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Art History > Unit 3 - Early European > Flashcards

Unit 3 - Early European Flashcards

1
Q

Catacomb of Priscilla: Identifiers

A

Style: Late Antique Europe
Location: Rome, Italy
Date: 200-400

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2
Q

Catacomb of Priscilla: Form/Function

A
  • excavated tufa and fresco
  • catacombs are passageways beneath Rome that extend for 100 miles and contain tombs of 4 million dead
  • they contain and the tombs of seven popes and many early Christian martyrs
  • priscilla catacomb has some 40,000 burials
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3
Q

Catacomb of Priscilla: Context

A
  • called priscilla because she was the donor of the land for her family’s burial, then opened to christians
  • greek chapel: named for 2 greek inscriptions painted on the right niche. 3 niches for sarcophagi. lower portions done in the first Pompeian style of painting with imitation marble paneling enriching surface
  • upper portions decorated with painting in later Pompeian styles: sketch painterly brushstrokes
  • contains scenes of Old and New testament stories
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4
Q

Orant Fresco

A
  • fresco over tomb niche set over an arched wall; cemetery of a family vault
  • central figure stands with arms outstretched in prayer; perhaps the same woman 3 times
  • prays for salvation in heaven
  • left: painting of a teacher with children, or image of a couple being married with a bishop
  • right: mother and child, Mary with Christ or the Church
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5
Q

Good Shepherd Fresco

A
  • parallels between Old and New testament stories feature prominently in Early Christian art; Christians see this as a fulfillment of the Hebrew scriptures; shows Christian interest in adapting aspects of the Hebrew scriptures in their own context
  • restrained portrait of Christ as a good shepherd, a pastoral motif in ancient art going back to the Greeks
  • peacocks in lunettes symbolize eternal life; quails symbolize earthly life; christ as a bridge between worlds
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6
Q

Santa Sabina: Identifiers

A

Style: Early Christian
Artist: Peter the Illyrian
Location: Rome
Date: 425 CE

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7
Q

Santa Sabina: Form

A
  • 3 aisled basilica culminating in an apse; no transept
  • long, tall, broad nave, axial plan
  • windows not made of glass, but selenite, type of transparent and colorless gypsum
  • flat wooden roof; coffered ceiling; thin walls support a light roo
  • brick, stone, and wooden roof
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8
Q

Santa Sabina: Function

A
  • early Christian parish church
  • as in the Jewish tradition, men and women stood separately; men stood in the main aisle, women in the side aisles with partial view
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9
Q

Santa Sabina: Context

A
  • spolia: tall slender columns taken from the Temple of Juno in Rome, erected on this sti; a statement about the triumph of Christianity over paganism
  • bare exterior, sensitvely decorated interior- represents Christian whose exterior may be gross, but whose interior soul is beautiful
  • built of Peter of Illyria
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10
Q

Hagia Sophia: Identifiers

A

Style: Early Byzantine Structure
Artist: Anthemius of Tralles and Isidorus of Miletus
Location: Constantinople
Date: 535

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11
Q

Hagia Sophia: Form

A
  • exterior plan: plain and massive with little decoration
  • interior: combination of centrally and axially planned church
  • arcade decoration: walls and capitals are flat and thin and richly ornamented
  • capitals diminish classical allusions; surfaces contain deeply cut acanthus leaves
  • cornice unifies space
  • large filed for masic decoration
  • many windows take up wall space
  • dome: first building to have a dome supported by pendentives
  • altar at the end of nave, emphasis placed over area covered by dome
  • large central dome: 40 windows at base act as halo
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12
Q

Hagia Sophia: Function

A
  • originally a christian church “holy wisdom”
  • built on the site of another church that was destroyed during the Nike Revolt in 532
  • converted to a mosque in the fifteenth century: minarets added in the Islamic period
  • converted into a museum in 1935, reconverted back into a mosque in 2020
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13
Q

Hagia Sophia: Context

A
  • marble columns appropriated from Rome, Ephesus and other Greek sites
  • patrons were Emperor Justinian and Empress Theodora, who commissioned the work after the burning of the original building in the Nike Revolt
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14
Q

San Vitale: Identifiers

A

Style: Early Byzantine Architecture
Location: Ravenna, Italy
Date: 525 CE

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15
Q

San Vitale: Form

A
  • 8 sided church
  • plain exterior porch added in Renaissance
  • large windows for illuminating interior designs
  • interior has thin columns and open arched spaces
  • dematerialization of the mass of the structure
  • combination of axial and central plans
  • spolia: bricks taken from ruined Roman buildings reused here
  • martyrium design: circular plan in an octagonal format
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16
Q

San Vitale: Function

A

christian church

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17
Q

San Vitale: Context

A
  • mysterious space symbolically connects with mystic elements of religion
  • baker Julianus Argentarius financed the building of San Vitale
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18
Q

