Church of Hagia Sophia 532-537, Anthemius of Tralles + Isidorus of Miletus

-during time of Constantine there was a move to recenter the empire in the east to Constantinople (modern day Istanbul)

-buttresses + minarets added in the 15th century when it became a mosque

-exterior was plain, interior very decorated with mosaics and marble panels in many different colors

-greatest spectacle is the ring of windows at the base of the dome-gives a sense that the dome is floating on air and fills the space with almost mystical light-unlike pantheon it is not supported with a drum, but rather used pendentives (4 of them) which were connected to supportive piers

Emperor Justinian and His Attendants, North Wall of the Apse. Consecrated 547

Icon of the Virgin and Child with Angels and Saints. Monastery of St. Catherine, Mount Sinai, Egypt. Second half of the 6th century

The Dome of the Rock, c. 690. Jerusalem.

-Gold roof – originally covered with mosaics (reflected light)

-Octagonal

-Adopted some byzantine techniques

-12 columns

-Centrally – planned octagonal building

-Two ambulatories

-Inner colonnade = 4 piers and 8 columns

-Outer colonnade = 8 piers and 16 columns

-Not a mosque (no large congregational space) – A jeweled reliquary or shrine

Prayer Hall, Great Mosque, Cordoba, Spain. Begun 785–786.

-largest mosque in Islamic west, as a result of several expansion projects

-developed on the site of a Christian church; adapted for the growing urban population’s need

-horseshoe arch, lower arch of double arch system commonly associated with western Islamic architecture

-gives the space the feeling of being filled with light-more than a half-circle (pinched in at the bottom)

-patterning at this mosque with the red brick and white stone is visually appealing as well as providing strength with the use of two different materials

Tile Mosaic Mihrab. C. 1354.

-wall niche

-originally from a madrasa, school of advanced study, in Iran

-covered in impressive blue tile work; indicative of Persian artisans

-all tiles cut and fit together perfectly

-script and text become part of pattern-duties of believers, rewards of builders of mosques

-inner arch = script = five pillars of islam

Minbar. 1125–30.

-leader of communal prayer may stand on this

Nadir al-Zaman (Abu’l Hasan). Jahangir and Shah Abbas. Mughal period, c. 1618

-Jahanngir (on lion; predator) and Islamic ruler Shah Abbas (on lamb:prey)

-standing on a globe (shows their power and influence over the world)

-cherubs (celestial beings/angels) seemingly supporting the sun and moon (sun disc/crescent moon)

-hieratic scale of Jahangir appearing larger as well as standing on more land than Shah Abbas; although they are depicted as embracing each other Jahangir’s size makes it seem as though Shah is bowing to him

Taj Mahal. Mughal period, in Agra, Uttar Pradesh India, built during the reign of Shah Jahan, c. 1631–1648.

- Inside, the Taj Mahal invokes the hasht behisht (“eight paradises”), a plan named for the eight small chambers that ring the interior – one at each corner and one behind each iwan, a vaulted opening with an arched portal, that is a typical feature of eastern lslamic architecture

-drew on traditions of funerary buildings but also created something more grand

-Two stories tall, white marble structure that is one of the world’s best- known monument; white marble gives the effect of changing colors depending on time of day

-construct while Shah Jahan

-Beautiful Called the teardrop

-Built for Shah Jahan’s wife, Mumtaz Mahal who died in childbirth, and likely as a tomb for himself

-Sits on the large platform

-Two towers beside the main building- 4 towers in total on the side

-two extra towers are not minarets

-domes topped with lotus motifs

-gilded spires on top of domes have golden crescents, merging Persian and hindu influences/styles

-allegorical structure of the day of resurrection

-symbolic replica of the throne of god (central building)

-layout of complex with 4 intersecting rivers symbolic of paradise

-decorative vegetative and floral designs representative of an abundance of life, but addition of cypress trees along the rivers, which are symbols of death, make it representative of the whole life-cycle of an individual

-symmetry + harmony = paradise

Fan Kuan, Travellers among Mountains and Streams, Northern Song Dynasty, early 11th Century. Hanging scroll, ink and colours on silk

-landscape painting drew on other forms of Chinese philosophy (daosim + confuciansim)-tended to be produced for an elite few

-literati painters were generally amateurs (or non-professionals, do not paint for a living) that painted for a select group of like-minded people (men)

-literati painting very concerned with ethics of Confucianism and the painter’s own-less concerned with technical showmanship or skill-sometimes minimal color-great emphasis on the idea that the style that a painter controlled his brush reflect

their inner character

-much of government positions during the time of 960-1279 filled by scholars who became influential fostered literati painters-Fan Kuan first masters of Song Dynasty landscape painters

-composition seems to be meticulously sectioned and ordered in three phases, so as to help the viewer progress through it as they would if they were a traveller

-the small size of the travellers emphasizes just how small man is compared to everything else in nature (eternal facets of nature; things that will outlast humans)

-transition point = white rising mist-gives impression that the rocky mountain is pushing up against the picture plane

Shen Zhou. Poet on a Mountaintop. Ming Dynasty, c. 1500.

-blends expressive poetry with the artist’s personal interpretation of a landscape

-shen zhou tiny figure moved by scale of nature around him

-human dwelling buried in the trees

-variety of brush strokes and dots, varying intensity of ink reflect shen zhou’s personal style; not very dependent on other artist’s style

-use of negative space suggests a great amount of information; mist, cloud, snow

Hinged Clasp, from the Sutton Hoo Burial Ship. First half of 7th century

-pure gold

-used to attach cloak or armor to the owner

-serpentine or snake like forms

-symbols of strength and tenacity such as the wild boars on the ends-tusks are interlaced; fighting each other-suggests the qualities of owner or qualities owner wish upon themselves

-animal style; emphasis on use of animal motifs to represent certain traits or beliefs associated with particular animals depicted in the art

Chi Rho Iota Page from the Book of Kells. Late 8th or early 9th century.

-illuminated manuscripts designed so that the reader could spend a long time examining and reflecting on the smallest details to help them focus their reading and prayer

-text of gospel of evangelist of matthew; birth of Christ in the nativity

-three initial letters buried in the patterning; X, P, I-First three initials of christ’s name in ancient greek-word written at bottom: initial word or part of a word used to indicate rest of text tofollow

-animal details in the interlace work

-syncretism; melding of non-christian styles within a Christian context-animal ornamental motifs; celtic and anglo-saxon metal work merged with explicitly Christian subject (capital letters, linework)

Equestrian Portrait of Charles the Bald (?). 9th century

-mimics roman values of what a good leader represents; strength, pride, power

-similar to equestrian portrait of marcus aurellus-similar pose + values portrayed in visual

Saint Gall Plan (Original). c. 817. 28 × 44 1/8” and redrawn with captions

Transept, Cathedral of St. James, Santiago de Compostela. 1078–1122.

Reconstruction Drawing (After Conant) of Cathedral of St. James, Santiago de Compostela. 1078–1122; western portions later.

Gislebertus (?). The Last Judgment, Tympanum at Ste-Lazare, Autun. c. 1120–1130 or 1130–1145.

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Romanesque Church Portal.

French Gothic Architecture: 1144-1300’s+Abbey church of Saint Denis, Just north of Paris, FranceSt. Dionysius (Fr. Denis) brought Christianity to Franks in Roman Gaul in 3rd century Abbot Suger *advisor to the Capetian Kings

-important site for catholics in france

-saint denis first bishop of paris and patron saint of france; remains buried here

-also burial site of french royal capetian family

-beginning of gothic style of architecture being used here

-christ = divine quality of light

-interior similar to traditional Romanesque pilgrimage church, but also devised system to allow for many visitors to cycle through it w/o disturbing the clergy

L: Plan of the Choir of the Abbey Church of Saint-Denis. 1140–1144.R: Chevet (choir) of Abbey church of Saint Denis, north of Paris, France, rebuilt by Abbot Suger 1140-1144.

-bulk of walls inbetween chapels eliminated with use of massive piers and exterior buttresses

-apse/ambulatory + radiating chapels = more organic flow within space

-thinner walls = more/bigger windows = more light = more sense of divinity and closer to heaven

-piers + exterior buttresses allowed for less bulk in the walls and supports allowing for more/bigger windows to let in colored (divine) light

West Façade, Chartres Cathedral (The Cathedral of Notre-Dame). West façade begun c. 1134; cathedral rebuilt after a fire in 1194; building continued to 1260; north spire 1507–1513.

-cathedrals associated with urban centers; required urban settings to be named such-single largest economic enterprise in Gothic era (shows their importance in the society)-created many jobs and traffic through the city-instilled great sense of civic pride

-difference between right tower and left tower (gothic) reflects the times in which they were built

-rose window funded by wealthy families; helped their names be remembered

Royal Portal, West Façade, Chartres Cathedral, Detail: Jamb figures: Prophets and Ancestors of Christ (Kings and Queens of Judea). c. 1145–1155.

-prophets and ancestors of Christ; kings and queens of Judea

-elongated proportions; linear drapery-echo forms of the columns they are attached to

-facial features show beginnings of naturalism

L: Chartres Cathedral, West façade Porch of Martyrs c. 1230R: Central Portal of West façade of Reims Cathedral, Reims, France, 1225-1290

L: -distinctive figures (mostly in the faces; individualized)-carved out of the columns

R: -annunciation and visitation-representation of increasing naturalism of High Gothic style-seemingly completely detached from their supports -moving individually and independently from them-figures resemble roman sculpture; style, contraposto-figures turned slightly in direction of each other; gives them life through portrayed interaction between them

Jean Pucelle. The Hours of Jeanne D’Évreux. c. 1325–1328.

-book of hours = small books with intense religious purpose; personal use; depicts stories from the gospel

-use of grisaille

Interior of Upper Chapel,Sainte-Chapelle,Paris, 1239-48Louis IX of FranceCrown of thorns relic purchased from Baldwin II, Latin ruler of Constantinople

-looks like giant reliquary

-contains many rare relics from crusade of Constantinople

-gothic style allowed the walls to essentially be made of glass-lots of “divine” colored light being let into the space

The Goddess Coatlicue.Aztec, c. 1500 CE.

-coatlicue = “she of the serpent skirt”

-broad shoulders, clawed feet, skirt made of twisting snakes

-decapitated resulting in two snakes emerging from her neck, symnbolizing spurts of blood-decapitation may refer to the myth of the birth of her son Huitzilopochtli, where her other children conspired to kill her; he emerged from her body and defeated the other children, but Coatlicue did not survive

-necklace of sacrificial offerings; human hearts, hands and skulls

-Aztec city of Tenochtitlan: vision of an eagle perching on a prickly pear (nochtli) growing out of a stone (tetl)

-Divine sign from Huitzilopochtli

The Founding of Tenochtitlan, folio from the Codex Mendoza. Aztec, 1545 CE.Made for the Spanish viceroy

-codex/book

-most Aztec books were destroyed during the Spanish conquest

-idealized and allegorical image of the city of Tenochtitlan (aerial view)

-symbol of the city, the eagle, is perched on a cactus in the center of the image-city is divided into quadrants

-seated figures represent past warriors, figures at the bottom are also warriors, but represent Aztec victory over nearby cities

Attributed to Willie Seaweed. Kwakwaka’Wakw Bird Mask. Prior to 1951.

-central to performance ritual are large carved wooden masks that are operated by strings and held by dancers

-had a mechanism to make a loud noise

-bird masks like these transformed the wearer into predator of sorts-in context of certain ceremonies, the wearer would search for young people who were ready to be inducted into adult culture

Tlingit people (originated within Tsimshian culture). Chilkat Blanket. Shredded cedar bark and mountain goat wool, before 1928

-“diving whale” pattern

-true form and meaning of objects such as this are changed when put on display; meant to be dynamic and transformative

-in particular this blanket was meant to be wrapped around the living and dancing body

-Woven robes of this type were created by women from a pattern that was painted on a board by a man. These pattern boards were passed down through the family. This garment would have been worn by high-ranking tribal members during important events such as ceremonies and feasts....This type of technique, known as Chilkat weaving, is one of the most complex weaving techniques in the world. It might take a woman over a year to create this type of garment. Like other forms of Northwest Coast art, this weaving features a three-dimensional animal on a two-dimensional object

Bishop Odo Blessing the Feast, the Bayeux Embroidery. c. 1066–1082. 70m long

-depicts Norman conquest of England in 1066

-has a large amount of figures (animals, people, boats, etc.)

-was a very big project; required many people to create it

-many inscriptions at the top (and bottom)

-believed to have been commissioned for a cathedral by the bishop Oda

-aid to retelling of the Norman conquest

-inscriptions were beginnings of sentences to prompt person speaking about the piece

Life of the Virgin, Chichester-Constable Chasuble. Embroidery, silk and gold thread on velvet, with pearls, c. 1330–1350.

-Opus anglicanum = English work (when referring to textiles)

-garment worn by high-ranking church official

-these pieces were commonly made of colored silk and gold thread to recreate the fine brushwork and drawings of the scribes and monks, eliminating manuscripts

-scene of the annunciation (bot), story of the three Magi (mid), coronation of the virgin (top)

Duccio di Buoninsegna. Conjectural Reconstruction of the Front of the Maestà Altarpiece. 1308–1311. Main front panel 7 × 13’.

-saints and patron saints

-central panel of larger elaborate altarpiece

-Virgin is depicted much larger, hinting that she is the leader of the church

-altarpieces would be paraded around the town/city during big celebrations for the public to see them

-spatial consistency and sculptural consistency, more accurate perspective-a better sense of space and depth

-detail, naturalism of human body – light treatment on the shoulder

Giotto di Bondone. Scrovegni (Arena) Chapel. 1305-1306

-frescoed interior

-Giotto’s great masterpiece -commissioned by a merchant; private chapel

-had a similar purpose as the reliquary chapel of King Louis but not exactly the same; intended to represent the piety of the patrons who commissioned and used it

-intended to atone for the perceived sins of their ancestors who were money-lenders-trying to use their money to buy their way out of spiritual trouble

-ceiling decorated with stars so as to represent the heavens

-the scene of the last judgement was placed to be seen upon exiting; a last thought to be left with

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Giotto di Bondone Lamentation Scrovegni (Arena) Chapel, 1305-06.

-innovative fresco; most frescos before this one had a very flat quality to them

-Giotto was able to keep his plaster wet so as to allow him to better render his scenes and subjects

-Christ taken down from the cross (not a Maesta), people mourning around him with Mary

-Lamentation Scene

-Composition – people in front of Christ’s body – created depth – can’t see their face - providing feeling that we are inside this circle within the scene

-Figures are legible, make them see 3d

-Figures have different gestures – variety, naturalistic , heightens the emotional response

-emphasis put on the faces

Classicism

Antonio del Pollaiuolo. The Battle of the Nudes. c. 1465–1470. 15 1/8 × 23 1/4”.

-classicism = interest in all the things of the classical past; education, philosophy, the way human body was represented (heroic nude form)

-very popular print

-served as an instructive tool for artists for how to represent active classical bodies-many of the figures are shown facing each other-different configs good for copying (acted as models)

Humanism

Leonardo da Vinci. Vitruvian Man. c. 1490. 13 1/2 × 9 5/8”.

-developing interest in keeping us as individuals and the relationship between the body and mathematics, science, and geometry

-shift from religious to political convictions (concern over what happens in the afterlife concern with what people can do in the present)

-da Vinci experimenting with plotting the human form into a sort of architectural set of shapes that came from Vitruvius

Leonardo da Vinci. Mona Lisa. c. 1503–1506. 30 1/4 × 21”.

-Sfumato = The smokey quality of colours/atmosphere. -color = tones more than sharp color-choice of usage of this style may be for a sense of transition; time passing before our eyes

-3-quarter pose may suggest that she is in the process of turning toward or away from viewer

-gives a sense of inacessability

-less formal portrait-not depicting an older woman-more jewellry symbolizing her wealth -capture some inequality rather than display her wealth

-shown in 3-quarter pose with direct gaze (engages the viewer)

-ledge marks her space as distinct from the viwer

Masaccio. Trinity with the Virgin, St. John the Evangelist, and Donors. c. 1425–1427/1428. 21' × 10’ 5”.

-fresco

-stands in the eye level

-first painting that shows the linear perspective (conveyed through the coffered ceiling)

-Christ on the cross, father standing behind him

-Mary and Saint John

-Painted chapel – crated depth

-Various level of existence

-In the vaulted space with the round arch on columns

-Hierarchy in the naturalistic space

-appears as a 3-dimensional expansion of the chapel (illusionistic sarcophagus)

Raphael. The School of Athens. fresco, c. 1510–1511. 19 × 27’.

-high sense of depth and perspective-receding coffered ceilings-placing bulk of figures in the middle ground-created great sense of space for the figures to inhabit

-self-references prove that artists during this time were higher in social standing (would not get in trouble for putting in references to themselves in these public commissions)

-reference to classicism with the inclusion of the classical sculptures in grissaille-grissaiile: lack of color/grayscale

Rogier van der Weyden. Deposition. Before 1443, possibly c. 1435–1438. 7’ 2 5/8" × 8’ 7 1/8”.

-altarpiece

-great demonstration of the freedom that oil paints allowed-variety of textures in the clothing-brilliance of the colors-translucent tears on some of the figures

-work commissioned and paid for by a guild (group of people united by the same trade/profession; baker’s guild/tailor’s guild)

-for a chapel in their local church/meeting hall

-set in shallow stage-like environment

-push up against the picture’s plane, seemingly able to jump out into the viewer’s space-movement towards involving the viewer emotionally in the piece and to make them feel as if they are a part of the narrative

-references to the patron’s guild to remind people who paid for the piece; crossbows as architectural designs

The Northern Renaissance and Cross Cultural exchange:(north of Europe)

-not so much concerned with rebirth of classical taste and style as the Italian renaissance

-shift from using egg and egg-yolk as a binder to using oils

-increasing use of oil paint allowed for rich jewel-like vibrant colors, fine details

Hugo van der Goes. Portinari Altarpiece (Open). Oil on panel, c. 1474–1476. Center 8’ 3 1/2" × 10’, wings each 8’ 3 1/2" × 4’ 7 1/2”.

-altarpiece (interior, fully open)

-cross-cultural exchange started as artists began travelling around more as well as techniques such as printing and engraving improved (artistic works on paper were being circulated and shared amongst artists)

-italian patron who was a representative of the Medici bank in Florence (evidence of the movement of people; Italian living in the Netherlands)

-commissioned this piece for chapel in Florence

-patrons are represented with their name-saints; name-saints kind of waiting in the wings as well as acting as witnesses to the central scene

-central scene (nativity scene)-visitation in middle ground-annunciation of the shepherds in the far background-3 kings making their way to jesus

-elaborate narrative in the background; representation of the flight into Egypt (slaying of all infants under the age of two in Egypt)

-large range of variety in faces and clothing

-group of shepherds in Ghirlandaio piece (the grouping itself and the poses of the shepherds being similar)

The Reformation in Europe:

The Roman Catholic church faced two rising challenges:

Individuals became dissatisfied with the Church’s prescribed rituals, elaborate canon law, and dogmatic theology, which had developed over 16 centuries. They wanted a more personal route to salvation (this relates directly to the Age of Humanism).

Wealth, hierarchy and abuses of Church officials became more noticeable and intolerable to an increasingly urbanized population

Albrecht Dürer. Self-Portrait. 1500.

-Durer is not shown producing any art

-very Christ-like; pose; physical features

-dares the viewer to compare him to Christ-shows an awareness of his importance-may be hinting that his gifts were divinely inspired

-inclusion of his hand; point to the fact that he makes his living with his hands; his mechanical

-direct gaze toward the viewer; hints at his great mind and creativity

-a part of the shift in how artists see themselves and how they wish to portray themselves-how the wanted to be remembered

Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630. 38 × 29”.

-baroque period (Italian specifically for this piece)

-self-portrait + pittura (personification of painting)

-representing herself as painting-displaying all of her skills as a painter to the viewer-her pose (seemingly leaning out of the canvas; challenging angle to do)-her rendering of a very elaborate gown-shows herself at work-necklace refers to 17th century engraving of ‘Pittura’ from a book of prints and texts; book contained all artist symbols that refer to certain themes or subjects

-lets the image speak rather than the artist

Albrecht Dürer. Four Apostles. Oil on panel, 1526. Each panel 7’ 1/2" × 2’ 6”.

-one of the first attempts at creating an appropriate altarpiece for the current societal environment after Martin Luther’s actions

-restrained altarpiece; only depicts 4 figures

-St. John the Evangelist and St. Paul are at the forefront of the piece; holding books, one is open while the other is closed, represents Martin Luther’s belief that the word of God is most valuable

-St. Peter (first pope) being in the background still keeps with the idea that Popes are not totally legitimate, because Peter had direct contact with God/Jesus (too important to not include)

Some of the social and cultural conditions of the Italian Renaissance were also true of the Northern Renaissance:

Lessening influence of religion + Influence of humanism + Rising urban-based commercial economy = Conditions for development of Renaissance ArtThis means the development of a market for different genres, or types of art; including an increasing interest in scenes of ‘every day life’, in portraiture, in landscape, and, eventually, in still-life.

Counter-Reformation:

Council of Trent (1545): A commission appointed by Pope Paul III to define Catholic dogma, investigate wrongdoing, initiate reforms, and create regulations for the training of clerics.

-more monitoring and uniformity (tightening of the reigns of the areas they are present in)

-“...every superstition shall be removed ... all lasciviousness be avoided; in such ways that figures shall not be painted or adorned with a beauty exciting to lust... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous, seeing that holiness becometh the house of God. And that these things may be the more faithfully observed, the holy Synod ordains, that no one be allowed to place, or cause to be placed, any unusual image, in any place, or church, howsoever exempted, except that image have been approved of by the bishop …”

Pontormo. Entombment. c. 1525-8, Sta. Felicita,

-‘Mannerism’ was generally not in keeping with what the Council of Trent decided was appropriate for religious imagery in the Counter-Reformation.

-seems too fanciful and imaginative-odd contorted bodies, were not idealized classical style that was common-body of Christ has a very long torso; may give a sense of gracefulness, but also might be deemed as distracting by the council of trent-setting is very vague (ambiguity); piece is called entombment, but tomb is not in the setting (confusing)-indecorous = not in keeping with good taste; in this piece in particular, figure at the top has an erect nipple (cannot unsee it, ruins the feel of the piece, possibly purposefully)

Caravaggio. The Calling of St. Matthew. 1599–1600. Contarelli Chapel, San Luigi Dei Francesi

Terms:

Horsehoe Arch= an arch of more than a half-circle, often used in western Islamic architecture

Mosque= a building used for communal Muslim worship

Minbar= A high platform or pulpit in a mosque

Mihrab= A recess or concave niche that distinguishes the qibla wall, oriented towards Mecca, in a mosque. QIBLA: The direction of Mecca. In a mosque, the qibla wall (containing the mihrab), is oriented towards Mecca to indicate the proper direction of worship

Cloisonne= a technique for decorating metal objects with enamel paint and on occasion cut gemstones, glass, and other materials; compartments for the sections were made with metal wire and filled in with the paint or stones/glass

Animal Style= emphasis on use of animal motifs to represent certain traits or beliefs associated with particular animals depicted in the art

Opus Anglicanum= English work (when referring to textiles); these pieces were commonly made of colored silk and gold thread to recreate the fine brushwork and drawings of the scribes and monks

Life of the Virgin, Chichester-Constable Chasuble. Embroidery, silk and gold thread on velvet, with pearls, c. 1330–1350.

Syncretism= melding of non-christian styles within a Christian contextChi Rho Iota Page from the Book of Kells. Late 8th or early 9th century.- animal ornamental motifs; celtic and anglo-saxon metal work merged with explicitly Christian subject (capital letters representing christ’s name in ancient greek, linework)

Tympanum= In Romanesque and Gothic architecture, the semi-circular area over a portal enclosed by the archivolts and the lintel. Often decorated with sculpture showing biblical scenes to serve a didactic purpose.

Gislebertus (?). The Last Judgment, Tympanum at Ste-Lazare, Autun. c. 1120–1130 or 1130–1145.-imagery here meant to catch all who visit and make them think about their last judgement; imagery on Christ’s left is the side of the damned, Christ’s right is the side of the saved

-depicts what will happen in the afterlife to each type of person depending on how they lived their lives (damned or saved)

Carolingian = a cultural revival of the values of the early Christian culture

Romanesque= a resurgence of the use and inspirational draw from classical roman styles, mostly in the architectural sense; used in many Gothic cathedrals

Gothic= stylistic emphasis on mathematical harmony and maximization of the effects of light in the space of the structure with the use of large stained glass windows

Relic/ reliquary= A fragment of the physical remains of a saint or venerated person, or an object that came into contact with that person before their death. Often contained in a reliquary, which is a container that holds the relic; often does not directly show the relic, believers should have faith that it is truly there

Literati= literati painters were generally amateurs (or non-professionals, do not paint for a living) that painted for a select group of like-minded people (men)

Pilgrimmage route= a route travelled by religious believers to bring them to an important religious site, often to see and witness the divine qualities of a relic held at their destination (usually a church or cathedral)

Silk Road=

Chilkat Blanket=

Altarpiece= a painted or carved panel or ensemble of panels placed at the back of or behind and above an altar; contains religious imagery, often specific to place of worship for which it was made, that patrons can view during liturgical ceremonies or private devotions

Duccio di Buoninsegna. Conjectural Reconstruction of the Front of the Maestà Altarpiece. 1308–1311. Main front panel 7 × 13’.-triptych-center panel is

diptych/ triptych/polyptych= a set of panels decorated with paintings or reliefs that are hinged together

Hugo van der Goes. Portinari Altarpiece (Open). Oil on panel, c. 1474–1476. Center 8’ 3 1/2" × 10’, wings each 8’ 3 1/2" × 4’ 7 1/2”. -triptych-contains multiple biblical scenes throughout the comp (mostly in middle panel); central scene (nativity scene),visitation in middle ground, annunciation of the shepherds in the far background,3 kings making their way to jesus-right panel shows patron’s family with their name-saints

predella= lower zone, or base, of an altarpiece, decorated with painting or sculpture related to the main inconographic theme of altarpiece

fresco= A painting technique in which ground pigments are suspended in water and applied to the surface of wet lime plaster and are absorbed into it, chemically bonding with the wall once dry. Creates a very durable painting.

Classicism= interest in all the things of the classical past; education, philosophy, the way human body was represented (heroic nude form)

Humanism = developing interest in keeping us as individuals and the relationship between the body and mathematics, science, and geometry

Grissaiile= grissaiile: lack of color/grayscale in painting

Linear perspective= A method of creating the illusion of three-dimensional space on a two-dimensional surface by delineating a horizon line and multiple orthogonal lines meeting/originating at one or multiple vanishing points

Atmospheric perspective= a method of rendering the effect of spatial distance by subtle variations in color and clarity of representation

Sfumato=the technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms (smoky effect).

Leonardo da Vinci, Mona Lisa, 1503-05 CE- the smile the Mona Lisa have been achieved precisely by this method of technique- the glaze, mixed with subtly different pigments, creates the slight blurring and shadows

around the mouth that give the Mona Lisa her barely noticeable smile that seems to disappear when looked at directly

- “light and shade should blend without lines or borders, in the manner of smoke”- created unity with the mid-tones with blues, greens and earths

Tenebrism= style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image

Caravaggio, Calling of St. Matthew, ca. 1597- 1601, Rome- light from dark- tenebrism is more dramatic and usually contains areas of chiaroscuro within it.

Tenebrist paintings generally have a large area of darkness, and many of the figures in the painting are almost buried by this area of intense darkness. The central figures, however, are set off by a harsh, raking light which is often used to indicate a moment of revelation

Renaissance= a cultural rebirth; in art = a clear emphasis on trying to achieve realism; linear perspective; trying to make paintings and drawings as realistic as possible so as to have them seem able to jump out of the canvas and into the viewer’s space

Baroque= artistic style of exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur (high emphasis on creating drama)

Reformation= people dissatisfied with church’s prescribed rituals, elaborate canon law, and dogmatic theology wanted a more direct route to salvation, therefore causing them to challenge the Roman catholic church

-wealth, hierarchy and abuse of church officials became more apparent and intolerable

Counter Reformation= the church’s response to the people’s reformation; more monitoring and uniformity (tightening of the reigns of the areas they are present in)

Essay question notes:

2. Discuss how art and architecture reflect different religious beliefs and traditions of worship, using at least 3 different cultures and at least 5 works of art or architecture.

americas: -most religious artworks are not architectural, many of the most important works are utilitarian, either in a ritualistic or monumental/for display

Works: - Attributed to Willie Seaweed. Kwakwaka’Wakw Bird Mask. Prior to 1951

-bird masks like these transformed the wearer into predator of sorts-in context of certain ceremonies, the wearer would search for young people who were ready to be inducted into adult culture

- Chilkat Blanket before 1928- this blanket was meant to be wrapped around the living and dancing body-pattern possessed symbols of animals that were important to the culture- would have been worn by high-ranking tribal members during important events such as ceremonies and feasts

UTILITARIAN = USED IN RITUALS AND FESTIVALS

christian: -most commonly pictorial representations of the beliefs of the religion-pictorial representations usually refer to or assist in guiding individual in their worship-very elaborate and grandiose; shows the importance placed on religious facets of life; pay homage to the glory of god

Works: -altarpieces: Maesta Altarpiece, 1308-1311 by Duccio buoninsegna

- contains religious imagery, often specific to place of worship for which it was made, that patrons can view during liturgical ceremonies or private devotions-depiction of the virgin enthroned; she is much larger hinting that she is a leader of the church; saints and other important religious figures surround her, one again pointing to her significance-altarpieces would be paraded around city during big celebrations for public to see

- Giotto di Bondone. Scrovegni (Arena) Chapel. 1305-1306

-commissioned by merchant as a private chapel -acted as a sort of atonement for the sins of the merchant’s family’s ancestors’ sins

-trying to use the family’s money to buy their way out of spiritual trouble by erecting such an elaborate and well decorated chapel in devotion to god

AID IN RELIGIOUS WORSHIP IN AN EFFORT TO BE ABLE TO ENTER HEAVEN

muslim: - more emphasis on places of worship and things that attribute to those architectural structures

Works:- Taj Mahal, 1631–1648.

- Built for Shah Jahan’s wife, Mumtaz Mahal who died in childbirth, and likely as a tomb for himself-allegorical structure of the day of resurrection; decorative vegetative and floral designs representative of an abundance of life, but addition of cypress trees along the rivers, which are symbols of death, make it representative of the whole life-cycle of an individual-layout of complex with 4 intersecting rivers symbolic of paradise

REPRESENTATION OF DAY OF RESSURECTION

3. Discuss the effect that the revival of classical antiquity had upon the Visual Arts in Europe from the 14th through the 17th century. Your answer should include at least 5 works of art or architecture to support your discussion.

-big impact on bringing back the interest in realism and naturalism; rendering the human form in the most realistic fashion

-want to involve viewer in the piece more directly; create paintings that seem to pop out of their 2-d plane

-concern for how individuals wanted to be portrayed

Works:

Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630- representing herself as painting

-displaying all of her skills as a painter to the viewer-her pose (seemingly leaning out of the canvas; challenging angle to do)-her rendering of a very elaborate gown-shows herself at work

-necklace refers to 17th century engraving of ‘Pittura’ from a book of prints and texts; book contained all artist symbols that refer to certain themes or subjects

-lets the image speak rather than the artist

Albrecht Dürer. Self-Portrait. 1500.

-Durer is not shown producing any art

-very Christ-like; pose; physical features

-dares the viewer to compare him to Christ-shows an awareness of his importance-may be hinting that his gifts were divinely inspired

-inclusion of his hand; point to the fact that he makes his living with his hands; his mechanical

-direct gaze toward the viewer; hints at his great mind and creativity

-a part of the shift in how artists see themselves and how they wish to portray themselves

-how the wanted to be remembered

Rogier van der Weyden. Deposition. Before 1443, possibly c. 1435–1438.

-push up against the picture’s plane, seemingly able to jump out into the viewer’s space-movement towards involving the viewer emotionally in the piece and to make them feel as if they are a part of the narrative

-references to the patron’s guild to remind people who paid for the piece; crossbows as architectural designs

Raphael. The School of Athens. fresco, c. 1510–1511

-high sense of depth and perspective-receding coffered ceilings-placing bulk of figures in the middle ground-created great sense of space for the figures to inhabit

-self-references prove that artists during this time were higher in social standing (would not get in trouble for putting in references to themselves in these public commissions)

Hugo van der Goes. Portinari Altarpiece (Open). Oil on panel, c. 1474–1476.-patrons are represented with their name-saints-large range of variety in faces and clothing