Exam 1 Flashcards
Hall of Bulls, Lascaux Cave, France, c. 18,000-10,000 BC
- prehistoric/paleolithic
- made with different pigment (made of stone/plant and mixed with fat)
- difficult to access, meaning unclear
- only one human figure (though humans appear on other works of this time)
- sympathetic magic/depiction of hunt
- images overlap, sometimes part of the cave is used to emphasize/complete image
Bull and Animals, Lascaux Cave, 18,000-10,000 BC // Horse, Lascaux Cave, 18,000-10,000 BC
- pictograph/gram = resembles object depicted
- sense of volume and 3D thanks to blowing pigment through hollow bone
- ideograph/gram = represents an idea/concept
Horses and Hands, Pech-Merle Cave, France, 23,000-18,000 BC
- handprints sign of human existence, perhaps a signature
Hieroglyphics on relief from tomb of Rehotep, Egypt, c. 2600 BC // Book of the Dead, Egypt, 1310 BC, detail of papyrus scroll
- pictographs -> ideographs (image represents idea or concept -> logographs (letter, symbol, sign used to represent word/phrase)
- Book of the Dead included mythology, humns, religious writings
- up to 8k hieroglyphic forms used could be read L -> R, R -> L, and up and down
- scribe/priest hired to provide sumbols and writings for tombs
Hammurabi’s Code, Babylon, 1780
- written in cuneiform, stele
- leader who devised and desired to communicate to the upperclass what the laws were (reading limited, visual communication limited)
- Hammurabi on left recieving laws from the sun god
Trajan’s Column, Rome, 114
- continuous narrative, heroics of emperor Trajan (Trajan letter replaced with St. Peter as Trajan was not a religious figure, seen as sacrilege)
- majuscules: ‘uppercase,’ serifs; serifs cause by writing instruments or merely stylistic/decorative?
Licinia Amis Tombstone, c. 280, Early Chrisitan era tombstone
- use of fish (acrostic meaning Jesus Christ) associated with Chrisitianity and adopted to be kept secret as the fish wash widely used
- overlap between Christianity and Paganism (Greek vs Latin)
- dedicated to the dead, funery reference at the top
Sacrifice and Death of Lacoon, Vatican Virgil, c. 410, Late Antique/Roman era codex page
- Virgil: Roman poet, highly regarded
- variation of formal and rustic lines with square quality and fluidity
- painted on parchment
- priest who warned Trojans about accepting the horse the Greeks were offering
- left: stage 1; right: stage 2
- interfered with war, god punished him
- roman architecture referenced
Guda the Scribe, Self-portrait in a Book of Homilies, Germany, c. 1110
- parchment, colophon, Romanesque period
- holding scroll (like a thought/speech bubble), says: “a sinful woman copied and pasted this book”
- colophon: info about typograhy or who did it, production info
Eadrith the Scribe, Cross-carpet and incipit pages from St. John’s Gospel, Lindisfarne Gospel, c. 710-721
- Hiberno-Saxon/Celtic/Insular
- vellum, glossed, interlaced, lacertine
- carpet page: decorative, abstract, chaotic, symmetry vs. order, God brings order to chaos
- elements have been added over time
Eadrith the Scribe, Chir Rho page in St. Matthew’s Gospel, Lindisfarne Gosepels, c. 710-721
- Hiberno-Saxon/Insular/Celtic
- vellum, glossed, interlace, lacertine
- Chir Rho = Christ in Greek
- rabbits (symbols of fertility) hidden within
- small dots called ‘spotting’
- lacertine: images created by using animal forms
Eadwine the Scribe, Self-Portrait, Eadwine Psalter, England, c. 1160
- Romanesque period, vellum, colophon
- scribe writing Eadwine Psalter
- not modest, seated on throne-like chair
- tools used to hold down the page
Eadwine the Scribe, Scenes of the Christmas Story, English psalter, c. 1140
- Romanesque, vellum
- use of grid natural (Egyptian), links scenes
- innovative, similar to comics
Anonymous, page from Ormesby Psalter, c.1300-25
- historiated initial, Gothic period
- textura/blackletter/Gothic/Old English
- meant to be read in terms of text as well as image
- very condensed and vertical
- often seen in newspaper headlines, represents tradtion and historic past
- colored bars = change in sentence
Anonymous, final page from Moralized Bible depicting Blanche of Castille and King Louis IX, and a monk dictating to a scribe, France, c. 1230
- vellum, Gothic period
- guild with gold leaf
- moral lessons from the bible
- commissioned by the Queen for her son
Anonymous, Yolande de Soissons in prayer, page from Psalter and Book of Hours of Yolande de Soissons, France, c.1290
- Gothic period, vellum
- virgin mary; cult figure. identified with book of hours, important
- patron seen bowing before image of Mary and baby Jesus
- beginning of humanization with cat
- prayer book
Anonymous, Buxheim St., Christopher, Germany, 1423
- block print, hand colored
- presumably meant to be known for communication purposes
- end of illuminated manuscripts
- opens market and audience
- first securly dated work
- souvenir of pilgrimmage
Anonymous, Ars Moriendi pages, Germany, 1466
- block book, approx 83 survived
- art of God, how-to book
- dying a good death
- dying person surrounded by demons (temptation)
- “provide for your friends, attend to your treasures” = leave will, give money to the church
Anonymous, Biblia Pauperum (Bible of the Poor) page, Netherlands, c. 1470
- block book, approx 40 pages
- not actually a bible, not for poor (couldn’t read Latin, couldn’t afford)
- biblical scenes from old and new testament, hand colored
- architectural altar piece feel, similar to “Norfolk Triptych”
Johann Gutenberg, Certificate of Indulgence, Germany, c. 1454
- moveable type; one of the first things printed
- indulgence to raise money for crusades
- paper from Italy; ink developed for clarity and consistency of letterforms
- space or name and date
Johann Gutenberg, 42-Line Bible pages, Germany, c. 1455
- first two pages actually forty lines, 180 published, 48 survived, 21 complete
- no titles or page numbers, purchaser chould have special title page made
- no cover, either, provided by purchaser
Peter Schoeffer (and Johann Fust), Mainz Psalter page, Germany, 1457
- incunabula
- devised way to print red and black ink with moveable type
- printer’s mark is one of the first, becomes important in bookmaking colophons
William Caxton, Pyes of Salibury handbill, English, 1477
- ad for his books (pyes = almanac)
- first typographic ad in England
- latin phrase at bottom says not to remove ad (the rest is in an older form of English)
Simon Master, “Tree of Jesse,” Capuchin’s Bible, France, c.1190 // Erhard Ratdolt, page from Euclid, Venice, 1482
- Tree of Jesse is Romanesque, illustrated manuscript, shows origins of geneology
- Euclid is the first printed book with geometric forms
- reflecing manuscripts to make more accepted and familiar
- *Nicolas Jenson, Printer’s Mark, Venice, 1481 //**
- *Aldus Manutius, Printer’s Mark, Venice, 1500**
- orbs and cross: spirital/religious
- Aldus’ is well known today, pictograph “make haste, slowly”
- Aldine Press, first successful publishing house
Aldus Manutius, Griffo (Francesco de Bologna) Hypernotomachia Poliphili (Poliphilo’s Struggle for Love in a Dream) pages, Venice, 1499
- Old Style, Bembo type (reflective of Trajan’s column)
- allegorical book, unknown author
- woodcut illustration, weird for Aldus
- texts brought to point with astricks
- Bembo created after Griffo altered Jensen’s type
Aldus Manutius, “Opera” Works of Virgil pages, Venice, 1501
- firsti italics by Aldus
- still referencing manuscripts
- ‘saddle backside,’ read with one hand while riding
- moved away from wooden covers, headed towards less expensive cardboard
Hartmann Schedel, Anton Koberger, and Michael Wulgamut, Nuremberg Chronicles pages, Germany 1493, “God Separating Light from Dark” & “View of Lyon”
- ideas about world an connection to religion
- 18 x 12” over 600pgs, 1800+ illustrations
- similarity amongst editions, illustrations repurposed
- images often become representation or symbol of place/thing
Leonardo, Vitruvian Man, c.1490 //
Geoffrey Tory, Champfleury, France, 1529
- ***- renaissance ideal form
- Champfleury relates architecture of human figure and ideal proportions to type
- alphabet based on ideal proportions of Vitruvius ( I and K)**
Albrecht Durer, St. Jerome in His Study, German, 1514 // Simon de Colines, Adoration of the Magi, pages from a Book of Hours, France 1540
- Durer’s is an engraving, Norther Renaissance
- notion of perspective reborn, especially in comparison to older works
- Colines’ is Renaissance, use of perspective
Claude Garamond, Specimen page, France, 1543
- Renaissance, Old Style
- example of refining and perfecting
- blackltter still in print and popular at the time
- Claude moves France from middle ages to renaissance
- less heavy, lighter
Hyacinthe Rigaud, Lous XIV, 1701 //
Philippe Granjean, Romain du Roi master alphabet, Paris, 1702
- Romain du Roi = “The King’s Roman,” ordered rational committee headed by mathematician
- “pleasing to eye, yet authoratative”
- transitional, contrast between thick and thin
Pierre Simon Fournier de Jeune, Manuel Typographique, title page, France, 1766 //
PSFdJ, Ariette, Set to Music title page, France, 1756
- both Rococo
- woman with flame = truth, allegorical
- consistent size and proportion
- love loss, classicism
John Dunlap, Declaration of Independence, Philadelphia, 1776
- Old Style/Transitional style typeface designed by William Caslon, England, 1734
- Caslon chosen per Ben Frankln’s suggestion
- disparity between thick and thin
John Baskerville, title page and page from The Works of Virgil, England, 1757
- transitional style, neoclasicism
- out to create perfect letteform
- created sturdier press that could handle pressure
- hot press, calendered (paper heated)
- blacker, quick-drying ink
Firmin Didot, Works of Racine title page, Paris, 1801
- modern style, neoclassicism
- more contrast between thick and thin which requres loads of whitespace for legibility purposes
William Blake, Songs of Innocence page, England, 1789
- romantic era, relief-etching
- opposes rationality, claimed to have visions
- hand colored books
- doors of perception, artists are like religious figures, have insight
- sophisitcations and naivete
E & HT Anthony, Brigade of Shoe Blacks, City Hall Park, NYC, 1860// stereoscopic card c. 1869
- variety of printed images in environment
- art nouveau, posters became collectable
- most posters solely text in 18th century and earlier
- wooden wall covered in posters = horde
Friedrich Koenig, Steam-powered double cylinder press, London, 1814 // Forst, Averell and Company poser for the Hoe Printing Press, 1870
- chromolithograph = colored
- print faster, cast iron, standardized
- allows for over 200 newspapers in NY
- over 1k sheets/hour
Anonymous, playbill for Astley’s The Courier of St. Petersburg, London, 1827
- check out that quality exclamation mark, AW YIS
- read fine lines, get pedestrian interested enough with large fat face type
Posters on a Morris Column, Paris, 1860 //
Posters on hoarding, NYC, 1896
- created by French company, later replicated in Germany
- hoarding is wooden wall
- images dominant, rag pickers in front, depicts entire industry
The Illustrated London News, title page, 1842, wood engraving
- influenced several other papers to use illustrations
- vignetted images, circular and hazy, became popular.
WH Fox Talbot, The Pencil of Nature title pages and page spread, England, 1844
- first published book with handset photos
- process: callotype
- presented like manuscript, explains image and process
