Content Area 3 Flashcards
Catacomb of Priscilla. Rome, Italy. Late Antique Europe. c. 200-400 CE. Excavated tufa and fresco. - Greek Chapel; Orant fresco; Good shephard fresco
Form:
- excavated tufa and fresco
-figures flat and with less detail (roman painting style)
-passageways underneath city of Rome, 100 miles long
-pendentives with picture
Content:
-shelves for bodies; wealthier people: sarcophagus
-scenes of New and old Testament
-curriculum
-Good Shepherd Fresco
-orants figure: arms stretched out
Function:
-tombs of poor and wealthy for 1000s of people
-poor people has body one on top of the other
Context:
- wealthy woman donated land for her family and other Christians to be buried
-3 stories deep
-Greek and Latin
Santa Sabina. Rome, Italy. Late Antique Europe. c. 422-432 CE. Brick and stone, wooden roof.
Form: -brick, stone, wooden roof -2 levels: upper (windows), lower (arches/columns) -spolia (reuse of architectual pieces from other buildings) Content: -apse: half dome in back that is decorated -narthex: lobby -nave: center aisle -depiction of crucifix on doors -3 aisled basilica -columns from temple of juno in Rome (spolia) Function: -basilica- diverse building -used aisle for law courts -early Christian church Context: - Rome, Italy 422-432 CE -Late Antique Europe
Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early sixth century CE. Illuminated manuscript (tempera, gold, and silver on purple vellum).
Form; -tempera, gold, and silver on purple vellum (animal skin) -illuminated manuscript (pictures with words) -continuous narrative Content: - stories from Genesis -Jacob wrestles an angel at night -Rebecca quenches thirst of camels and camel driver -letters black now bc silver oxidized -Greek writings> Byzantine Function: -tell stories Context: -Early Byzantine Empire 6th century CE
San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526-547 CE. Brick, marble, and stone veneer; mosaic. -inside, outside, justinian panel, theodora panel, plan
Form: -brick,marble, stone, veneer, mosaic -all glass covered in gold leaf -octagonal plan -groin vaulting -not longitudinal Content: -central domed octagon surrounded by radiating wall niches (exedrae)- attention directed at the center -big windows -covered by vaults -mosaic: clergy on right, military on left, Justinian in the middle Function: -holds icons -basilica -reestablish Orthodox Christianity Context: - Ravenna, Italy- Early Byzantine 526-547 CE -Julianus Argentarius financed this building
Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus fo Miletus. 532-537 CE. Brick and ceramic elements with stone and mosaic veneer.
Form: -brick, ceramic elements -mosaic veneer -ionic columns -centralized dome supported by penditives -buttress supports -pendentives: triangular curving vault section -squinches- quarter domes Content: - Byzantine architecture -attention to detail -mystical building -altar at the end of nave (center aisle) -minarets Function: -originally a basilica (church) -converted to mosque- now has minarets Context: -Justinian's reign -changed to mosque by Ottomans 1452
Merivingian looped fibulae. Early mediaval Europe. Mid-sixth century CE. Silver gilt worked in filigree, with inlays of garnets and other stones
Form: -interlacing (zoomorphic) -bowed -filigree 2-4" -silver gilt (thin layer of gold) Content: -animals (fish represents Christ and eagle represents St. John) Function: -clip for holding fabric -clasp that hold fabric to the shoulder Context: -mid 6th century CE -Frankish kingdom -found in tomb of rich woman
Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century CE. Encaustic on wood.
Form: -encaustic (wax base paint) on wood -spacial recession but compressed space Content: -angels looking towards heaven -Mary looking over viewers while the warrior saints look directly at viewer -light falling on Virgin -depicts Mary and Jesus in a different realm than others Function: -portray Mary and Christ protected by saints and hand of God Context: -6th-7th century -Early Byzantine
Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. c. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum)
Form:
-illuminated manuscript
Content:
-cross carpet page: cross forms out of chaos, creates illusion of 3D in which viewer can lose themselves in contemplation
-portrait page (luke): holds quill/looks prepared to write, gold halo (divinity), ox above his head, robe with purple and streaks of red
-incipit page (Luke): it “begins”, animal life, spiral forms, swirling vortexes
Function:
-earliest known translation of the Bible
Context:
-created by monks
Great Mosque. Cordoba, Spain. Umayyad. Begun c. 785-786 CE. Stone masonry.
Form: - hypostyle mosque -spolia (using roman and Christian pieces from old church it used to be -vossoir: wet stone that holds arches up -grid vaulting -culturally diverse Content: -horseshoe arches with vaults above -mihrab- niche is Qibla wall (mostly decorated in geometry and text) -wooden cieling -mosaics everywhere- byzantine artists from Constantinople -Qibla Wall- direction of where Muslims have to pray in order to pray towards Mecca -Kufic calligraphy -856 columns Function: -1st: Roman temple (Janus) -2nd: Chirstian church -3rd- mosque -now: cathedral Context: -Cordoba, Spain- Umayyad 785-786 CE
Pyxis of al-Mughira. Umayyad. c. 968 CE. Ivory.
Form: -ivory -carvings of text and pictures -text used as a decoration Content: -roaring lions -4 8-lobed medallions showing pleasure activities -human and animal figures -geometrical and vegetal motifs Function: -luxury cosmetic holder: text on top/decorated richly -coming of age present from caliph to his younger son Context: -968 CE Umayyad, Muslim Spain
Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050-1130 CE; Reliquary of Saint Foy: ninth century CE., with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary)
Form: - romanesque style -symbolic Latin cross plan -vaulting, groin vaults -spolia -archivolts: bands that go around tympanum Content: - reliquary of Saint Foy -tympanum of Last Judgement (Christ as the judge of the damned and saved) -gallery on top (distributes the weight) -barrel vaulting -tympanum -radiating chapels, nave arcade -3 aisles -dark building Function: - pilgrim church, people come to see -built so that it could handle a lot of people -reliquaries - part of monastery where monks lived Context: - Conques, France 1050-1130 CE (12th century)
Bayeux Tapestry. Romanesque Europe (English or Norman). c. 1066-1080 CE. Embroidery on linen. -cavalry, first meal
Form: -embroidery on linen -Romanesque (English or Norman) -2/3 of a football field in length -continuous narrative Content: -a great epic -2 main scenes -story of William's conquest of England in the battle of Hastings -Haley's Comet Function: -show Norman conquest Context: -Cantebury, NW France -commissioned by Bishop Odo -1066-80 CE (11th century)
Chartres Cathedral. Chartres, France. Gothic Europe. Original construction c. 1145-1155.; reconstructed c. 1194-1220 CE. Limestone, stained glass.
Form: -3 phases of Gothic (Early in facade, High French in back, Late in the North Spire) -painted arches, rib vaults- Gothic elements -colors vivid -knowledge, nature, light -limestone, stained glass Content: -stained glass- triforium -narrow passageway -jamb figures -relic: Mary's dress Function: -Church with great beauty that honors Mary and gives her the respect she deserves -built after they found Mary's Tunic unharmed in the fire Context: -Chartres, France 1145-55 CE reconstructed in 1194 because of a fire Roman> Gothic
Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from Bibles moralisees. Gothic Europe. c. 1225-1245 CE. Illuminated manuscript (ink, tempura, and gold leaf on vellum).
Form: -dedication page -Gothic -gold leaf, tempera, ink on vellum -illuminated manuscript Content: -King Louis IX -Blanche of Castile -passages from Old and New Testament Function: -made for Frnech royals' home (King Louis IV) -create a moral through visionary readings Context: -Paris, France 1225-45 CE (center of learning and bookmaking)
Rottgen Pieta. Late medieval Europe. c. 1300-1325 CE. Painted wood.
Form: -painted wood -Medieval/Gothic and realistic Content: -Mary holding her dead son after Cruxifiction -Mary is pained and anguished Functions: -versperbils (German devotional) -feel the pain she feels -intended to be used in contemplation and prayer -devotional image -shows them closer to the humanity side Context: -Bonn, Germany 1300 -German Gothic
Arena (Scrovegni Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c. 1303 CE.; Fresco: c. 1305. Brick (architecture) and fresco.
Form: -fresco -brick and architechture -painted plaster -grisaille (gray tones) -quatrefoils -tracing -plain outside, transformative inside Content: -Last judgement scene -lancet windows -Scrovegni at bottom offering up chapel to Jesus (artist portrait included) -The Lamentation (Jesus has been crucified and now he is being mourned) -Mary with others grieving -Life of Mary>Passion of Jesus Function: - private family chapel (connected to a house) Context: -Padua, Italy -on grounds of an old arena -artist: Giotto di Bondone 1303 CE -Italian Gothic -Proto-Renaissance
Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover). Late medieval Spain. c. 1320 CE. Illuminated manuscript (pigments and gold leaf on vellum).
Form: -illuminated manuscript -pigments and gold leaf on vellum (animal) Content: -Left: plagues of Egypt -Middle: scenes of liberation (Israelites leave) -Right: Passover Function: -book used by a wealthy Jewish family to tell the story of Passover around the sedar table each year Context: -Late Medieval Spain 1320 CE -similar to Christian Gothic manuscripts
Alhambra. Granada, Spain. Nasrid Dynasty. 1354-1391 CE. Whitewashed adobe stucco, wood, tile, paint, and gilding.
Form:
-whitewashed adobe stucco, wood, tile, paint, and gilding
-complex arches
-elevated on top of a hill (power)
-arabesques (organic/natural designs- flowers/vines) on arches
Content:
-court of lions: courtyard with gardens and water- luxurious
-4 quadrants
-channels of water run throughout
Function:
-complex of palaces
-some markets
-garden provokes sense of paradise/heaven
-palace of Nasrid
Context:
-Granada, Spain- Nasrid Dynasty 1354-1391 CE
Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427-1432 CE. Oil on wood.
Form: -triptych -altar piece (portable) -renaissance -Flemish (oil paint, glowing, vivid color) -hyper reality/hyper clarity -closed during the week, open during mass Content: -scene of the Anunciation -Holy Spirit and Jesus coming through window -couple asking for divine intervention -Joseph on right making mouse traps -Mary laying down on pew -image of Chris coming from the window going to Mary's womb Function: -private devotional place Context: -workshop of Robert Campin (master of flemalle) 1427-32 CE (15th century) -Flemish Renaissance
Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429-1461 CE. Masonry. - outside, inside w. circles
Form: -masonry -articulate, everything white on the inside -dome cieling -simple geometry -pietra serena- soft gray tone -inlaid marble, terracotta tiles -strigil pattern -Franciscan Content: -entablature -arch forms -family crests Function: -show Pazzi family wealth -served as chapter house (meeting room for the Franciscan monks) Context: -Filipo Brunelleshi (architect) -Florence, Italy 1429-61 CE (15th century)- Early Renaissance
The Arnofini Portrait. Jan van Eyck. c. 1434 CE. Oil on wood.
Form: -oil on wood -Renaissance Content: -betrothal (engagement) -dog represents wealth and fidelity -barefeet- something sacred taking place -Patron saint of domesticity (St. Margaret -Vaneyck signature and reflection in mirror -witnesses of the marriage shown in the mirror Function: -shows status, wealth, power Context: -artist: Van Eyck -1434 CE (15th century) -Flanders
David. Donatello. c. 1440-1460 CE. Bronze
Form: -bronze -exaggerated contrapposto -beautiful, ideal, classical, cultured, independent, wealth, power (like Florence) Content: -shepherd's hat with flowers of Florence (small can conquer giants) -biblical figure of Florentine Republic -religious AND political connotation -return to the nude powerful figure in contrapposto -Goliath's head under his foot Function: -made for private viewing -made for Medici Courtyard Context: -Florence 1440-60 CE (15th century) -early renaissance -artist: Donatello
Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 CE. Stone, masonry.
Form: -3 levels (like classical) -round arches Content: -3 levels: each different column style -built around courtyard -levels around divided by entablatures with frieze -Medici and Rucellai symbol in frieze -humanism: domestic architecture Function: -show allegiance to Medici -civic pride -beautiful city -residences and businesses -show their good taste Context: -architect: Leon Battista Alberti -1450 CE Florence, Italy -Giovanni Rucellai commissioned it -Early Italian Renaissance
Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 CE. Tempura on wood.
Form: -tempera on wood -3D figures -sense of space -elegant lines/curves -humanism Content: -all humanized (mischievous look) -Mary's halo slowing going away (divinity fading) -Mary youthful/beautiful -landscape through window (Flemish background) -pearls (symbol of immaculate conception Function: -relate more to viewers by making humanistic images -connect us to Mary and Jesus Context: -artist: Fra Filippo Lippi (monk of Carmelite order) teacher of Botticelli -1465 CE Early Renaissance Italy
Birth of Venus. Sandro Botticelli. c. 1484-1486 CE. Tempura on canvas.
Form: -tempera on cancas -curvy body (flexibility) -neoplatonic love (classical and Christian) -sense of pattern and beauty Content: -Venus standing on seashell -born by the sea fullgrown -couple intertwines; pushing Venus to land -someone on shore ready to receive Venus with cloth -floating figures -Earthly and celestial love Function: -probably wedding gift Context: -artist: Sandro Botticelli 1484-86 CE -Medici commission -Venus is goddess of love -Early Renaisasnce
Last Supper. Leonardo da Vinci. c. 1494-1498 CE. Oil and tempura.
Form:
-linear perspective, spatial illusionism, frieze-like
-triangle in center (Christ @ the point)
-monumental forms
-oil and tempera
Content:
-Jesus and his apostles having a final meals before Jesus is arrested
-the betrayal (Judas)
-the Eucharist (body and blood of Jesus) given to his people
-uses models to paint the people so he can make it more realistic
Function:
-dining hall/refectory for monks eating in silence
Context:
-artist: Leonardo DaVinci
-High Renaissance- Milan 1494-98
Adam and Eve. Albrecht Durer. 1504 CE. Engraving.
Form: -engraving on metal -contrapposto -tiny details (high renaissance) Content: -animals representing temperaments and humors being let into the world -artist signature on sign -Tree of Knowledge and Life -fall of humanity Function: -shows his knowledge of classical act Context: -artist: Albrecht Durer (german) -Latin -1504 CE -High Renaissance (north) -16th-17th century
Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512 CE.; altar frescoes: c. 1536-1541 CE. Fresco.
Form: -frescoes -sculptural element to his paintins -neoplatonic (classical and Judeo-classical) -hellenistic figures Content: cieling: -scenes from the OT (9) -Noah's Ark -men working on ark hoping for salvation -duster seeking sanctuary altar wall: -counter reformation -last judgement, life and death -saved and damned people -sibyls: monumental (hellenistic figures) -portraits of certain artists on lower walls Function: -election of new pope and masses happen in this building -art is made for this building (Sistine Chapel) Context: -artist: Michaelangelo -High Renaissance 1508-12 (ceiling), 1536-41 (altar wall) Vatican City, Italy -under Pope Julius II
School of Athens. Raphael. 1509-1511 CE. Fresco.
Form: -fresco -spatial illusionism -fluid/interlocking -same style as Sistine figures -roundalls -barrel vaults -coffers Content: -branches of knowledge under faith -philosophy and science -Plate: idealism (points up) -Aristole: realism (points down) -Raphael self portrait -Michaelangel on block of marble -poetry, imagination -disputah: faith and reason -heavenly court of prophets and saints -Jesus in full body halo -Stanza della Segnatura: room of signatures -acorns: symbol of family Function: -expresses knowledge and faith Context: -artist: Raphael High Renaissance 1509-11 Vatican Palace under Pope Julius II
Isenheim altarpiece. Matthias Grunewald. c. 1512-1516 CE. Oil on wood. - closed, open
Form: oil on wood, diptych (two panels/wings)
Content:
-predella: base of the altarpiece
-1st panel: shows Jesus suffering on the cross symbolizing the suffering of the patients
-2nd panel: shows Jesus resurrection
-3rd panel: statue of St. Anthony who was patron saint of the hospital
Function:
- made for a hospital to relate their suffering to Jesus’ suffering in order to make them feel better
Context:
- no longer in situ
- Boarder of France and Germany
-Made by Matthias Grunewalkd in 1512-1516 CE
Entombment of Christ. Jacopo da Pontormo. 1525-1528 CE. Oil on wood.
Form: -manneristic: shows great knowledge of Renaissance but distorts it -figures stylized and elongated -primary colors and white -roundalls above of Evangelists -space is nonsensical -1D (no depth) Content: -no symbols of holiness (no cross, etc.) -Mary proportionately larger -everyone mournful -lower Jesus from the cross -chaotic figures/constant movement -self portrait -non balance (lots of different directions) Function: -altar piece -doesn't look Renaissance Context: -artist: Jacob de Pontorina -Florence, Italy 1525-1528 -family chapel
Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 CE. Woodcut and letterpress.
Form:
-woodcut, letterpress
-Protestant
-German text
Content:
-written in people’s voice
-left: being chased by death (shows 10 commandments)
-right-washes over with Holy Spirit (can only be saved by God’s grace
Function:
-propaganda during Reformation
-debates between Catholics and Luthers on how to get to heaven
Context:
-artist: Lucas Cranach the Elder (High Renaissance North 1530 CE)
-German; worked with Martin Luther
Venus of Urbino. Titian. c. 1538 CE. Oil on canvas.
Form: -oil on canvas -rich colors (red) -nude reclining -celebrating female body -paints thin layer of paint to create flow and softness Content: -woman reclining while maids get her clothing -dog=wealth -seduction look= erotic Function: -wedding gift Context: -artist: Titian -Ventian Renaissance 1538 CE
Frontispiece of the Codex Mendoza. Viceroyalty of New Spain. c. 1541-1542 CE. Ink and color on paper.
Form: -codex -city laid out in 4 sections -text -ink and color on paper Content: -Part 1: creation of the City of Tenochtitlan (eagle on cactus describes how city was founded) -Part 2: conquests achieved by Aztec alliances -Part 3: daily life -Templo Mayor -canals dividing cities Function: -made for Spanish viceroy -historical account for the Aztecs Context: -Aztecs 1541-42 CE
Il Gesu, including Truimph of the Name of Jesus ceiling fresco. Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century CE.; facade: 1568-1584 CE; fresco and stucco figures: 1676-1679 CE. Brick, marble, fresco, and stucco.
Form: -building: marble, brick -ceiling: fresco and stucco -Lation cross plan, simple -single aisle -Post Reformation Content: -faith through the senses -Last Judgement (ceiling) spatial illusionism, end of Baroque period -IHS: interpretation of Jesus' name Function: -mother church for the Jesuits of the world Context: -architect: Giacomo da Vignola -facade: Giacomo della Porta -ceiling: Giovanni Battista Gaulli -Jesuits are great defenders of the pope -ceiling made 100 years later (1676) -Rome, Italy
Hunters in the Snow. Pieter Bruegel the Elder. 1565 CE. Oil on wood.
Form: -endless, winter landscape -panoramic view -apart of series of 4 seasons -oil on wood Content: -hunters coming back after an unsuccessful hunt (only one rabbit) -people iceskating and curling (shows daily life) -broken sign above inn -vastness and beauty of world Function: -part of calendar series 0show how they had to get their food 0for dining room of wealth merchant in Antwerp Context: -artist: Peter Bruegel the Elder 1565 High Renaissance North -Antwerp
Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1568-1575 CE. Brick and stone. -outside, inside ceiling, plan
Form: -brick and stone -similar to Hagia Sophia -dome, squinches, piers, apses -richly decorated dome from the inside -centralized, octagonal mosque Content: -slender, tall minarets -centralized with 8 piers -courtyard and prayer hall -madrassa (college for Islamic instruction) -souk: shops in the mosque -Qibla wall faces outwards showing openness Function: -mosque made to replace Hagia Sophia Context: -Edirne, Tukey: Ottoman -made by architect, Sinan, in 1568-1575 CE -part of a complex
Calling of Saint Matthew. Caravaggio. c. 1597-1601 CE. Oil on canvas.
Form: -metaphysical painting -Baroque (Counter Reformation, through your sense) -diagonal light (tenebrism) -realism/illusionism -unusal setting for Jesus Content: -meant to be contemplated -Jesus extended hand (same hand as in Sistine Chapel) -Matthew sitting with fellow tax collectors Function: -body and soul are between a spiritual reality and physical reality -Jesus shown in modern environment -part of 3 part series -use of light -in chapel Context: -artist: Caravaggio; Rome, Italy -1559-1600 -Contarelli Chapel
Henri IV Recieves the Portrait of Marie de’ Medici, from the Marie de’ Medici Cycle. Peter Paul Rubens. 1621-1625 CE. Oil on canvas.
Form:
-oil on canvas
-floating figures
-part of a cycle
-shows an event in her life
-Catholic Baroque
Content:
-Henry IV present the picture of Marie that confirmed his religious identity; married a Catholic queen
-marries her so he can have a son and recreate him in a Catholic way
-Jupiter and Juno gives blessing to them
Function:
-“early harmony”
-part of a tribute to her life
-show that their marriage was official bc portrait
-shows political power, sophistication, and stability
Context:
-Peter Paul Rubens (Flemish painter)
-from Marie de’ Medici cycle displayed in the Louvre
-1621-25 CE Flemish Baroque
Self-Portrait with Saskia. Rembrandt van Rijn. 1636 CE. Etching.
Form: -Dutch Baroque -difference in emphasis on the figures -exists in 3 different states -rich tonal quality -abrupt spatial construction -etching (exposing metal) -genre: private movement between husband and wife -small scale Content: -Rembrandt and wife in historical clothing -wife, Saskia died at the age of 30 (only piece he did of her) -Rembrandt drawing his drawing -exploring who he is Function: -self portrait/marriage portrait -role playing Context: -Rembrandt 1636 -he is mostly a portrait maker -Dutch, Amsterdam -Dutch Baroque
San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 CE. Stone and stucco. -ouside, inside, San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect). 1638-1646 CE. Stone and stucco. -ouside, inside, plan
Form: -pure white inside with complex geometry -stone, stucco -rich orientation -balance convex vs. concave -flowing walls Content: -Trinitarian order in centers of ceiling (triangle=HS) -big columns -4 fountains Function: -dedication to Saint Carlos -represent the trinity -reminder of the Renaissance -Monastic Church (Trinitarian Order) Context: -Rome, Italy -architect: Borromeo 1638-46 CE (17th century) -Italian Baroque
Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 CE. Marble (sculpture); stucco and gilt bronze (chapel).
Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647-1652 CE. Marble (sculpture); stucco and gilt bronze (chapel).
Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). c. 17th century CE. Oil on canvas.
Form: -Spanish Colonial Baroque -idealistic -Latin inscription -oil paint -part of a large history Content: -guns from 80 years war -feathered crown -nobility -elegant clothing -Catholic missionary -Asiel fears God -Church=army -angel=soldiers -aristocratic clothing -Angel with gun Function: -militarist approach to faith -propaganda for war Context: -17th century Peru -artist: Asiel Timor Dei
Las Meninas. Diego Velazquez. c. 1656 CE. Oil on canvas.
Form: -use of mirrors (Baroque) -movement in strokes not as detailed as you think -large painting -gaze Content: -maids of honor and daughter -dog=wealth -self portrait of Velazquez -painting in a painting (Velasquez painting this painting -people looking at viewer Function: -view of palace life -show wealth/status -made for Philip IV (the viewer) -genre painting Context: -1656 CE; Prado, Madrid -artist: Diego Velazquez -Spanish Baroque
Woman Holding a Balance. Johannes Vermeer. c. 1664 CE. Oil on canvas.
Form: -Catholic elements -Scientific lighting -genre scene -small scale, oil on canvas -use of light -vanishing point -color palette Content: -women part of upperclass (fine clothing) -fur coat -balance has nothing in it -weighing valuables -Last Judgement scene above Function: -material wealth -painting for merchants -religious meaning but not painted just for Church -time and change Context: -artist: Johannes Vermeer -1664 Dutch Baroque
The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Marnsart (architects). Begun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens
Form: -east-west axis -rigorous geometry -classical architecture (symmetry, repetitive, and based on Greek temples) -gold -painted ceilings -outside is not as "ornate" -symmetrical -Greek/Roman influence -mirrors (hall of mirrors) Content: -Hall of mirrors (social gatherings) -700 rooms -gardens -sculptures, paintings, fountains tributed to him Function: -King Louis XIV decided to build a new palace -example of nobility -living for King, his close friends, family, servants, and soldiers) -emphasize Louis' importance (everything revolves around him Context: -Versailles, France -Louis Le Vaw and Jules Hardouin-Mansart= architects -began in 1669 CE, French Baroque
Screen with the Siege of Belgrade and hunting scene. Circle of the Gonzalez Family. c. 1697-1701 CE. Tempura and resin on wood, shell inlay.
Form: -Japanese folding screen (Biombo) -Spanish Colonial Baroque -tapestry -tempora/resin on wood -shell inlay (Aztec) Content: -historical event from Europe -one side: battle scene -other side: landscape -Great Turkish War -combines multiple cultures Function: -expresses exonomic power of the Spanish in Colonial Mexico -made Spanish viceroy -room divider (biombo- Japanese folding screen) -relationship between Japan and Latin America Context: -Circle of Gonzalez Family, 1697-1701 CE -Spanish Colonial
The Virgin of Guadalupe (Virgen de Guadalupe). Miguel Gonzalez c. 1698 CE. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th century CE. Oil on canvas on wood, inlaid with mother-of-pearl.
Form: -based upon the original -oil on canvas on wood inlaid with pearls Content: -artist signature -traditional view -story of Juan Diego (Aztec man) -roses with her image -radiating light off Mary -indigenous coming to Roman Catholic Church -dark-skinned people portraits FunctionL -tribute to Mary and show her as divine Context: -1698 CE, Spanish Colonial -Mexico City, Basiclia of Guadalupe -artist: Miguel Gonzalez
Fruit and Insects. Rachel Ruysch. 1711 CE. Oil on wood.
Form: -still life -Baroque -oil on wood -colors, detailed Content: -insects, fruit -wheat and grapes= Jesus? -bringing different compositions together Function: -harvest in autumn -microscopic organisms: used microscope to study these organisms Context: -artist: Rachel Ruysch (Dutch arist; last famous still painter) -Florence, Italy 1711 CE (18th century)
Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodriquez Juarez. c. 1715 CE. Oil on canvas.
Form: -casta painting (displays mother, father, and child) possibly modeled after the Holy Family -text is the title of the piece -enlightenment Content: -woman wearing traditional Indian clothing and white father with their mixed race son (Father wearing French-style European clothing) -servant carrying the son -family appears content -racial purity=whiteness Function: -displays social status (tied up in one's racial makeup)- helped maintain European power and control Context: -artist: Juan Rodriguez Juarez -1715 CE (height of slave trade)
The Tete a Tete, from Marriage a la Mode. William Hogarth. c. 1743 CE. Oil on canvas.
Form:
-looks like French Rococo (uses to make fun of the French
Content:
-critques upper-class for getting married because of bloodlines and family
-shows the couple is married but not faithful to eachother
-man being sniffed by dog because smell of another woman’s perfume
-woman has been out all night trying to become popular
-part of a series (arranged marriages end badly, marriage should be about love)
-sign that sex occurred before husband came back home (flipped over chair)
-merchant gives up on couple because they won’t take finances seriously
Function:
-satire from British to French
-art being made for the growing middle class
Context:
-artist: William Hogarth (social critic)
-1743 CE
