The History Of Photography (Study Guide) Part 3

● Brunelleschi tried to make a rectangular space into a square space by adding a central dome and barrels on the each side ● Centrally planned place Artistic Traditions: ● ● ● Use of domes in architecture: very similar to Pantheon & Hagia Sophia Ancient Rome Influences Attention to Symmetry Palazzo Rucellai: Florence, Italy • Leon Battista Alberti • 1450 C.E. • Stone and masonry Virtual Analysis: ● ● ● ● Three intertwining rings are carved on the upper part of the window frames. ● Very elegant looking. It utilized pyramidal stones that were inserted point-first into wet concrete at a diagonal angle. The stones not only covered the concrete surface but also added stability to it. At the two main doorways of Palazzo Rucellai are long stone street benches that run the length of the building. Contextual Analysis: ● Created in an effort to emphasize measure & harmony ● The building has four floors: ○ ○ ○ ○ ● 4th floor: the servant quarters (it was designed to be hidden) 3rd floor: the family's apartment 2nd floor: the guest rooms 1st floor: the family's center of business At the time, palaces were viewed as if they were created for the city's good and this brought Florence a lot of civic pride Artistic Traditions: ● ● ● The presence of benches was typical of Florentine palaces like the Palazzo Medici. There were many Roman influences such as orders, and the multi-story sequence of different columns. The columns of the three stories embody different classical orders, creating an effect that can be compared to the Colosseum. Palace at Versailles: Versailles, France • Louis Le Vau and Jules Hardouin-Mansart • 1669 CE v Masonry, stone, wood, iron, gold leaf, marble and bronze, gardens Virtual Analysis: 700 rooms, 2,153 windows, 67,000 square meters (over 12 football fields) - Heavily ornamented walls - Sculptures + paintings throughout Ceilings hold paintings depicting Louis XIV amidst Greek gods King's State Apartments Series of 7 rooms: - Diana Room + Venus Room (entrance), -Mercury Room (bedchamber) -Hercules Room -Room of Abundance (refreshments) -Mars Room (Guard Room) -Apollo Room (throne) - Italian style decoration - Marble Panelling - Painted Ceilings Queen's Apartments - 4 rooms - The Queen's Bedchamber - The Nobles' Room - The Royal Table Antechamber - The Queen's Guard Room - Symmetrical to King's apartments - Gilded bronze decor - Ceiling partitions and wood paneling in bedchamber still preserved from previous three queens who resided Hall of mirrors - One wall contains windows overlooking the gardens Other wall covered with 357 mirrors Meant to catch the sun's setting rays Mainly used as passageway, has been used for parties and military agreements (Treaty of Versailles) ceiling contains 30 painted compositions of Louis XIV victories Exterior - classical structure of the outside used elements from ancient Greek temples symmetrical, repetitive Show ancient intellectual and aesthetic superiority GarPomegranate, lemon, orange trees - Hedges + shrubbery Bronze sculptures 50 Fountains almost 2,000 acresdens Contextual Analysis: - King Louis XIV wanted to build his new court outside of Paris, away from the feuding noble families - chose hunting lodge at Versailles - Meant to emphasize Louis's importance through grandeur - Louis XIV called himself The Sun King, linked to Greek god Apollo - Made the Apollo Fountain in the gardens - 21 years to complete Artistic Traditions: - wealthy putting themselves in divine artwork - wealth shown through architecture Mosque of Selim: Edirne, Turkey • Sinan (architect) • 1568-1575 C.E. • Brick and stone Virtual Analysis: - The gates of the outer precinct wall focus the eye upwards toward the dome. - The dome has an impression of weightlessness, and rests on eight muqarnas-corbelled squinches that are in turn supported by eight large piers. The placement of the muzzin’s platform under the center of the dome is strange. Historians have compared its placement to that of a church’s altar. They say it reflects Sinan’s interest in surpassing Christian architecture. The position of the platform also creates a vertical alignment of square, octagon, and circle, using geometry to refer to the earthly and heavenly spheres. - Contextual Analysis: - The mosque’s inscriptions were after the defeat that the Ottoman fleet suffered in 1571 against the navies of the Christian Holy League. This loss prevented further Ottoman expansion along the European coast of the Mediterranean. The mosque’s inscriptions focus on a central difference between Islam and Christianity The dome’s octagonal shape was probably influenced by the tomb of Öljeitü in Soltaniyeh, which Sinan had seen while on Süleyman’s Baghdad campaign. Sinan sought to build a monument for the Sultan that expressed Islam’s triumph Artistic Traditions: - An example of Ottoman Empire’s wealth and greatness, along with its power and vastness (along a popular tourist passing through place, showed tourists of its dominance) Displays differences between Islam and Christianity The mosque represents Islam's triumph. It also was an attempt to surpass the Hagia Sophia and the Byzantine Basilica in Istanbul. Merovingian looped fibulae: Early medieval Europe • Mid-sixth century CE • Silver gilt wired in filigree with inlays of garnet and other stones Virtual Analysis: - - Common characteristics of fibulae: Brooches made popular by Roman military campaigns Consist of body, pin, and a catch Popular in barbarian* artwork The ends of the fibulae resemble eagle heads Garnets for the eyes There are small decorative fish on the bodies of the fibulae Pendants could be hung from the bottom hoop Contextual Analysis: - Became more popular in the early Middle Ages and is often found in barbarian grave sites Barbarian - non-Roman, non - nomadic, and illiterate groups traveling through Europe in the middle ages The word barbarian was used to describe anyone from outside of Rome Cloisonne - the ancient technique of decorating metal artwork with inlaid semi precious stones The eagle was a popular motif in barbarian art Originally a pagan symbol of the sun Later became an emblem for St. John Found at a Visigothic grave site Grave goods (like these) are the most concrete information we have We have very little written documentation about them Artistic Traditions: - Blending of cultures in artwork Blending of barbarian and Roman styles Petra Burial art Symbolism through animals Great serpent mound City of Cuzco Madonna and Child with Two Angels: Fra Filippo Lippi • c. 1465 C.E. • Tempera on wood Virtual Analysis: - It’s beautifully painted in bold colours, smooth lines, and fine shadowing. Mary sits on the left side of the painting facing the right with her hands in prayer, and her head slightly bowed in sad thought over her child’s fate Jesus, as a child, is held overhead by two angels, reaching out to Mary with tender motion and in lost thought The angels appear to be particularly amusing, and the one in the foreground appears to be giggling as he looks out at us. As artist continue to paint this, the halo’s start to disappear Contextual Analysis: - Lippi introduces a new decorative element to Early Renaissance painting with the delicate swirls of transparent cloth that move about Mary's face and shoulders—something that will be significant to his student, Botticelli. The modeling of Mary's form reveals Masaccio's influence, from the bulk and solidity of her body to the meticulous folds of drapery over her lap. Lippi attempts to make the art piece naturalistic Lippi also chooses to have Mary wear the contemporary fashion of the 15th century so that she is presented as a courtly lady full of living gracefully and charmingly Artistic Traditions: - Religion plays a big part in this art piece It includes symbolic reference to the Passion of Christ Lindisfarne Gospel: Oil on canvas • William Hogarth • 1743 Virtual Analysis: St. Matthew cross-carpet page - Repetitive knots and spirals Central cross Wine glass shapes stacked horizontally and vertically Knots are actually creatures - - Lizard-like, chameleon Eye is very simplistic Ornate “accessories” on borders of pattern St. Luke incipit page - Lots of “stylized” animal life - Knots make a return - Large portion is made up snakes along the edges Blue pinwheel shapes Blue heron in the bottom right corner of the border Blue heron continues into a feline St. Luke portrait page - Very different from incipit page Details St. Luke Quill in the right hand Scroll on his lap Purple robe streaked with red Golden halo - Indicates divinity - Blue-Winged calf in profile view behind Luke - Green “parallelogram” is a reference to the gospel - Might symbolize Christ’s sacrifice on the cross St. John cross-carpet page - Lots of birds are stacked all across the page - Bird in upper left hand quadrant has pink and blue stripes which stands out - Stripes represented chaos and evil - Prostitutes, criminals, sorcerers, hangman - Evil exists in the most unlikely of places??? - Eadfrith question Or just practicing humility in avoiding perfection Contextual Analysis: - “Illuminated” by the bishop Eadfrith, a Northumbrian monk - Means decorated by hand with gold, silver, and other colorful designs - Made in Lindisfarne between 500-900 CE - Made to honor God and St. Cuthbert - - Vikings raided the monastery in 793 CE but monks transported safely to Durnam St. Cuthbert was a bishop who died in 687 and whose relics were believed to possess miracle-working powers Codex - A bound book made from sheets of paper or parchment Insular/Hiberno-Saxon art Each evangelist symbolizes something - Matthew symbolizes the human aspect of Christ Mark symbolizes the triumphant and divine Christ of Resurrection John symbolizes Christ’s second coming Artistic Traditions: - Insular art style - - Very stylized Includes many animals incorporated into text Religious Text Last Supper: Leonardo da Vinci • 1494-1498 C.E. • Oil and tempera Virtual Analysis: ● ● “one of you will betray me” - Jesus Shows each of the 12 Apostles seated at a long simple table with Jesus at the center ○ Positions fitting their personalities reaction ● ● ● ● ● Variety of emotion shown through simple composition Christ’s divine nature: he is calm in the chaos Not frozen: shows movement Strong sense of depth Lead white base (instead of traditional wet plaster) to achieve more brilliant colors ○ ○ ● ● Caused paint to not stick to the wall and deteriorating Overall in terrible condition due to this and lack of care, location, etc 43% of Da Vinci’s work left Intentional, mathematical, precise ○ Christ’s body forms an equilateral triangle Jesus ● ● Wears traditional red and blue robes Doesn’t have the usual halo on his head Some think the light behind him is supposed to symbolize halo Others think that Jesus is still a human being ● Jesus is saying “The one who has dipped his hand into the bowl with me will betray me” ○ At the same time Judas (right) reaches for that same bowl showing he is the betrayer ○ Others are reacting to Jesus’ statement ● Serenity of Jesus’ expression contrasts with that of the Apostles All their reactions ○ ○ ● Peter is rushing to Jesus, pushing Judas back in need of knowing the betrayer, and he is holding a knife ready to defend Jesus foreshadowing that Peter will sever the ear of a soldier as he attempts to protect Christ from arrest. Peter was known as his protector ● ● John closes his eyes ● ● ● Thomas, to Jesus’ left points upward, questioning God Simon, Thadeus, and Matthew to Jesus’ far left demonstrate the force and extent of the impact of the news Philip points to himself with a face of grief James spreads himself out to calm people down Contextual Analysis: ● ● ● Da Vinci believed that posture, gesture, and expression should manifest the “notions of the mind” Monks would eat silently while looking at this painting “Unity between the earthly, mortal world and the eternal and divine but also shows the chaos and flaws of humanity and greatness of the divine” ● 3 windows, 4 groups of 3 apostles, Christ body forms a triangle ● Idealization of geometry of Jesus: ○ ○ Holy trinity and divinity Neo-Platonism: Greek philosophy with Christian theology Artistic Traditions: ● ● ● ● The Calling of Saint Matthew Ludovisi Battle Sarcophagus Justinian Panel Wall Plaque from Oba’s Palace Las Meninas: Oil on canvas • Diego Velazquez • 1656 Virtual Analysis: - - - Self portrait of Velazquez incorporated Some are historians suggest that the painting that Velazquez is working on in Las Meninas is Las Meninas itself In the center: The princess is attended by her maids of honor, her governess, and some other attendants Mirror in the back: More reflective than the other canvases on the wall, suggesting that it is a mirror Reflection of the King and Queen of Spain (Philip IV and Joan I of Navarre) Some theorize that the king and queen are reflected there and they are standing where we are standing (explaining why the princess and dog are looking towards us), or that the painting Velazquez is working on is what is being reflected Sense of naturalism/spontaneity is present, unusual for a royal painting (not exactly like a portrait, somewhat like a “day in the life” glance-combo of both) A very clever use of loose strokes to convey movement and textures on clothes and other objects (the sleeves of the princess, Velazquez’s palette/hand, etc.) Utilizes illusions of space, depth and perspective