San Vitale Mosaic Justinian Panel: Content

A
  • centered and frontal
  • halo - shows authority and divinity
  • purple robes - color associated with the throne
  • 3 centers of power: church, emperor, military
  • holds a bowl of the eucharist: holding in the direction of Christ above the center windows in the church (not pictured). bread sanctified by the priest at the Christian ceremony commemorating last supper
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19
Q

San Vitale Mosaic Theodora Panel: Content

A
  • off center
  • halo and purple robes
  • theodora was her husband’s most trust advisor: champion of women’s rights, with women of the court, holds chalice for the mass
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20
Q

Vienna Genesis: Identifiers

A

Style: Byzantine Manuscript Painting
Location: Rome
Date: 525 CE

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21
Q

Vienna Genesis: Form

A
  • lively, softly modeled figures
  • classical training of the artists: contrapposto, foreshortening, shadowing, perspective, classical allusions
  • shallow settings
  • fluid movement of decorative figures
  • richly colored and shaded
  • 2 rows linked by a bridge or a pathway
  • text placed above illustrations, which are on the lower half of the page
  • continuous narrative
22
Q

Vienna Genesis: Context

A
  • first surviving illustrations of the stories from Genesis
  • genesis stories are done in continuous narrative with genre details
  • written in Greek
  • partial manuscript
23
Q

Vienna Genesis: Materials and Origin

A
  • manuscript painted on vellum
  • written in silver script, now oxidized and turned black
  • origin uncertain: a scriptorium in Constantinople?
  • perhaps done in a royal workshop; purple parchment is a hallmark of a royal institution
24
Q

Vienna Genesis Jacob Wrestling the Angel

A
  • continuous narrative - telling an entire story in 1 artwork
  • jacob in red tunic: leads his servants, wives, and sons, cross a bridge over a river
  • jacob becomes separated and wrestles a man (angel)
  • jacob tells the man he will not stop until the man blesses him
  • the man renames jacob, Israel, meaning let god prevail
25
Q

Vienna Genesis Rebecca and Eliezer at the Well

A
  • continuous narrative
  • rebecca in red dress eliezer in orange and blue
  • abraham wanted to find a wife for his son Isaac and sent his servant Eliezer to find one
  • eliezer took 10 of Abraham’s camels with him and stopped at a well to give them water
  • eliezer prayed to God that Isaac’s future wife would assist him with watering his camels
  • rebecca arrives on the scene and assists Eliezer, who knows that she is the woman for Isaac
  • story is about god intervening to ensure a sound marriage for Abraham’s son
26
Q

Virgin & Child with Saints Theodore and George: Identifiers

A

Style: Byzantine Icon Painting
Location: Mt. Sinai
Date: 600

27
Q

Virgin & Child with Saints Theodore and George: Function

A

icon placed in a medieval monastery for devotional purposes

28
Q

Virgin & Child with Saints Theodore and George: Content/Form

A
  • Virgin and child centrally placed; firmly modeled
  • Mary as Theotokos, mother of God
  • mary looks beyond viewer as if seeing into the future
  • christ child looks away, perhaps anticipating his crucifixion
  • saint theodore and george flank virgin and child: warrior saint directly stare at viewer
  • angels in bg look toward heaven
  • painted in classical style with brisk brushwork in encaustic, roman tradition
  • turned toward descending hand of god, which comes down to bless the scene
  • because 3 groups are in different styles, it has been assumed that they were painted by 3 different artist
29
Q

Virgin & Child with Saints Theodore and George: Context

A
  • pre-iconoclastic controversy icon, location in the Sinai and encaustic places it near roman egyptian painted portraits
30
Q

Pyxis of al-Mughira: Identifiers

A

Style: Islamic Luxury Items
Location: al-Andalus (islamic spain)
Date: 968

31
Q

Pyxis of al-Mughira: Form

A
  • horror vacui
  • vegetal and geometric motifs
32
Q

Pyxis of al-Mughira: Material

A

intricately carved container made from elephant ivory

33
Q

Pyxis of al-Mughira: Function

A
  • container for expansive aromatics, sometimes also used to hold jewels, gems, or seals
  • gift for the caliph’s younger son
34
Q

Pyxis of al-Mughira: Content

A
  • 4 polylobed medallion scenes showing pleasure activities of the royal court: hunting, falconry, sports, music
35
Q

Pyxis of al-Mughira: Context

A
  • calligraphic inscription in Arabic names the owner, asks for Allah’s blessings, and includes the date of the pyxis
  • from muslim spain
36
Q

Great Mosque of Cordoba

A
  • 785 CE. Stone masonry. Umayyad
  • was built over a church and then re-converted back into a church after Christians reconquered Spain. A cathedral now exists in the center, and minaret was converted into a bell tower
  • mosque is hypostyle (many columns) and lacks a central focus
  • not for congregational worship
  • complex dome over mihrab bears elaborately decorated squinches
  • ceilings originally wooden, were replaced with vaulted ceilings later
  • famous for the orange orchard in the sahn (courtyard
37
Q

Great Mosque of Cordoba: Exterior and interior

A

Exterior: horseshoe arches typical of Visigothic architecture. Kufic calligraphy adorns walls
Interior: hypostyle hall. double arched columns enhance light
horseshoe shaped arches
columns taken from ancient Roman buildings (spolia)

38
Q

Alhambra

A
  • 1354 - 1391 CE. whitewashed adobe stucco, wood, tile, paint, and gilding. Granada, Spain, Nasrid Dynasty
  • alhambra is an abbreviation for something that translated to red fort
  • fortified palatial complex of Nasrid sultans who occupied south spain
  • built atop a hill to overlook city below
  • extremely lavishly outfitted and decorated: contained pools, gardens, fountains, courtyards, 3 seperate palaces
  • fountains act as air conditioning on hot days
  • walls and ceilings decorated
39
Q

Hall of the sisters

A
  • 16 windows with muqarnas (brackets) refracting light coming through
  • use of abstract patterns and forms in decorative motifs
40
Q

Court of Lions

A

*naemd because of fountain in the center of the yard, surrounded by lion statues
* intricate, detailed patterns carved into the walls
* many thin columns to support roof

41
Q

Mosque of Selim II

A
  • Sinan architect. 1570 CE. brick and stone. Turkey
  • inspired by Hagia Sophia: a large dome surrounded by tall minarets and illuminated by large windows
  • centrally planned with dome supported by 8 pillars and squinches
  • part of a complex that provided public services that included library and hospital
  • more open and less segmented than typical mosque allowing for large and open spaces
  • commissioned by Selim II who sought to build a monument that surpassed all else before
42
Q

Merovingian Looped Fibulae

A
  • 550 CE. silver gilt with semiprecious stones and stone garnet inlay
  • fibula: pin used to fasten a garment
  • merovingians, a dynasty of Frankish kings spent lavishly on themselves, and interred their dead with many belongings
  • design: zoomorphic, reflecting Classical tradition
  • cloisonne: enamelwork where areas are separated by thin strips of metal
  • chasing: creating patterns by hammering into surface
43
Q

The Book of Lindisfarne

A
  • 700 CE. illuminated manuscript. ink, pigments, and gold on vellum
  • a work of Hiberno-Saxon art from british aisles
  • animal style
  • illumination and text done by one person
  • text in latin english added between lines 250 years later
  • over 130 calf skins used to make manuscript
  • colophon
44
Q

Cross Page from Book of Matthew

A
  • horror vacui
  • knotted dog-headed snake and long-baked bird motifs
  • symmetrical and balanced
  • intermixing of Christian theology and Celtic imagery
  • black bg contrasts with busy foreground making figures stand out
45
Q

Saint Luke Portrait

A
  • imago vituli image of bull
  • hagios lucas greek words identify St. Luke
  • figures beard a symbol of status and authority
  • figure shown to be writing ( status symbol very rare)
46
Q

St. Luke Incipit Page

A
  • incipit: opening words
  • on right: detail of cat tat has eaten 8 birds
  • celtic spiral ornaments
  • shows an example of letters meanustript heavily illuminated
47
Q

The Church of Sainte-Fou

A
  • 1050-1130. France. Stone
  • located on pilgrimage road to Santiago de Compostela
  • intended to accomodate large numbers
  • interior is heavy, not well illuminated, largely unadorned due to lack of clerestory windows
  • cruciform
  • thick walls to support heavy ceiling
  • separate campanile bell to summon ppl to prayers
48
Q

Last Judgement

A
  • highly decorated tympanum
  • portrays christ as struct judge of souls, determining who gets to enter Heaven and who goes to hell
  • hierarchy of scale
  • flattened figures
49
Q

Reliquary of Sainte-Foy

A
  • vessel for holding a sacred relic
  • contains remains of a girl who refused to partake in pagan ritual and was martyred
  • encrusted in precious metals and gems
  • enlarged heads
50
Q

The Bayeux Tapestry

A
  • 1066-1080 CE. embroidery on linen. Bayeux, France
  • not actually a tapestry, but an embroidery
  • tell story of William the Conqueror’s conquest of England in the Battle of Hastings
    continuous narrative 75 scenes
  • figures falat and adowless on neutral background
  • border depict scenes from everyday life
  • likely designed by a man and executed by women
51
Q

Chartres Cathedral

A
  • 1145 - 1155 AD. limestone and stained glass. Chartres, France
52
Q
A

Art History (9 decks)

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