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ARTH 100 > ARTH 100 Key Works > Flashcards

ARTH 100 Key Works Flashcards

1
Q

Venus of Willendorf

A

c. 22000 BCE, Paleolithic
- Small in size, meant to be held and transported with nomadic tribe
- Fertility icon; enlarged female sexual and reproductive characteristics

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2
Q

Bison

A

c. 12,000 BCE, Paleolithic, Cave Painting, Altamira Cave

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3
Q

Stonehenge

A

c. 2550-1600 BCE, Neolithic, Salisbury Plain, England

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4
Q

Standard of Ur

A

c. 2600 BCE, Sumerian

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5
Q

Stele of Naramsin

A

2254-2218 BCE, Akkadian

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6
Q

Ziggurat at Ur

A

c. 2100 BCE, Neo-Sumerian
- base for a religious temple, place of worship
- center of the city
- evidence of a centralized, non-nomadic lifestyle, due to farming

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7
Q

Great Pyramids and Sphinx

A

c. 2575-2450 BCE, Giza, Old Kingdom
- final stage of architectural development, from mestaba to step pyramid to the pyramids
- Sphinx is a portrait of the Pharaoh Khafre
- Pyramids are sealed tombs. Pharaohs are entombed with prized possessions to take with them in the afterlife.
- statuettes served as houses for Ka, egyptian concept of a soul
- Pharaohs were gods on earth, pyramids held religious significance. Pharaohs were both divine and political leaders.

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8
Q

Khafre Enthroned

A

c. 2520-2494 BCE, Old Kingdom
- symbols as a pharaoh, horus, pleated skirt, false beard.
- stiff posture, clenched fist in a position denoting authority
- depicted as youthful and fit, although it is a funerary statue, idealized
- diorite, expensive, strong material
- large, five foot, 6 inches tall

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9
Q

Menkaure and his Wife

A

c. 2490-2472 BCE, Old Kingdom
- idealized, nearly indistinguishable from Khafre/other pharaohs
- positioned in front of his wife, showing that she may support him but he is the leader
- pharaoh symbolism

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10
Q

Seated Scribe

A

c. 2500 BCE, Old Kingdom
- idealized for his position as a scribe, stomach paunch shows he is well fed, etc., depicted working as a scribe
- painted limestone
- 1 foot, 9 inches high

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11
Q

Temple of Amen-Re

A

15th Century BCE, Karnak, Egypt, New Kingdom

  • hypostyle hall -beneath columns, space made for the living, contrary to pyramids
  • axial plan - symmetrical plan grounded on a dominant line, creates a strong processional direction
  • sunken reliefs carved into stone
  • clerestory - allows light/fresh air without sacrificing protection from rain and other elements
  • papyrus capitals
  • temple constructed using high precision ashlar masonry
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12
Q

Akhenaton

A

c. 1353-1335 BCE, Armarna Period
- sandstone, from temple of Aton
- 13 foot high
- emphasizes departure from traditional egyptian art
- elongated, curvy figures
- traditional pharaoh symbols, lacking Horus. Akhenaton’s reign marked a time of monotheism, worshipping only Aton the sun god.
- large lips nose and eyes

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13
Q

Great Stupa

A

Third Century BCE to First Century CE, Sanchi, India

  • Houses ashes of the buddha
  • sealed, not designed for entry
  • allows circumambulation; moving around a sacred object, to help meditate, etc
  • buddha is represented by the image of the stupa and other symbols in the reliefs on the portal, as buddhism was aniconic
  • relation to indian beliefs, symbolized by yakshi, a female fertility figure
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14
Q

Meditating Buddha

A

Second Century CE, Gandhara, Pakistan

  • departure from aniconism
  • ushnisha; bump on head of the buddha symbolizing enlightenment
  • urna- dot on forehead
  • elongated ears show the departure from a life of wealth and influence
  • mudras;hand gestures. positioned with the meditation mudra
  • halo emphasizes divinity and enlightenment
  • stylized robes similar to greek wet drapery style
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15
Q

Shaka Triad

A

Tori Busshi, Kondo, Horyuji, Nara Prefecture, Japan, Asuka Period, 623

  • depicted with east asian features
  • two bodhisattva
  • halos
  • extremely stylized robes, almost appears as a cloud
  • two mudras, protection and a form of granting wishes/blessings
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16
Q

