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
