Exam 1 Flashcards by Amanda Deering

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

Horses and Hands, Pech-Merle Cave, France, 23,000-18,000 BC

handprints sign of human existence, perhaps a signature

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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?

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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

How well did you know this?

Not at all

Perfectly

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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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"** ## Footnote - 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** ## Footnote * ***- 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - both Rococo - woman with flame = truth, allegorical - consistent size and proportion - love loss, classicism

**John Dunlap, *Declaration of Independence,* Philadelphia, 1776** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - 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** ## Footnote - first published book with handset photos - process: callotype - presented like manuscript, explains image and process