Bull-leaping

A

from the palace at Knossos (Crete), Greece, Minoan, ca. 1450–1400 BCE

  • Ancient Aegean art
  • thin elongated figures
  • no clear spatial distinctions, no floor
  • motion emphasized through elongations of bodies, the bull and the man bull-leaping
  • male depicted through red color
  • fresco
17
Q

Peplos Kore

A

from the Acropolis, Athens, Greece, ca. 530 BCE

  • archaic period
  • female funerary statue, equivalent of the kouros male funerary statue
  • clothes, while the male statues were nude
  • stiff posture, reminiscent of Egyptian art
  • ‘archaic smile’ used to make the statue more life like
  • although clothed, breasts shown through clothing to distinguish as female
  • 4’ high, marble statue
18
Q

Aphrodite of Knidos

A

Praxiteles, Aphrodite of Knidos. ca. 350–340 BCE, Classical

  • bold step to render a goddess in the nude
  • sensuous and humanizing qualities, different from cold aloof gods of high classical period
  • hand position conveys modesty while drawing attention to genitalia
  • contraposto used to give liveliness
  • base is functional and artistic, she is holding her clothes over some pottery and pedestal
  • 6’ 8’’ high, marble copy (original bronze?)
19
Q

Battle of Issus (or Battle of Alexander & the Persians mosaic)

A

. Philoxenos of Eretia, Roman
copy, c. 100 BCE of Greek painting of c. 310 BCE, Classical
-humanistic influence, each soldier has an individual identity.
-use of foreshortening - an object is depicted on an angle such that it appears to be projecting or receding into space
-use of shadows to further define the space

20
Q

Old Market Woman

A

Roman copy (?) of a marble statue ca. 150-100 BCE, Hellenistic

  • stems from desire to emphathize more with images of common people
  • almost an idealization of a woman one would see at any market at the time
  • realistic proportions and facial expression
21
Q

The Parthenon

A

Kallikrates and Iktinos,Acropolis. 447–432 BCE. Classical Period
-heavily based in mathematical proportions
-“optical refinements” designed to appear perfect
-used ashlar masonry
entasis-slight adjustments
-x=2y+1, 4:9 ratio
-peristyle porch, formed by columns surrounding building perimeter
-cella; inner chamber of the temple

22
Q

Roman Patrician Carrying Busts of His Ancestors

A

1st century BCE, Roman Republic
-ideal as a politician, age associated with wisdom
-

23
Q

Augustus of Primaporta

A

marble statue, c. 20 BCE, Early Empire

  • idealized as a soldier, probably in his 60’s when the statue was created
  • cupid symbolic of relation to venus
  • depicted as a strong military leader
24
Q

Mosaic of Emperor Justinian and His Attendants

A

S. Vitale, 547 CE, Ravenna, Italy

  • mosaic
  • 12 attendants, like christ
  • clergy, governmental and military attendants
  • lack of personalization, large eyes
  • long, covered bodies lacking sense of movement, living
  • not spatially oriented, no clear foreground or background
  • change in style may reflect change from physical to spiritual concerns
25
Q

Dome of the Rock

A

Jerusalem, 687-692 CE

  • shrine to protect the rock where mohammad rose…
  • ambulatories
  • tiles added during ottoman control
  • use of motifs as decoration, due to islamic aniconism. geometric patterns, vegetation, calligraphy used
26
Q

Saint-Sernin

A

Toulouse, France, ca. 1070–1120.

  • similar to floor plan of st peter’s basilica
  • radiating chapels, rooms around the apse designed to hold relics for pilgrims to see
  • floor pan in the shape of a cross
  • used groin vaults to build higher
27
Q

Abbey Church of Saint-Denis

A

France, 1140-44
“light coming through the window becomes the divine light, a revelation of the spirt of god”
-stained glass windows and immensity meant to be awe inspiring
-circular stained glass windows referred as rose windown
-depicted images of the literature and life of christ, time where illiteracy was high
-radiating chapels replaced with apsidal chapels, allows for more windows
-flying buttresses
-pointed arches
-ribbed vaults

ARTH 100 (2 decks)

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