierra Leone

A

made to hold salt, which was a symbol of status
made by the Sapi peoples and sent back to Europe to be sold
used as diplomatic gifts to secure alliances, displayed in curiosity cabinets as a sign of exotica
influenced by European prints
predominantly sapi aesthetic but has European influences (ex: rosettes and braiding, snakes are a Sapi aesthetic)
traumatic impact of Portuguese reflected in sapi art
sapi perception of what happens in this time period
swirling snakes = motion/movement, dogs were thought to see spirits, dogs vs. snakes = conflict/unfrendly
patterns based on local textile patterns
shape modeled after gourds and relates to an egg (egg = creation story)
life vs. death

63
Q

Shen Zhou, Lofty Mount Lou, dated 1467. Hanging scroll

A

Very delicate/fragile
Ink and color on paper
Extremely detailed, crisp lines
Painted by Shen Zhou, an intellectual artist who removed himself from the everyday life to appreciate landscape and nature
Includes poetry inscriptions about the scroll
Meant for people to spend time looking at the painting and appreciating the details
Meditate with nature
Sparks conversation

64
Q

Ming dynasty aesthetics

A

Iconography: figural and landscape themes that evoked Song dynasty, especially recluses, gardens, intellectuals/literati
Media: paintings, gardens, ceramics
Historical context: period of cultural renewal; desire to reassert native artistic traditions especially following the fall of the Mongol Yuan dynasty

65
Q

Hanging scroll

A

piece of paper that hangs from a rod, which has a string attached in order to be hung on the wall; can be rolled up for transportation

66
Q

Ming dynasty. Garden of the Master of the Fishing Nets, 16th century and later, Suzhou, China

A

Everything in the garden is unnatural, madn-made
Not solely meant for the purpose of aesthetic
Private gardens
The site was developed over time, not all at once
The rhythm created is small buildings punctuated by courtyards
“scholars rocks” are found here (rocks with perforations)
Distillation of the qualities of nature
Molded by nature but enhanced by man
Presentation of contrasts
Changing of the seasons but consistency of rocks
Utilized literary references
A type of refuge
Functioned as sites of retirement, leisure, entertainment, self-cultivation, moral cultivation

67
Q

Ming dynasty, Cup with Chicken Design, 15th century, porcelain with underglaze and overglaze polychrome decoration, China

A

Chicken: symbol of good luck/wealth
Ceramics are the most important types of artwork created at this time
No one was able to replicate
Expansion of the repertoire of ceramics
Utilized doucai, new colors (pink, yellow, black, green)
Went for 32 million dollars
Used symbols/elements that attract a certain audience

68
Q

Kaolin

A

special clay that was used to produce the finest blue and white porcelain

69
Q

Cobalt

A

a special type of blue that was imported

70
Q

Doucai

A

underglaze of blue and white and overglaze of other colors after 1st firing; “joined” or “contrasted” colors

71
Q

Underglaze

A

first coat of color/design before firing

72
Q

blue-and-white porcelain

A

produced for export markets
Earliest example found are temple vases
Used in temples and burials, but most were exported
Decoration had primarily Chinese influence/motifs but also geometric patterns to satisfy Middle East market
Admired by imperial court
Took their shapes from Islamic metalwork
Could not be replicated

73
Q

Sesshu Toyo, Splashed Ink Landscape, 1495, hanging scroll, ink on paper, Japan

A

Impressionist
Tree on a rocky island with a wine shop and people on a boat
Uses haboku technique
Mirrors the idea of sartori: that enlightenment happens all at once
The idea is that you’ve thought of the image already
For samurai to channel the focus and mindfulness to kill and not be killed
monochrome

74
Q

Zen Buddhism

A

Style: monochrome, splashed ink painting, kare sansur, wabi and sabi aesthetics
Subjects: ink landscape painting, patriarch figures, rock gardens, tea ceremony, raku ware
Context: zen buddhism, muromachi period, shogun and samurai

75
Q

Haboku

A

fast, broken ink technique

76
Q

Ashikaga/ Muromachi era, Ryoan-ji Temple, Kyoto, 15th c. Japan

A

White gravel raked into lines → using mindfulness to create parallel straight, identical lines
Aid to mediation and working mindfully
Wabi sabi aesthetic
Stones surrounded by white gravel = Microcausm of the universe, life cycle, scale
Rocks suggest islands, shores, bridges
Worshop of dieties in nature
Expression of abstract composition
Emphasizes the ideas of Zen buddhism and meditation

77
Q

Kare sansui

A

dried up mountain and water

78
Q

Raku ware

A

the cups used during the tea ceremony; reflects the wabi sabi aesthetic (rough, natural, earthy), engages the senses

79
Q

Wabi-sabi

A

truth to materials; wabi: austerity, simplicity, refined; sabi: subdued taste, subtle yet artfully complex

80
Q

Bichitr, Jahangir Preferring a Sufi Shaykh to Kings, ca. 1615-1618, opaque watercolor on paper, India

A

Jahangir “Seizer of the world” → emperor
His head is in front of a sun and moon which symbolize his emperorship and divine truth
Seated on an elevated stone platform, depicted as the largest of the 5 figures
Halo is a visual manifestation of honor
2: Sufi Shaikh accepts a book from the emperor which makes a statement about the emperor’s spiritual leanings
3: Ottoman Sultan → exhibits respect and humility
4: King James I of England → hand not drawn touching weapon to avoid interpretation of threat to the emperor
5: Bichitr: the artist → self portrait showing humility towards the emperor
Once part of an album
His reputation is strong in formal portraiture and rendering of hands
Jahangir’s gem studded bracelets and rings vs. Shaikh’s bare hands = rich vs. poor, material vs. spiritual
Crouching angels
“O Shah, may the span of our life be a thousand years”
Allegorical portrait
The artist indulges Jahangir’s desire to be seen as a powerful ruler

81
Q

Mughal dynasty, Taj Mahal, 1632-1653, marble and semi-precious stones, Agra, India

A

made by Shah Jahan – 5th ruler of the Mughal dynasty
build in Agra on the banks of the Yamuna river
uses white marble and red sandstone
center of chamber holds emperor and his wife’s coffins and cenotaphs
gardens
Architectural “symbol of love”
Not a funeral monument
Symbolic representation of a divine throne on the day of judgment
Replica of a house of paradise to glorify Mughal rule and the emperor

ARTH (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions