AP Art History Unit 3 Early Europe & Colonial Americas

Unit 3: Early Europe & Colonial Americas: 48. Catacomb of Priscila (Rome, Italy. Late Antique Europe 200-400 C.E. Excavated tufa and fresco) a. Context: i. Underground, in the north of Rome ii. The oldest part of the catacombs: closest to the entrance of Priscilla’s villa iii. A place where the earliest Christians were buried b. Content: i. 10km or more than 5 miles wide ii. At least 40,000 tombs iii. Multiple sarcophagus for family members iv. Scenes from the bible are depicted on the wall 1. Book of Daniel c. Form: i. Cubiculum ii. Passageways are stacked on top of each other iii. Roman first style painting: Building up of plaster on wall to look like marble d. Function: i. Burial location for the actual members of Priscilla’s family ii. Not a place for worship 49. Santa Sabina (Rome, Italy. Late Antique Europe 422-432 C.E. Brick and Stone, wooden roof) a. Context: i. In Rome, atop a hill ii. Example of an ancient Constantinian basilica iii. Roman Chrisitians chose it as the basis of their new churches AP Art History Course Study Guide b. Content: i. Windows made of selenite ii. Colonnade with side aisle on each side iii. Walls broken up into entablatures iv. Clerestory windows line the upper entablatures of the nave c. Form: i. Spacious longitudinal nave ii. Lights from windows manipulated to create a spiritual effect d. Function: i. Early Christian church ii. To impress the view and inspire them to follow Chrisitianity 50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis (Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript [tempera, gold, and silver no purple vellum]) a. Context: i. Early Byzantine ii. Used the church to back the authority of the emperor iii. Iconoclast controversy (726-843) b. Content: i. Between realistic and abstract ii. Patrons value of symbolism and abstraction iii. Written in Greek iv. Calls back to Romanesque v. Typical Byzantine art c. Form: i. Continuous narrative ii. Animal skin pages iii. Manuscript of the first book of the Bible d. Function: i. Probably read by a royal individual ii. Not only aimed to depict stories of the Bible but also be symbol of the owners piety 51. San Vitale (Ravenna, Italy. Early Byzantine Europe. 526-547 C.E. [Brick, marble, and stone veneer, mosaic]) AP Art History Course Study Guide a. Context: i. Built after the split of the Roman empire ii. Made under the rule of Ostrogoths iii. A place of worship b. Content: i. Focus on the center of the central plan ii. Lots of Christian iconography and symbols of Christs c. Form: i. Centrally planned basilica ii. Windows for lighting iii. Ambulatory iv. Byzantine church d. Function: i. Primarily to worship the Christian god ii. Glorify the Byzantine Emperor Justinian and Empress Theodora iii. A reminder of the power of the Byzantine empire 52. Hagia Sophia, Istanbul (Constantiople (Istanbul) Anthemius of Tralles and Isidorus of Miletus 532-537 ce Brick and ceramic elements with stone and mosaic veneer) a. Context: i. Commissioned by Emperor Constantine ii. Current version of the building is its 3rd time being built because of previous fires caused by riots iii. Iconoclasm b. Content: i. Longitudinal and centrally planned Basilica ii. Dome is on top of a square 1. This is called a pendentive iii. Four Minarets iv. Mihrab v. Arabic calligraphy c. Form: i. Two floors centered on a giant nave with a great domed ceiling, along with smaller domes ii. Centrally and longitudinally planned Basilica d. Function: i. Cathedral ii. Mosque (1453) iii. Museum (1934) AP Art History Course Study Guide 53. Merovingian Looped Fibulae (Early Medieval Europe. Mid-sixth century C.E. [Silver gilt worked in filigree, with inlays of garnets and other stones]) a. Context: i. Fibulae are brooches that were made popular by Roman military campaigns ii. Became popular in the early Middle Ages and commonly found n barbarian grave sites iii. Cultural exchanges occurred after antiquity and both groups (Barbarians and Romans) copied and shared similar works iv. Merovingian: a popular motif in barbarian art of the middle ages: eagles (found on the work) b. Content: i. Cloisonne: technique is inlaid semi-precious stones (popular in barbarian art) ii. Ends of Fibulae: the shape of Eagle heads iii. Garnets: used to decorate the eyes of the eagles iv. The main body of the brooch: little fish v. Gems and semi-precious stones: used to decorate the rest of the fibulae c. Form: i. Stylized variation of the crossbow fibula (remember diverse ethnics groups all had their own spin to their fibulas!) d. Function: i. A brooch or a pin for fastening clothing (safety pin) ii. Expensive objects to the commission: the owners wanted these objects to resonate with their identity iii. Buried with the dead: showed their status and who they were as people 54. Virgin (Theotokos) and Children between Saints Theodore and George (Early Byzantine Europe. Sixth or Early seventh century C.E. Encaustic on Wood) a. Context: AP Art History Course Study Guide i. A transitional piece 1. Classical antiquity------The height of Byzantine Chrisitianity 2. A mix of Greek/Roman aesthetics with the emerging Byzantine aesthetics ii. Created in the era in which Constantinople restored and created dozens of churches b. Content: i. Spatial ambiguity makes the piece feel otherworldly and divine ii. Subjects = the Virgin, the Christ child, Saint Theodore, Saint George, two angels, God 1. The Virgin a. Center of the icon b. Seated on a throne---elevated c. No eye contact with viewer d. Highlighted by Heaven’s light (connected to God) 2. The Christ Child a. In the Virgin’s lap b. No eye contact like his mother 3. The Saints a. St. Theodore = on the left; St. George = on the right b. Flank the Virgin on either side c. Front of the frame (closest to our world of all the subjects) d. Emotionless and erect (stare directly at the viewer) e. Feet slightly lifted off the ground (mark of divinity) 4. The Angels a. Above and between the Virgin and the soldier saints b. Looking directly upwards to the hand of God c. Dressed in all white and have slight halos d. Highest in the frame and furthest back 5. God a. Represented by hand emerging from the center b. His power is seen through the light emanating from his hand i. The light mostly lands upon the Virgin c. Form: i. An encaustic icon painting 1. Encaustic = a painting technique that uses wax as a medium to carry the color AP Art History Course Study Guide ii. Uses gold leaf d. Function: i. A private devotional object (to help them express their appreciation for God and enhance their spirituality) 55. Lindisfarne Gospels (Early medieval [Hiberno Saxon] Europe 700 C.E. illuminated manuscript) a. Context: i. Illuminated by the bishop Eadfrith; made to honor God and St. Cuthbert ii. Lindisfarne = island off the coast of Northumberland in England iii. Produced in the British Isles 500- 900 C.E. iv. Made in Italy v. Codex- bounded book vi. Matthew= human (animal symbol) vii. John=eagle (animal symbol) viii. Mark= lion (animal symbol) b. Content: i. St. Matthew Page 1. Hiberno- Saxon art 2. Straightforward 3. A series of repetitive knots and spirals 4. Ribbons are contained of abstract animals twisted 5. Centrally located cross a. Stacked wine glasses coming together into a cross ii. Luke’s page 1. Abstract animals (snakes) 2. Spiraled forms and swirling vortexes 3. Gold letters: NIAM iii. Luke’s portrait page 1. Curly haired evangelist (Luke) sitting on a red-cushioned stool 2. Luke holds a quill in hand 3. Feet hover over a tray 4. Wearing purple robe with streaks of red 5. Gold halo shows divinity 6. Above his head a flying calf clasping a green parallelogram=reference to gospel 7. Eyes turned toward the viewer iv. John’s cross carpet page 1. Interplay of stacked birds 2. One bird has blue and pink stripes (stripes = chaos in medieval) c. Form: AP Art History Course Study Guide i. Ink pigment and gold vellum d. Function: i. Some are Introduction pages of next content (John’s cross carpet: introduction to John’s gospel) ii. Visual representation of people from the Bible 56. Great Mosque (Cordoba, Spain. Umayyad 785-786 C.E. Stone masonry) a. Content: i. Large hypostyle prayer hall 1. Interior space seems magnified by its repeated geometry 2. Sense of awe and monumentality ii. Mihrab 1. Focal point in the prayer hall 2. Framed by a famously decorated arch called the horseshoe arch iii. Ribbed dome 1. Above the mihrab 2. Intricate composition of crisscrossing arches a. Demonstrated the mathematical and architectural accomplishments if the Islamic civilisation b. Lavishly covered with gold mosaic in a radial pattern iv. A courtyard with a fountain in the center v. A minaret (now encased in a square, tapered bell tower) 1. Minaret = tower used to call the faithful to prayer vi. Minbar 1. Used to stand by the mihrab as the place for the prayer leader & a symbol of authority vii. Repeating elements (columns, arches, voussoirs) 1. The structural repetition suggests the same kind of repetition in prayer viii. Mosaics 1. Inscriptions from the Quran 2. Intricate patterns/designs formed by the tesserae (tiles within a mosaic) b. Context: i. Multi-cultural influence seen in the art 1. Ancient Roman columns in a hypostyle prayer hall 2. Horseshoe arches a. Roman & visigoth architectural structure b. Islamic architecture characteristic ii. Began as a Roman temple iii. Temple converted into a church by the visigoths AP Art History Course Study Guide iv. v. vi. Umayyad conquerors converted the church into a mosque Site was practical and symbolic 1. Place that affirmed Islam prescence Islamic civilization 1. Caliphates had classical Latin works translated into Arabic 2. Gained mathematical knowledge from India 3. Learned the invention of paper from China c. Form: i. Mosque - place of Islamic worship d. Function: i. To represent the presence of the Umayyads in Cordoba ii. Place of worship 1. Followers pray towards the mihrab (which faces Mecca) iii. Represents a fusion of cultures & religions 57. Pyxis of al-Mughira: (Umayyad 968 C.E. Ivory) a. Context: i. A Pyxis is a cylindrical container ii. Best example of tradition of carved ivory in Islamic Spain iii. Comes from the royal workshop of Madinat al-Zahra iv. Currently located in the Louvre b. Content: i. The pyxis is decorated with four eight-lobed medallions ii. Each medallion has princely iconography iii. Humans and animals play a big part in their iconography c. Form: i. Carved ivory from an elephant tusk 1. Ivory was durable, smooth, and easy to carve (made it desirable to make into pyxides) ii. Inlaid jade and other precision stones iii. Highly portable (most often given as gifts) d. Function: i. Were given to members of the royal family 1. Specifically given on memorable days such as marriage, birth, or coming of age ii. Later they were given to important allies they claimed their allegiance to the Umayyads iii. Its technical function was carry perfumes and other cosmetics AP Art History Course Study Guide 58. Church of Sainte-Foy Conques, (France. Romanesque Europe. Church: c. 1050–1130 ce; Reliquary of Saint Foy: ninth century ce, with later additions) a. Context: i. Pilgrims went to receive a blessing; their visitation = demonstration of piety ii. That church was also an abbey: it was part of a monastery where monks lived, prayed, and worked iii. A church had stood on the spot since the 600s b. Content: i. Barrel-vaulted nave, with arches on the interior ii. Prominent transept iii. Elaborately carved Tympanum on the South Portal of Christ and the Last Judgement 1. Semi-circular relief carving above the doors to the central portal 2. Christ sits enthroned at the center a. His right hand gestures up, towards heaven, on the side of the saved b. His left hand gestures down, towards hell, on the side of the damned 3. Below the saints on Christ's right: an arcade covered by a pediment, symbolizing the House of Paradise a. Houses the blessed/saved; people who will live with Christ forever b. Abraham is seated at the center c. Above Abraham, the Hand of God reaches out to a kneeling Sainte Foy (Saint Faith) 4. On the pediment's opposite side, right under the enthroned Christ's feet, angels open and release souls from their graves to be weighed/judged by God to determine if they're going to Heaven or to hell. a. A large doorway leads to paradise b. A gaping mouth leads to hell c. Clear divide in faith 5. Pediment of the Lower register of Hell a. Centrally-seated Devil sits, grinning, surrounded by tortured, screaming souls b. Figures in intense pain, panic, chaos, and cruelty surround him i. All represent some capital sin (adultery, gluttony, arrogance, misuse of church offices) AP Art History Course Study Guide c. Devil sits enthroned like Christ: he has the power to Judge and decide punishments for the damned d. On the Devil's left: a hanged man, representing Judas i. He hanged himself after he betrayed Christ c. Form: i. Romanesque pilgrimage church ii. Cruciform plan 1. Cross commemorates Christ's sacrifice 2. Helped crowd-control iii. Pilgrims traveled around the ambulatory and radiating chapels, paying homage to saints' shrines d. Function: i. To host pilgrims on their journey to Santiago de Compostela in Spain ii. To bless its visitors, demonstrate their piety, and help them be saved on Judgment day iii. To inspire (or scare) Christians into behaving in a holy manner that would ultimately lead them to Heaven 1. Reminder to both pilgrims and monks/clergymen a. There was a lot of misuse of church offices at the time (even though it was a sin) iv. To venerate Christ, and commemorate his sacrifice on the cross as a second chance for mankind's salvation 59. Bayeux Tapestry (Romanesque Europe (English or Norman). c. 1066–1080 ce. Embroidery on linen) a. Context: i. Shows the Battle of Hastings in 1066 1. But begins with events leading up to it 2. Shows William of England, the Duke of Normandy, and Harold, the Earl of Wessex that occurred in 1066 ii. Textile is missing it's end which most likely showed William as King iii. Tapestry created in Canterbury 1070 iv. Believe that the patron was Odo, Bishop of Bayeux, William’s half brother 1. Tapestry depicts Normans nicely in the events 2. Inscriptions has Odo b. Content: i. 75 scene with Latin inscriptions ii. First meal iii. Calvary and foot soldiers AP Art History Course Study Guide c. Form: i. Not a true tapestry because it's not woven into the cloth: high quality of the needle work suggests Anglo-Saxon embroiderers ii. Eight colors iii. Unrealistic: 1d, flat, no depth or space perception, splits into 3 sections (thin top and bottom and larger middle section) in an attempt to show depth/foreground and background) iv. Top and bottom also function as borders d. Function: i. To commemorate the win of the Normans ii. And to give a (semi) accurate depiction of the war 60. Chartres Cathedral (Chartres, France. Gothic Europe. Original construction c. 1145–1155 ce; reconstructed c. 1194–1220 ce. Limestone, stained glass) a. Context: i. Long history of use as a Christian space: used for Christian worship ii. Associated with the worship of the Virgin Mary iii. The Romanesque church on the original site burned down in 1194--but the tunic was found three days later, unharmed 1. The people of the town took this as a divine message that they should rebuild the church so that it would be as grand and beautiful as possible, deserving to be the worship place of Mary b. Content: i. Everything about the church was chosen by architects in the effort to create "heaven on Earth" ii. One of the best examples of Gothic cathedrals 1. New focuses on more airy, open spaces; thinner walls, and geometry 2. People used the perfect proportions of geometry to try to simulate and bring to mind the balance, harmony, and beauty of the world that God had created iii. Jamb figures 1. The relief figures that are carved into either side of the portals/doorways 2. Kings and queens of the Old Testament 3. Carved in Gothic style a. Representations of spiritual beings b. They seem to levitate c. Their drapery obscures their bodies AP Art History Course Study Guide iv. v. vi. 4. Meant to represent gatekeepers: they "watch" the people in a kindly and calm way as they enter the church Gothic emphasis on stained glass 1. Large windows 2. "Floating planes of light" 3. Light was seen as a divine symbol because it was beautiful and immaterial 4. Vivid, rich colors used in the glass 5. Large rose window in the north transept North transept portal has intricate jamb figures 1. Relief archivolt sculptures protrude many feet from the side of the church, almost forming their own chapel The chancel screen (aka a screen separating the area around the altar from the larger nave) once sported an astrological clock that told the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current zodiac sign c. Form: i. The formal plan of the Church is a Latin cross with three aisles, a short transept, and an ambulatory ii. Three part elevation of nave arcade, triforium, and clerestory iii. Uses pointed arches and ribbed vaults inside the body of the church, which is very typically Gothic 1. Everything was meant to move the eye upward iv. The radiating chapels were integrated into the larger area of the church, which allowed for light to permeate all parts of the church v. Based on a cruciform basilica plan, with a transept intersecting the nave being added after the fire 1. Transept provided an extra entrance/exit, which was good for the flow of people vi. Chartres has nine portals d. Function: i. Hugely popular pilgrimage site 1. People could walk all the way around the church, see the relic, and exit ii. Embarked on pilgrimages in order to gain health, divine goodwill, or to ensure their place in heaven during the afterlife 1. Many components, such as the guardian jamb-figures and the stories told in the stained glass, were constructed to aid in the pilgrims' journey; the jamb figures reminded the pilgrims of the ever-present merciful eyes of God and the angels AP Art History Course Study Guide iii. The first cathedral in which the flying buttresses determined the overall exterior aesthetic plan of the building 61. 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) a. Context: i. In 1226, the French king died and the queen was left to rule until their son became the age to rule ii. Their son Luis IX took the throne in 1234 iii. Moralized bibles were often made for royalty b. Content: i. Depicts the Queen Blanche of Castile and her son Louis IX and a cleric and a scribe around shown below them ii. sophisticated, urban setting iii. Illustrated the New and Old Testament iv. Included explanatory text about the Bible and Biblical events v. Was used to teach Louis IX about moral obligations and religion vi. In the upper register the king and queen wear a Fleur-de-lys (a stylized iris or lily flower) vii. The Queen wears a white widow’s wimpled and raises her hand towards Louis IX viii. The Queen’s gesture - shows link between Heaven and Earth( similar gesture of Mary to Christ) ix. The ceric wears a sleeveless robe (a sign of divine services) 1. Tilts his head forward 2. Points his finger toward the artist x. The artist wears a blue surcoat and a cap while sitting on the couch xi. Has a knife in one hand and a feather in the other c. Form: i. Gold background ii. Stylized and colorful buildings shown towering above the Queen’s and her son’s head iii. Gold, lapis lazuli, green, red, yellow, grey, orange, and sepia d. Function: i. Used to teach Louis IX moral obligations and religious events ii. Was delicate to him iii. Shows right to rule through divine right AP Art History Course Study Guide 62. Rottgen Pieta (Late medieval Europe 1300-1325 C.E painted wood) a. Context: i. Depictions of Christ on the cross would demonstrate the Christus triumphans ii. Greco Crucifixion showed suffering iii. Reflects mysticism as it is a holy object that would have been prayed to iv. Was common in German abbeys v. Late gothic period of the middle ages b. Content: i. Spirituality, mysticism, and pure emotion is shown in Mary’s face as she hold the beaten and tortured Christ ii. Sharp crown of thorns iii. 3D blood and wounds (very violent and gruesome) iv. Mary draped in heavy fabrics suffering v. Extremely skinny and contorted body of Jesus c. Form: i. Painted wood ii. Damage (worm holes in Mary’s head and less pigment) d. Function: i. Used to force the viewer to examine the emotion ii. Would have been on an altar 63. Arena (Scrovegni) Chapel including lamentation (Padua, Italy Unknown architect Giotto di Bondone (artist) Chapel 1303 C.E. Fresco 1305 C.E. Brick architecture and fresco) a. Context: i. Called the arena chapel because it is close to arena ii. Patrons were the Scrovegni family iii. Private devotional art iv. Painted by Giotto b. Content: i. Narrative scenes ii. 3 registers of narrative iii. Top: Yoakim and Anna’s (Christ’s grandparents) and the birth and life of Mary iv. Middle: scenes of Christ’s life v. Bottom: passion vi. Wall fresco : Last Judgement AP Art History Course Study Guide vii. viii. ix. x. 1. Encro (who patron this) is on the side blessed, giving the chapel to Mary 2. The lamentation a. Apart of the passion scenes b. Transitory work from middle ages to renaissance Illusionism - having architectural elements- for an earthly, not the typical gold background Humanism- figures interacting with each other (ex: kissing and crying) Lamentation 1. Christ being mourned by his followers and Mary 2. Mary holding her dead child in her arms 3. She is extremely sad and upset 4. Angels mourning too (tearing at clothes and hair) 5. All eyes lead to Christ 6. The hill is straight line to christ Symbols 1. Dead tree- will grow again 2. Mary Magdalene at Christ’s feet with her red hair c. Form: i. Fresco, Illusion of space, Chapel covered fresco, Flat figure, Fake marbles panels ii. Uses lapis lazuli iii. Secco fresco iv. Foreshortening is used v. 3D figures vi. Pre linear perspective d. Function: i. Atone for the sin of usurer ii. Bankers were considered ursarers iii. Private devotional art 64. Golden Haggadah (Late Medieval Spain. C.1320 CE. Illuminated manuscript (pigments and gold leaf on vellum) a. Context: AP Art History Course Study Guide i. ii. iii. iv. Painted in Barcelona Made in Romanesque/Gothic period Jewish art and Christain influences It was forbidden to depict images like this at that time b. Content: i. Haggadah means narration ii. The history of Passover 1. Salvation from slavery from Egypt c. Form: i. Illuminated manuscript ii. Gold lead of vellum iii. Golden background iv. Christian gothic influences v. Long following bodies d. Function: i. Depicted the story of Passover to be read at seder ii. Used mostly at owner’s house iii. Showed the wealth of the owner iv. Significance of of Jewish culture 65. Alhambra (Granada, Spain Nasrid Dynasty 1354- 1391 C.E. Whitewashed adobe stucco, wood, tile, paint and gliding) a. Context: i. Alhambra is abbreviation of Qal’at Alhambra ii. Built by the Nasrid Dynasty (the last Musliums to rule Spain) iii. Muhammad ibn Yusuf created the Nasrid Dyansty iv. The Palace of Lions was created by Muhammad V b. Content: i. The hall of two sisters 1. 16 windows at the top of the hall 2. Honeycomb stalactites 3. 5,000 murquras reflecting light 4. Was used for receptions and music ii. Has a palace of lions iii. Contains different palaces, gardens, wtaerpools, fountains and courtyards iv. Palace of lions 1. Separate building that was connected later AP Art History Course Study Guide v. vi. vii. viii. c. Form: i. ii. iii. iv. v. vi. vii. viii. 2. Arched over patios that encircles a marble fountain 3. Contained resident halls with star motifs The Partal Palace aka the Portico 1. Portico in the center of the arcade and at the edge of the pool Comares Palace 1. Arched grill allows light in 2. Walls have inlaid tile with geometric pattern 3. Salon de Comares (hall of ambassadors) Jannat alafia (means paradise and garden) Vegetables and ornamental objects in the garden Covered with decorations A lot of rhombus geometric forms and calligraphy Fake arches Rich ceramics and plasterwork Intricate carved wooden frames Murqunas holding up the ceiling Hall of kings Mocrabe vault can be seen in the Hall of two Sisters Ornamental elements 1. Carved stucco decoration 2. Reflecting water 3. Shaded patios 4. Courtyards and gardens d. Function: i. Palace for the Nasrid Sultans ii. Medina (city) 66. Annunciation Triptych (Merode Altarpiece) (Tournai, South Netherlands. c. 1427-32 CE. Made by the Workshop of Robert Campin. Oil on oak) a. Context: i. Campin was a successful painter in Northern Europe ii. Annunciation was painted first then the side doors were added b. Content: i. Center scene is Mary and Gabriel ii. Gabriel appeared to Mary to tell her about her becoming pregnant with Christ iii. The drapery has sharp folds fell onto unseen bodies and floor iv. Shiny pot = Mary’s virginity v. Many object representing incarnation vi. The holy spirit coming to the window holding the cross AP Art History Course Study Guide vii. viii. The patrons (husband and wife) are on the left of the painting kneeling in a wall garden (also a representation of Mary’s virginity) Joseph on the right making tools in a workshop c. Form: i. 25 ⅜ x 46 ⅜ - overall ii. Attention to detail 1. Shin nail 2. Rust 3. Shadows iii. Realism iv. Not in perspective v. Not mathematically correct vi. The table shows double perspective vii. Oil on oak d. Function: i. Can be folded and carried ii. To aid in private devotion 67. Pazzi Chapel (Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) 1429-1461 C.E. Masonry) a. Context: i. Commissioned by the Pazzi family ii. Part of the basilica di Santa Croce iii. Mostly centrally-planned space iv. Reminiscent of the Pantheon floor plan v. Inspired by Roman temples b. Content: i. Corinthian columns ii. Fluted pilasters iii. Pendentives with roundels iv. Small barrel vaults v. A dome that has a halo of windows and a oculus c. Form: i. Uses the Pietra Serena Stone ii. Perfect geometry iii. Very orderly d. Function: AP Art History Course Study Guide i. A chapter house = a meeting for monks ii. A burial site for Pazzi family iii. A representation of the power and devotion of the Pazzi family 68. The Arnolfini Portrait (Made by Jan van Eyck. c. 1434. Oil paint on oak panel) a. Context: i. Made during the Northern renaissance and Italian Renaissance ii. Made by Jan van Eyck b. Content: i. Wife and husband joining hands ii. One candle in the chandelier is a symbol of God’s presences iii. dog= a sign of fidelity iv. Man raises hand as in swearing to an oath v. Shoes were removed vi. Prayer beads on the wall vii. Roundels on mirror viii. Jan Van Eyck signature 1. Acting like a witness 2. Mirror reflection of serval human figures in a doorway ix. Double portrait of an already married couple x. Shows off their wealth 1. Oranges 2. Expensive furs 3. Carpet 4. Gathered skirt - women is not pregnant c. Form: i. Lacks perspective ii. Glazing iii. Greater attention to detail d. Function i. Documentation of a wedding 69. David (Donatello 1440-1460 C.E. Bronze) a. Context: i. Donatello displays classical knowledge of contrapposto/large-scale bronze casting of the ancient world ii. During the Middle Ages: had not seen human-scaled bronze figures until the David=first free-standing nude figure since classical period iii. Middle Ages: a period when the focus was on God and the soul and didn't create nude art iv. It was place in a niche high up in the buttresses of the Cathedral of Florence AP Art History Course Study Guide v. It depicts the bible story of David and Goliath, from the old Testament b. Content: i. 5 feet tall, bronze ii. Contrapposto: natural stance similar to the Greek/Roman iii. Free standing: detached from architecture, gives it freedom to move in the world, show expression, and communicate with you+contrapposto=humanistic iv. Shows both thoughtful/Pride emotions c. Form: i. Downcast eyes+the lids are half closed=not an expression of victory ii. Subtle pride: the facial muscles are relaxed, the mouth is slightly closed+smile small iii. Right hand holds the sword that he used to cut off Goliath’s head d. Function: i. Represent the story of David and Goliath ii. Tells Christian followers that God’s might will help you through any challenges you face 70. Palazzo Rucellai (Florence, Italy. Leon Battista Alberti(architect) 1450 C.E. Stone Masonry) a. Context: i. Constructed as part of the “building boom” after the Medici family built their own ii. The Palazzo was never actually finished- only ¾ of the original plan was constructed iii. Partly based on the Medici Palace (and it’s three facade design) b. Content: i. Includes the Rucellai family seal (a diamond ring with three feathers coming out of it) ii. Nearly every piece of Palazzo’s design is pulled from ancient Greek and Roman architecture iii. Has: cross-hatching, large blocks of stone, post-&Lintel portals, rectangular windows, all straight lines iv. The Loggia: Caddy-cornered to the Palazzo Rucellai 1. A large open space, with rounded archers, corinthian capitals, colonnades, pilasters c. Form: i. Emphasis measure and harmony ii. All about horizontality: the higher the floor the more intricate and fancy it becomes iii. Building has 4 floors AP Art History Course Study Guide d. Function: i. Created to house the Rucellai family ii. It depicts the physical representation of the family’s wealth, status, power, and importance 71. Madonna and Child with Two Angels (Fra Filippo 1465 C.E. Tempera on wood) a. Context: i. The Medici family commissioned it ii. Florence was rich during iii. Growing middle class b. Content: i. Very simple halos (thin white/ yellow circle) ii. Mary 1. Sculptured face, fair, blonde hair, small mouth 2. Translucent headpiece 3. Green dress with ruffles and button 4. Sits on ornate furniture 5. Jeweled crown iii. Angles 1. Playful 2. Angel foreground smiling 3. Angels holding up Christ as he kneels 4. Wings = seem wooden 5. Golden hair (similar to Christ) iv. Christ 1. Small, chubby baby 2. Kneeling on angels 3. Fair and blond 4. Arms stretching towards Mary 5. Wearing a cloth v. Frame of window becomes frame of painting c. Form: i. Playful - no gold, not solemn and not traditional medieval d. Function: i. Medici family paid for this art to show poetry, wealth ii. Also used as a reminder of Christ’s story 72. Birth of Venus (by Sandro Botticelli. c. 1482-6. Tempera on canvas) a. Context: i. The painting depicts Venus, the Roman goddess of Love AP Art History Course Study Guide ii. Back then, images of nude women were only tolerated in 2 contexts: educational or mythological b. Content: i. Venus is standing atop of a white shell, golden hair, pale skin, entirely nude but covering her lower body to incite modesty ii. Venus is accompanied by an attendant with a cloth to cover her (Far right) iii. Zephyr and Aura, wind sprites, blowing wind from the far left c. Form: i. She stands casually ii. Flexible, skeletal structure (her body) iii. Lots of folds and lines that intersect with one another: waves, seashells, clothes 1. This indicates movements d. Function: i. Served a 2 purposes: 1. Mythical and educational ii. Artist revealed in his own creation 73. Last Supper (Lenordo da Vinci 194-1498 C.E. Oil and tempera) a. Context: i. Da Vinci was born in Florence, Italy ii. Painted this during high Renaissance time iii. Missing halos which was popular at that time iv. Narrative of a Biblical event b. Content: i. Christ tells the 12 apostles sitting with him that one of them will betray him during a seder at passover ii. The apostles have extreme reactions iii. Chaos erupts iv. One apostle remains calm and collected showing his divinity v. Jadus looking down ashame as he reaches the same bowl as Christ vi. Peter rushes to defend Jesus with a knife against the betrayer vii. John closes his eyes viii. Thomas questions God ix. Phillp points to himself in grief x. James tries to calm down everyone xi. 3 windows, 4 groups of 3 apostles c. Form: i. Oil and tempera and lead white ii. Double layer of dried plaster AP Art History Course Study Guide iii. iv. v. vi. vii. viii. Uses linear perspective Strong sense of depth The vanishing point is behind Christ’s head Chirst’s body is a triangle shape Individualized facial features and characteristics Sfumato technique- use of glaze in slightly different tones to depict light and dark) d. Function: i. Monks would eat slightly in front of the painting for contemplation ii. Shows the flaws of humanity 74. Adam and Eve (Albrecht Durer 1504 C.E, Engraving) a. Context: i. Albrecht 1. Born in1471 in Francnian city of Nuremberg 2. Revolutionized print making 3. Christian b. Content: i. The two figures (Adam and Eve) nude ii. Four animals in left corner symbolizing Phlegmatic (ox), Sanguine(rabbit), Melancholic (elk), and Choleric(cat) ( the four Humors) iii. Ancient belief that humans possessed all four of the humors iv. Showed the connection between humans and animals v. The figures are setting off into the woods with plants and animals vi. Adam holds a mount of ash (the tree of life) vii. Eve picks an apple from the tree with fig leaves viii. The serpent gives the forbidden fruit into Eve’s hand ix. Opposed by a parrot (symbol of wisdom and virgin birth of Christ) x. Mouse =male weakness xi. Mountain goat= lust and damnation xii. serpent= evil xiii. parrot=salvation c. Form: i. Woodcut engravings ii. Proportional bodies iii. Vitruvius: the proportions of the face (the distance from forehead to chin) iv. Contrapposto v. Naturalism AP Art History Course Study Guide vi. Nearly symmetrical poses d. Function: i. Story telling of the story of Adam and eve from the bible 75. Sistine Chapel ceiling and altar wall Frescoes (Vatican City, Italy. Michelangelo. Ceiling Frescoes : 1508-1512 C.E. altar frescoes : 1536-1541 C.E) a. Context: i. Michelangelo started the mosaics and frescoes in 1508 ii. Worked on it for 4 years iii. The chapel went through controversial cleaning of soot and grime iv. b. Content: i. The ceiling 1. Figure were large in size and presences 2. No images of Christ 3. Influence of Greek and ancient Roman styles 4. Richly colored 5. 9 Biblical scenes in chronological order placed horizontally a. Noah is drunk, The great flood, Noah and his family make a sacrifice after the flood, Adam and Eve are tempted, God creates Eve, God creates Adam, God divides the water from the Earth, God creates the Sun and the planets, God divides light from darkness 6. Scenes are covered with prophets and sybils (pagan soothsayers that foretold the coming of Christ) 7. Scenes of the salvation of Israel 8. The four architectural corner of nine biblical scenes are nude male figures called iguni ii. The Delphic Sibyl 1. Her body has a circular composition (shows grace and elegance and harmony) 2. Looks as if she is coming out of the wall 3. Idealized body iii. The Deluge 1. The physical space between water and the sky (separated into 4 narratives) 2. Used to make viewers question why God killed the whole population of Earth except for Noah and his family AP Art History Course Study Guide 3. Shows group of people finding shelter 4. A small boat 5. Men working to build an ark c. Form: i. Every surface (floor, ceiling, and walls) are covered with mosaics ii. Very realistic figures and idealized beauty iii. Emphasis of muscular autonomy d. Function: i. Where the College of Cardinals determines the next pope ii. Story telling of the biblical events 76. Schools of Athens (Stanza della Segnatura, the Vatican, Rome, Italy. c. 1509-1511. fresco) a. Context: i. Created during high Renaissance in Rome ii. A few years before the Protestant Reformation (which brought uncertainty about salvation) iii. Was originally named Philosophy because of the bookshelf that held Julius II’s collection of philosophy books iv. Drew inspiration from Ancient Roman architecture b. Content: i. The four walls show the four branches of human knowledge (Philosophy, Theology, Poetry, and Justice) ii. The ceiling is model after the Sistine chapel ceiling iii. All of the great thinker are gathered together (ex: Plato, Aristotle, Euclid, Baramate) iv. The central vanishing point of the painting is the space between v. Has sculpture of Apollo and Athena vi. Heraculities writing on tilted rock c. Form: i. Raphael added a left and right vanishing point ii. Linear perspective iii. Use orthogonals in the pavement d. Function: i. A tribute to famous philosophers and thinkers in Rome ii. Also a payer that their knowledge will be passed down to the pope 77. Isenheim AltarPiece (Matthias Grunewald 1512-1516 C.E. Oil on wood) a. Context: i. Isenheim hospital was run by Brothers of St. Anthony ii. Predella - the bottom part in the altarpiece AP Art History Course Study Guide b. Content: i. The left picture: ii. Left side - red robe figure standing next to the crucifixion iii. Middle 1. Christ is centered and crucified ( very dramatic) 2. Hanging down from the cross 3. On Christ’s left - three people: two women looking up (in anguish), one person holding the women wearing white 4. On the right of Christ - red robed man and a dog 5. Right side- red and blue robed bearded, old man carrying a staff iv. Pradella 1. Jesus’s dead body being held up by other people next to a grave v. The right picture vi. Left picture: a woman looking up at a robed figure vii. Middle: 1. Left side: woman wearing pink dress playing a guitar 2. Right side: Mary and Christ (as a child) in a landscape (blue sky and orange sun) viii. Left picture: panel is closed ix. The virgin is swooning into the arms of St. John, John the baptist motions towards Christ, Lamb of God is shown, Mary Madelgane is crying, St. Sebastian and St. Anthony x. Right picture: open xi. Annunciation, Virgin and child, Resurrection (fireball) xii. Angels playing music for Christ’s birth c. Form: i. 9 ½” x 10 9” ( just central panel) ii. Oil on wood d. Function: i. Object of devotion ii. Fully opened on special occasions 78. Entombment of Christ (Jacopo da Pontormo. 1525-1528 C.E. Oil on wood) AP Art History Course Study Guide a. Context: i. Placed in the church entrance way above the altar ii. Early mannerist style iii. Mannerist style- after the Renaissance and before Baroque period iv. In the Capponi chapel of Santa Felicita, Florence v. Protestant Reformation b. Content: i. Mournful atmosphere ii. The fresco beside it shows the annunciation; this shows the end iii. Mostly people iv. Unnatural body positions v. Exaggerated emotions and facial features vi. A lot of movement c. Form: i. Oil on wood ii. Elongated figure d. Function: i. Altar piece 79. Allegory of Law and Grace (Lucas Cranach the Elder. c. 1529. Woodcut and letterpress) a. Context: i. Located in Germany ii. Made during Northern Renaissance iii. Influenced by the Lutherian reformation b. Content: i. explain s the Lutherian ideas ii. Heaven is reached through faith and god’s grace iii. Luther rejected the idea of Catholicism where good deeds got you to heaven iv. Led to conflict (rebellion and destruction against the Catholic church) v. Two nude figures on both sides of a tree vi. Law (left) = dying tree vii. Gospel (right)=living tree viii. Six columns of of Bible citations ix. The Law side: 1. Law & judgement - man being forced into hell by Death(skeleton) and Satan (demon) 2. Moses delivering the ten commandments (holding a white tablet) AP Art History Course Study Guide x. 3. White tablet stands out against the orange rope and green tree 4. Held by Luther 5. Christ sitting in judgement 6. Adam and Eve eating the forbidden fruit 7. Motifs - law alone, without gospel cannot get you to heaven Right Gospel side 1. Grace and gospel with Christ’s cross crushing Death and Satan 2. John the Baptist directs a naked man to Christ on the cross in font of a tomb 3. People covered in the blood of Christ 4. Nude figure wishing not to follow the law of judgement 5. Law paves the way for salvation 6. Judge (condemns human sins) 7. Show mercy and forgiveness 8. Includes events from the Old and New Testament c. Form: i. Woodcut and letterpress ii. Oil on wood d. Function: i. To spread Lutheran Reformation 80. Venus of Urbino (Titan 1538 C.E. Oil on Canvas) a. Context: i. Perfect Ventian Art: the movement of art in Venice was shown with it's deep rich colors and use of shadows and use of light. Glazing techniques were used to create subtle changes in gradient and level ii. Venice during this time was a stable republican government that allowed lots of trade and had the ability to invest in artists b. Content: i. Nude women (Venus), Woman makes eye connect with the viewer ii. Venus was a symbol of beauty, Venus has very small and unrealistic feet iii. dog symbolizes fidelity iv. Child and maid - motherhood c. Form: i. Oil on canvas ii. Layers of oil paint to show shade and lighting d. Function: i. Duke Urbino Guidobaldo II Della Rouvre gave this as a gift to his wife AP Art History Course Study Guide ii. The painting reflect how the wife should be to the husband (sexually and respectful 81. Frontispiece of the Codex Mendoza (Viceroyalty of new Spain 1541-1542 C.E ink and color on paper) a. Context: i. The codex contained information about the Aztec Empire and the lords of Tenochtitlan ii. Frontispiece- an illustration facing the title of the book iii. Antonio de Mondoza commissioned the codex iv. Tenochtitlan was created on lake Texcoco v. Tenoch, ruler of the Mexicas, died in 1363 b. Content: i. Frontispiece 1. Schematic diagram of Tenochtitlan (place of the prickly pear cactus and stone) 2. Showed city divided into four parts aligned with the cardinal sign (north, south, east, west) 3. City made of canals 4. Aztec myth of the hummingbird (Huitzilopchtli): a deity that told aztec ancestors to move from Aztlan (the original home of the Aztecs) and to find a place with an eagle on top of a cactus growing out of a rock when they see this settle and build a city 5. Center: a. The eagle sitting on a cactus growing out of a rock 6. Under cactus and rock is a war symbol 7. Above the eagle is the symbol of a temple (might be templo Mayor) 8. Next to eagle (the right)= a skull rack (Tzompantli) this was found near Templo Mayor 9. Maize was important to the Aztec people 10. Tenoch: a. 10 men, wearing white garments and top knots, depicted in the four quadrants b. The men who lead the island c. Name glyphs attached them to pre-Columbian manuscripts 11. Priest: a. Seated on the left side of the eagle AP Art History Course Study Guide b. Has gray skin and red marks on face c. Name glyphs identifies him as “tenoch” d. Has a speech scroll coming out of his mouth( represents to listen to him because he speaks the word of god) and he is sitting on a woven mat e. Bloodletting from ear for the gods 12. All around the page has year glyphs ( total of 50) 13. Year marked for fire ceremony 14. Twenty - six years after Tenochtitlan creation marked 15. Two scenes of military conquest 16. Obsidian bladed swords ( macana) 17. Burning of temples of the Colhuacan and Tenayuca who were defeated c. Form: i. Ink and color on paper d. Function: i. Emphasized the power of the Aztecs ii. Tribute to the aztecs 82. II Gesu, including Triumph of the Name of Jesus ceiling Fresco (Rome, Italy. Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist). Church: 16th century ce; facade: 1568–1584 ce; fresco and stucco figures: 1676–1679 ce. Brick, marble, fresco, and stucco) a. Context: i. Gesu is the french name for mother church ii. Designed by Giacomo da Vignola and Giacomo Della iii. Ceiling fresco was made by Giovanni Battista Gaulli iv. Saint Ignaticus of Loyola, the founder of the newfound Jesuit religion, needed a church to serve as the religion’s center b. Content: i. Single aisle church ii. Church is in cruciform plan ( the transept is not that long) iii. The church has a dome over intersection of the large nave and transept iv. Dark interior v. Dependent in natural light from vi. Mix on rational and Baroque style focused on altar vii. Renaissance columns AP Art History Course Study Guide viii. Corinthian columns ix. spolia c. Form: i. Brick, marble, fresco, and stucco d. Function: i. Served as the original church for Jesuits ii. Illustrated the beliefs of the Jesuits 83. Hunters in the Snow (Vienna, Austria. c. 1565. Realist Period. Pieter Bruegal. Oil paint on wood panel) a. Context: i. A secular painting ii. One of six works in a series called Months of the Year iii. Northern Renaissance b. Content: i. Figures and houses painted in earthy tones ii. Homogenized figures iii. Hunters return from an unsuccessful hunt (sulky faces) iv. Despair mood in the foreground v. Aerial perspective c. Form: i. Contrapposto ii. Contrasting colors iii. Sharp forms iv. Little bit of atmospheric perspective d. Function: i. Represents both the hardships and the enjoyments of winter ii. Showcases everyday activities 84. Mosque of Selim II (Edirne, Turkey. Sinan (architect). 1568–1575 ce. Brick and stone) a. Context: i. Patron: Sultan Selim II ii. During the classical Ottaman period iii. Sinan was the chief court architect b. Content: i. Two symmetrical square madrasas AP Art History Course Study Guide ii. iii. iv. v. vi. vii. viii. ix. Square prayer hall at the end of porticoed courtyard The ethereal dome- floating in the prayer hall Grand dome rest on eight murquanas Qibla- the wall that faces Mecca, that projects forwards Buttress supporting the east and west piers( holds the weight of the dome) Muzzin platform:placed under the center dome ( where the leaders lead the worshippers in a chant) not the traditional place Painted interior, iznik tiles, chinese cloud art, polychrome Squinches- construction filling in the upper angles of a square room, base for a octagon or spherical dome Has shops( arasta) and a recitation school Minarets Abundance of windows x. xi. xii. c. Form: i. 190x 130 meters ii. Made out of stone, brick, and marble d. Function: i. Made to show the greatness and wealth of the Ottoman Empire 85. Calling of Saint Matthew(Caravaggio. c. 1597–1601 ce. Oil on canvas.) a. Context: i. The Counter-Reformation 1. The Catholic Church reacted against the Protestant Reformation ii. The Baroque Style 1. Theatrical action 2. Diagonal lines 3. Gritty realism b. Content: i. Biblical story of the calling of Saint Matthew ii. Takes place in a tavern or pub like environment iii. Characters dressed in contemporary clothing of that time period AP Art History Course Study Guide iv. v. Light has an important role 1. Creates an ethereal glow 2. The light follows from Christ’s fingers Second Adam? 1. Jesus’s hand mimics the Michelangelo’s hand of God in “The Creation of Adam” 2. Jessu is sometimes referred to as “the second Adam” c. Form: i. Oil on canvas ii. Located in the Contarelli chapel, Rome d. Function: i. Didactic element 1. Portrays the story of The Calling of Saint Matthew 2. Taught from the catholic perspective ii. Makes the viewer experience the painting (“Catholic Way”) 86. Henri IV Receives the Portrait of Marie de’ Medici from the Marie de’ Medici Cycle (Peter Paul Rubens. 1621–1625 ce. Oil on canvas.) a. Context: i. Inspiration : Titan from the Renaissance period ii. Known for painting the body in dramatic and contorted positions iii. The 6th painting in a series of 24 paintings iv. King Henry IV was assassinated in 1610 v. Led to the rule of Louis XIII vi. Marie was exiled in 1617 vii. Divisions in the french court viii. Marie had these paintings do for propaganda ix. Marrie and Henry’s actual marriage was filled with cheatings/infidelities x. Henry IV was under attack by the Catholic church xi. Henry IV was in debt to the Medicis b. Content: i. Winged Gods of marriage ( hymen which is on the left) and Love (cupid on the right) AP Art History Course Study Guide ii. iii. iv. v. vi. Hymen hold a flaming torch in his left hand( symbol of passion or love) Cupid motions toward Marie and praise her beauty/worth Henry IV looks at her adoringly Jupiter and Juno look down in approval holding hands and surrounded by their animal symbols ( eagle with a thunderbolt - Jupiter & peacock- Juno) Personification of France behind Henry encouraging him to marry Marie( for politics) 1. France looks on with approval 2. Lady France wears a plumed helmet and blue robe with fleur- de-lys 3. Lady France whispers into Henry’s ear a. Telling him to ignore his battles and to marry Marie for political reasons b. Henry obliges c. The remains of Henry’s battle is a burning town which lies in the background c. Form: i. Oil on canvas ii. Strong vertical axis running through the painting from Juno( Hera) to Marie de’Medici iii. Classical style d. Function: i. Propaganda idealizes Marie’s actual life ii. Political reasons iii. Religion reasons 87. Self-Portrait with Saskia (Rembrandt van Rijn. c. 1636 C.E. Etching) a. Context: i. Rembrandt was a famous etchere during his time ii. He was a very experimental artist AP Art History Course Study Guide iii. His style changed throughout art career iv. He did not often create self portraits b. Content: i. Is a portrait of Rembrandt and his wife Saskia, two years after they got married ii. It seems to be an intimate moment iii. Has two circles in the background c. Form: i. Used a copper plate eroded by acid ii. Etching plate iii. Illusion of depth with body placement d. Function: i. Private artwork 88. San Carlo alle Quattro Fontane(Rome, Italy. Francesco Borromini (architect). 1638–1646 ce. Stone and stucco) a. Context: i. Baroque style: undulating movements and sculptural effects, eliminated the corner in architecture ii. Borromini built it for free iii. Commissioned in 1634 iv. Built from 1638-1646 v. Borromini was an Italian architect who suffered from melancholia (a type of depression with ill-founded fears) b. Content: i. Facade: undulating waves, upper part=concave bays, sectioned entablature ii. Center is oval shaped, held up by asymmetrical placed angels iii. Upper facade completed after Borromini’s death iv. Lower stories consist of 2 outer concave and convex center v. Connected with an entablature vi. Has a central niche above one portal 1. Has a statue of St. Charles Borromeo which was created by Antonio Raggi 2. Beside the statue are the founders of Trinitarian order (St. John of Matha and Saint Felix of Valios) vii. Dome 1. Windows at the base AP Art History Course Study Guide 2. coffering= circles with octagonal molding, unequal hexagons, and Greek crosses 3. Contains tall columns and small niches 4. Convex and concave structures 5. Paradox of imagination ( emotion vs. intellect) Symmetrical decorations Numerous carvings Cherubs viii. ix. x. c. Form: i. Facade with 3 Bays ii. Plan 1. A diamond inscribed into a oval 2. Intersecting circles 3. Numerous curves ( no right angles) iii. Stacking three distinct units 1. Middle zone is an original Greek cross plan 2. Combination of precedent and novelty 3. Oval dome 4. Illusionistic effects d. Function: i. Dedicated to St. Charles Borromeo and the Holy Trinity 89. Ecstasy of Saint Teresa(Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. Gian Lorenzo Bernini. c. 1647–1652 ce. Marble (sculpture); stucco and gilt bronze (chapel)) a. Context: i. Artist: Gian Lorenzo Bernini ii. Location: Church of Santa Maria della Vittoria iii. Baroque period iv. Religious v. About Saint Teresa of Avila (who lived in the 16th century) vi. Cornaro chapel - grouping of patrons that are depicted watching Saint Teresa’s revelation b. Content: i. Golden arrow pointed at the heart of Saint Teresa ii. Rays of sun (holy light of God) iii. Saint Teresa with an angel iv. St. Teresa body’s contorted, twisting feet and hands AP Art History Course Study Guide v. Rocks surrounding the base to support and add a buffer vi. Expressive folds of fabric c. Form: i. White marble that was carved with a chisel ii. Realistic iii. Wet drapery look iv. Expressive and emotional d. Function: i. Virtual representation of Saint teresa when she was brought to god 90. Angel with Arquebus, asiel Timor Dei (Master of Calamarca (La Paz School). c. 17th century ce. Oil on canvas. ) a. Context: i. Made in the late 17th century in the viceroyalty of Peru (a Spanish colonial administration) ii. Created after the first missionizing period( forcing indigenous people to convert to Christainity) iii. Most likely apart of a series b. Content: i. Depictions of androgynous angel waering stunning clothes holding a harquenas (a type of gun) ii. Harquenas is a gun with a large barrel c. Form: i. Oil on canvas d. Function: i. Made to represent celestial, aristocratic and military beings all at the same time ii. Used to represent the power, connection to god, and political power of the Spanish government 91. Las Meninas (Diego Velázquez. c. 1656 ce. Oil on canvas.) a. Context: i. Used to be housed in the royal palace called Royal Alcazar of Madrid ii. He was inducted into the Catholic organization called the Order of Santiago iii. To compensate for the family’s incest he put them in elaborate clothes iv. Velazquez was the court artist b. Content: i. The characters stare into the eyes of the viewer AP Art History Course Study Guide ii. iii. iv. Painting of Ovid’s the metamorphosis hangs in the background ( story of gods wrestling with mortals) Illusion of space, depth and perspective In the center is the princess, maids of honor, palace of official, chaperone, dog, dwarf (hired to be friends with the children), and other attendants The painting is set in his studio Paints a palette with raw paint v. vi. c. Form: i. 318x 276 cm ii. Oil on canvas iii. Currently located in Museo Nacional del Prado, Madrid iv. Uses loose brushstrokes v. Uses scientific and aerial perspective vi. Many light sources are shown in painting d. Function: i. Made for the King and queen to view ii. To show ethereal perfection, wealth, but showed some informal aspects 92. Woman Holding a Balance (Johannes Vermeer. c. 1664 ce. Oil on canvas.) a. Context: i. Baroque period ii. The origins of the painting is linked to Pieter de Hooch’s Gold weighter iii. Vermeer trained with a master painter that was apart of the Guild of Saint Luke iv. The painting takes place in 17th century v. 1664 was the year before the second Anglo-Dutch war b. Content: i. The woman is dressed in fine cloth and a cap made of linen (commonly worn by women who are at home) ii. She is apart of the upper merchant class iii. Wearing a fur trimmed jacket iv. Opposite side of her is a window with golden curtains and a mirror v. Right hand has a balance vi. There is nothing on the balance vii. There are boxes on the table in front of her 1. One is open (most likely had been containing the balance) 2. A box with a string of pearls 3. One with coins (indication of wealth) AP Art History Course Study Guide viii. ix. Behind her is a painting of Christ during the Last Judgement ( serves as judge over souls) Her head divides the blessed ( the light side of her head)and the people that are doomed to go to hell ( the dark side of her head) Light give sense of motion Dark gives sense of stillness She is not pregnant just bulky clothing x. xi. xii. c. Form: i. Her pinky is the vanishing point ii. Center of the painting =center of the balance iii. Has a lot compositional control ( in color means) iv. Soft swirl painting style v. Muted colors d. Function: i. Showed wealth and piety (worldly possessions and Christ in the back) ii. Sign of self knowledge and truth 93. The Palace of Versailles(Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 ce. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens.) a. Context: i. Construction began in 1661 completed around 1682 ii. The staff: 1. Louis le Vau - chief architect a. Built the Grand facade and the Queen and King apartments b. Built the park’s Orangerie and Menagerie c. Adopted the italian “invisible roof” hidden by trophyadorned balustrade d. Balustrade- a railing supported by ornamental parapets 2. Andre le Notre - landscape designer of the gardens 3. Charles le Brun- interior decorator and painter 4. Jules Hardouin Mansart -favorited architect did later construction 5. Jean- Baptiste Colbert- principal advisor of the KIng 6. Hyacinthe Rigaud: Painter to the French King 7. Pierre Puget: Sculptor; his works are in the King's Gardens 8. Louis XIV patron b. Content: i. Satellite city to the East of the palace 1. Housed a court and government officials, military and guard detachments, courtiers, and servants AP Art History Course Study Guide 2. Extremely detailed and ornate 3. Hall of mirrors ( a.k.a Galerie des Glaces) a. Had gold and silver furniture b. