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ARTH111 Flashcards

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1
Q
A

Palatine Chapel of Charlemagne

Aachen, Germany

792–805 AD

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1
Q

Fresco

A

Painting on lime plaster, either dry (dry fresco, or fresco secco) or wet (true, or buon, fresco). In the latter method, the pigments are mixed withwater and become chemically bound to the freshly laid lime plaster. Also, a painting executed in either method.

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2
Q

Koran

A

Islam’s sacred book, composed of surahs (chapters) divided into verses.

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2
Q

Minaret

A

A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.

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2
Q
A

Michelangelo, David

Florence

ca. 1501-1504.

Marble. (fig. 22.13)

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2
Q
A

Titian, Venus of Urbino

1536-1538.

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3
Q
A

Friday Mosque

Cordoba, Spain

11th - 17th centuries

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4
Q
A

Portrait of Augustus as a general (the “Primaporta Augustus”)

Primaporta, Italy (near Rome)

ca. 10 AD

Marble

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4
Q
A

Purse Cover from the Sutton Hoo Ship Burial

Suffolk, England

ca. 625 AD

Gold, Glass, and Cloisonné garnets

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5
Q

Pendentive

A

A concave, triangular section of a hemisphere, four of which provide the transition from a square area to the circular base of a covering dome. Although pendentives appear to be hanging (pendant) from the dome, they in fact support it.

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5
Q
A

Notre Dame de la Belle Verriere - stained-glass window in Chartes Cathedral

1170 and 13th c.

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5
Q
A

Bronzino, Venus, Cupid, Folly, and Time

ca. 1546.

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6
Q
A

Great Mosque

Isfahan, Iran

8th - 10th centuries

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7
Q

colore

vs.

disegno

A

colore: Italian, “colored” or “painted.” A term used to describe the application of paint. Characteristic of the work of 16th-century Venetian artists who emphasized the application of paint as an important element of the creative process. Central Italian artists, in contrast, largely emphasized disegno—the careful design preparation based on preliminary drawing.

**disegno: **Italian, “drawing” and “design.” Renaissance artists considered drawing to be the external physical manifestation (disegno esterno) of an internal intellectual idea of design (disegno interno).

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8
Q
A

Leonardo da Vinci, Mona Lisa (a.k.a. la gioconda)

ca. 1503-05.

Oil on Wood. (fig. 22.5)

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8
Q
A

Paolo Veronese, Christ in the House of Levi

from the refectory of Santi Giovanni e Paolo, Venice, Italy,

1573

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9
Q
A

Female personification (probably the Earth-goddess Tellus)relief-sculpture from the Ara Pacis

Rome

13-9 BC

Marble

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10
Q
A

Saint-Sernin

Toulouse, France

1070-1120 AD

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10
Q
A

Sainte-Chapelle

Paris, France

1243-1248 AD

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11
Q
A

Mosque of Selim II

Edirne, Turkey

1568-1575 AD

Sinan (Architect)

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12
Q
A

The Parthenon (temple of Athena Parthenos)

Athens, Greece.

447-438 BC.

Marble.

Architects: Iktinos and Kallikrates

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13
Q

Counter-Reformation

A

Although in the 16th century the Roman Catholic Church launched the Counter-Reformation in response to—and as a challenge to—the Protestant Reformation, the considerable appeal of Protestantism continued to preoccupy the popes throughout the 17th century. The Treaty of Westphalia (see Chapter 25) in 1648 had formally recognized the principle of religious freedom, serving to validate Protestantism (predominantly in the German states). With the Catholic Church as the leading art patron in 17th-century Italy, the aim of much of Italian Baroque art was to restore Roman Catholicism’s predominance and centrality. The Council of Trent, one 16th-century Counter-Reformation initiative, firmly resisted Protestant objections to using images in religious worship, insisting on their necessity for teaching the laity (see “Religious Art in Counter-Reformation Italy,”Chapter 22). Baroque art in Italy was therefore often overtly didactic.

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13
Q
A

Michelangelo Buonarroti, Last Judgment - altar wall of the Sistine Chapel

Vatican City, Rome, Italy,

1536-1541

Fresco (Fig. 22-19)

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14
Q

maniera

A

maniera: Italian, “style” or “manner” (See Mannerism.)

Mannerism: A style of later Renaissance art that emphasized “artifice,” oft en involving contrived imagery not derived directly from nature. Such artworks showed a self-conscious stylization involving complexity, caprice, fantasy, and polish. Mannerist architecture tended to flout the classical rules of order, stability, and symmetry, sometimes to the point of parody.

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15
Q

**Lost-wax casting **

A

A bronzecasting method in which a figure is modeled in wax and covered withclay; the whole is fired, melting away the wax (French, cire perdue) and hardening the clay, which then becomes a mold for molten metal.

(also called cire perdue)

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16
Q

Mihrab

A

A semicircular niche set into the qibla wall of a mosque.

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17
Q
A

The “Peplos Kore”

Athens

ca. 530 BC

Marble

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17
Q
A

Chartres Cathedral

Chartes, France

1134 and 1194 and after

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18
Q
A

Parmigianino, Madonna with the Long Neck

Baiardi chapel, Santa Maria dei Servi, Parma, Italy

1534-1540.

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19
Q
A

Muqarnas dome - Alhambra

Granada, Spain

1354-1391 AD

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21
Q

Flying Buttress

A

An exterior masonry structure that opposes the lateral thrust of an arch or a vault. A pier buttress is a solid mass of masonry. A flying buttress consists typically of an inclined member carried on an arch or a series of arches and a solid buttress to which it transmits lateral thrust.

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23
Q
A

Decursio relief, relief-sculpture from the pedestal of the Column of Antoninus Pius

Rome

ca. 161 AD

Marble

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25
Q

Icon

A

A portrait or image; especially in Byzantine churches, a panel with a painting of sacred personages that are objects of veneration. In the visual arts, a painting, a piece of sculpture, or even a building regarded as an object of veneration.

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27
Q
A

Equestrian Portrait of Charlemagne or Charles the Bald

Metz, France

Ninth Century

Bronze, Originally Gilt

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28
Q

linear perspective (vanishing point)

atmospheric perspective

A

A method of presenting an illusion of the three-dimensional world on a two dimensional surface.

In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the far ther from the viewer they are intended to seem.

Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases.

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29
Q

Rib Vault

A

A vault in which the diagonal and transverse ribs compose a structural skeleton that partially supports the masonry web between them.

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31
Q
A

Justinian, Bishop Maximianus, and Attendants

Mosaic on the North Wall of the Apse, San Vitale

Ravenna, Italy

ca. 547

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32
Q
A

Michelangelo, Sistine Chapel ceiling

The Vatican, Rome

ca. 1508-12.

Fresco. (figs. 22.17-18)

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34
Q

Groin vault

A

A groin (or cross) vault (FIG. 7-6b) is formed by the intersection at right angles of two barrel vaults of equal size. Besides appearing lighter than the barrel vault, the groin vault needs less buttressing. Whereas the barrel vault’s thrust is continuous along the entire length of the supporting wall, the groin vault’s thrust is concentrated along the groins, the lines at the juncture of the two barrel vaults. Buttressing is needed only at the points where the groins meet the vault’s vertical supports, usually piers . The system leaves the area between the piers open, permitting light to enter. Builders can construct groin vaults as well as barrel vaults, using stone blocks, but stone groin vaults have the same structural limitations when compared with concrete vaults.

35
Q
A

Second Style wall-painting from the Villa of P. Fannius Synistor

Boscoreale, Italy

ca. 50-40 BC

Fresco

35
Q

Relief (relief-sculpture)

A

In sculpture, figures projecting from a background of which they are part. The degree of relief is designated high, low (bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself. See also repoussé.

35
Q
A

Raphael, Philosophy (School of Athens)

Vatican Palace, Rome

1509-1511.

Fresco. (fig. 22.9)

35
Q
A

Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother

ca. 1555.

36
Q
A

Ewer in the form of a bird

796 AD

Sulayman (artist)

37
Q

Illuminated manuscript

A

A luxurious handmade book with painted illustrations and decorations.

38
Q
A

Hagia Sophia, Interior looking southwest

ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS

Constantinople (Istanbul), Turkey

532–537 AD

39
Q
A

The Pantheon

Rome

118-125 AD

Concrete and marble

40
Q
A

Giotto di Bondone, Lamentation

Arena Chapel, Padua

1305

Fresco. (Fig. 14.8)

41
Q
A

Third Style wall-painting from the Villa of Agrippa Postumus

Boscotrecase, Italy

ca. 10 BC

Fresco

42
Q
A

Donatello, David

Florence, Italy

1440-1460

Bronze. (fig. 21.12)

43
Q
A

Chartes Cathedral - Royal Portal (west facade)

1145-1155 AD

43
Q
A

Masaccio, The Tribute Money

Brancacci Chapel, Florence,

ca. 1424-27

Fresco. (fig. 21.19)

45
Q

Reliquary

A

A container for holding relics

47
Q

Naturalism (naturalistic art)

A

The style of painted or sculptured representation based on close observation of the natural world that was at the core of the classical tradition.

48
Q

Reformation

A

Protestant split from the Catholic Church led by Martin Luther (1517?)

The Protestant Reformation, which came to fruition in the early 16th century, had its roots in long-term, growing dissatisfaction with Catholic Church leadership. The deteriorating relationship between the faithful and the Church of Rome’s hierarchy stood as an obstacle for the millions who sought a meaningful religious experience. Particularly damaging was the perception that the Roman popes concerned themselves more with temporal power and material wealth than with the salvation of Church members. The fact that many 15th-century popes and cardinals came from wealthy families, such as the Medici (FIG. 22-10), intensified this perception. It was not only those at the highest levels who seemed to ignore their spiritual duties. Archbishops, bishops, and abbots began to accumulate numerous offices, thereby increasing their revenues but making it more difficult for them to fulfill all of their responsibilities. By 1517, dissatisfaction with the Church had grown so widespread that Luther felt free to challenge papal authority openly by posting in Wittenberg his Ninety-five Theses, in which he enumerated his objections to Church practices, especially the sale of indulgences.indulgences were Church-sanctioned remittances (or reductions) of time Catholics had to spend in Purgatory for confessed sins. The increasing frequency of their sale suggested that those who could afford to purchase indulgences were buying their way into Heaven.

Luther’s goal was significant reform and clarification of major spiritual issues, but his ideas ultimately led to the splitting of Christendom. According to Luther, the Catholic Church’s extensive ecclesiastical structure needed casting out, for it had no basis in scripture. The Bible and nothing else could serve as the foundation for Christianity. Luther declared the pope the Antichrist (for which the pope excommunicated him), called the Church the “whore of Babylon,” and denounced ordained priests. He also rejected most of Catholicism’s sacraments other than baptism and communion, decrying them as obstacles to salvation (see “Catholic and Protestant Views of Salvation,”, and FIG. 23-8). Luther maintained that for Christianity to be restored to its original purity, the Church needed cleansing of all the doctrinal impurities that had collected through the ages. Luther advocated the Bible as the source of all religious truth. The Bible—the sole scriptural authority—was the word of God, which did not exist in the Church’s councils, law, and rituals. Luther facilitated the lay public’s access to biblical truths by producing the first translation of the Bible in a vernacular language.

49
Q

Fresco

A

Painting on lime plaster, either dry (dry fresco, or fresco secco) or wet (true, or buon, fresco). In the latter method, the pigments are mixed withwater and become chemically bound to the freshly laid lime plaster. Also, a painting executed in either method.

51
Q

Intercession

A

To act as intermediary between the faithful and god.

51
Q

Mosque

A

The Islamic building for collective worship. From the Arabic word masjid, meaning a “place for bowing down.”

52
Q

pastoral

A

Describing Venetian art as “poetic” is particularly appropriate, given the development of poesia, or painting meant to operate in a manner similar to poetry.

53
Q
A

Lorenzo Ghiberti, Sacrifice of Isaac

competition panel for doors of baptistery in Florence, Italy

1401

Gilded bronze. (fig. 21.3)

54
Q
A

Exekias - Achilles and Ajax playing dice

Athenian black-figure amphora

ca. 540 BC

Painted terracotta

55
Q
A

The “New York Kouros”

Athens, Greece

ca. 600 BC.

Marble

56
Q
A

Fontana, Portrait of a Noblewoman

ca. 1580 (Fig. 22-40A)

58
Q
A

Virgin (Theotokos) and Child between Saints Theodore and George

Monastery of Saint Catherine, Mount Sinai, Egypt

ca. 600 AD

Icon, Encaustic on Wood

59
Q
A

Michelangelo Buonarroti, Pieta

ca. 1547-1555

Marble.

61
Q

Barrel vault

A

Also called the tunnel vault , the barrel vault (FIG. 7-6a) is an extension of a simple arch, creating a semi-cylindrical ceiling over parallel walls. Pre-Roman builders constructed barrel vaults using traditional ashlar masonry (FIG. 2-24), but those earlier vaults were less stable than concrete barrel vaults. If even a single block of a cut-stone vault comes loose, the whole vault may collapse. Also, masonry barrel vaults can be illuminated only by light entering at either end of the tunnel. Using concrete, Roman builders could place windows at any point in a barrel vault, because once the concrete hardened, it formed a seamless sheet of “artificial stone” in which the openings did not lessen the vault’s structural integrity. Whether made of stone or concrete, barrel vaults require buttressing (lateral support) of the walls below the vaults to counteract their downward and outward thrust .

62
Q
A

God as Architect, Moralized Bible

Paris, France

1220-1230 AD

Gold leaf and tempera on vellum

63
Q

canon

A

A rule, for example, of proportion. The ancient Greeks considered beauty to be a matter of “correct” proportion and sought a canon of proportion, for the human figure and for buildings. The fifth-century BC sculptor Polykleitos wrote the Canon, a treatise incorporating his formula for the perfectly proportioned statue.

65
Q
A

Cross-inscribed Carpet Page
Folio 26 Verso of the Lindisfarne Gospels

Northumbria, England

ca. 698–721 AD

Tempera on Vellum

66
Q
A

Hagia Sophia, Interior looking southwest

ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS

Constantinople (Istanbul), Turkey

532–537 AD

67
Q
A

Riace Warrior A

statue from a shipwreck off the coast of Riace, Italy (Probably made in Athens)

ca. 450 BC

Bronze

68
Q

Apse

A

A recess, usually semicircular, in the wall of a building, commonly found at the east end of a church.

69
Q
A

Euthymides - Three Revelers

Athenian red-figure amphora

ca. 510 BC

Painted terracotta

70
Q
A

Titian, Madonna of the Pesaro Family

Pesaro Chapel, Santa Maria Gloriosa dei Frari, Venice

1519-1526,

72
Q

Heavenly Jerusalem

A

For the clergy and the lay public alike, the great cathedrals towering over their towns were not distortions of the classical style but opus modernum (“modern work”), glorious images of the City of God, the Heavenly Jerusalem, which they were privileged to build on earth.

73
Q
A

Pinnacle (1) A sharply pointed ornament capping the piers or flying buttresses; also used on cathedral facades.

Flying buttresses (2) Masonry struts that transfer the thrust of the nave vaults across the roofs of the side aisles and ambulatory to a tall pier rising above the church’s exterior wall.

vaulting web (3) The masonry blocks filling the area between the ribs of a groin vault.

Diagonal rib (4) In plan, one of the ribs forming the X of a groin vault. In FIG. 13-4, the diagonal ribs are the lines AC and DB.

transverse rib (5) A rib crossing the nave or aisle at a 90-degree angle (lines AB and DC in FIG. 13-4).

Springing (6) The lowest stone of an arch; in Gothic vaulting, the lowest stone of a diagonal or transverse rib.

Clerestory (7) The windows below the vaults in the nave elevation’s uppermost level. By using flying buttresses and rib vaults on pointed arches, Gothic architects could build huge clerestory windows and fill them with stained glassheld in place by ornamental stonework called tracery.

Oculus (8) A small, round window.

Lancet (9) A tall, narrow window crowned by a pointed arch.

Triforium (10) The story in the nave elevation consisting of arcades, usually blind arcades but occasionally filled with stained glass.

Nave arcade (11) The series of arches supported by piers separating the nave from the side aisles.

Compound pier (cluster pier) with shafts (responds) (12) A pier with a group, or cluster, of attached shafts, or responds, extending to the springing of the vaults.

75
Q
A

Head reliquary of Saint Alexander from Stavelot Abbey

Belgium

1145

77
Q

Qibla

A

The direction (toward Mecca) Muslims face when praying.

78
Q
A

Portraits of the four Tetrarchs

Constantinople (now Istanbul, Turkey)

ca. 305 AD

Porphyry marble

79
Q
A

Leonardo da Vinci, Last Supper

Santa Maria delle Grazie, Milan

ca. 1495-98.

Oil and tempera on Plaster. (fig. 22.4)

80
Q
A

Koran page

9th - 10th century

81
Q
A

Barberini Ivory showing Justinian as World Conqueror

ca. 550 AD

83
Q

Linear perspective

A

In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located withreference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the far ther from the viewer they are intended to seem.

84
Q
A

Saint-Denis - ambulatory and radiating chapels.

1140-1145 AD

Abbot Suger (architect)

85
Q
A

Colossal Head of Constantine

from the Basilica Nova, Rome, Italy

ca. 315–330 AD

Marble

86
Q

Concrete

A

A building material invented by the Romans and consisting of various proportions of lime mortar, volcanic sand, water, and small stones

87
Q
A

Dome of the Rock

Jerusalem

687-692 AD

88
Q

Minbar

A

In a mosque, the pulpit on which the imam stands.

89
Q

Foreshortening

A

The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight.

90
Q

sacra conversazione

A

Italian, “holy conversation.” A style of altarpiece painting popular aft er the middle of the 15thcentury, in which saints from diff erent epochs are joined in a unified space and seem to be conversing either withone another or withthe audience.

91
Q
A

Three King’s Shrine reliquary by Nicholas of Verdun

Cologne Cathedral

92
Q
A

Temple of Portunus

Rome

ca. 75 BC

Travertine, tufa, concrete.

93
Q
A

Bihzad, Seduction of Yusuf

folio from the Bustan of Sultan Husayn Mayqara

Herat, Afghanistan

1488

94
Q
A

Three Details of the Panathenaic Festival Procession Frieze, from the Parthenon, Acropolis, Athens, Greece, ca. 447-438 BCE. Marble, 3′ 6″ High.

Top: Horsemen (North Frieze), British Museum, London.

Center: Poseidon, Apollo, Artemis, Aphrodite, and Eros (East Frieze), Acropolis Museum, Athens.

Bottom: Elders and Maidens (East Frieze), Musee Du Louvre, Paris

95
Q

Contrapposto

A

The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other.

96
Q

Basilica

A

In Roman architecture, a public building for legal and other civic proceedings, rectangular in plan withan entrance usually on a long side.

In Christian architecture, a church somewhat resembling the Roman basilica, usually entered from one end and withan apse at the other.

97
Q

chiaroscuro

A

In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling.

Art History (2 decks)

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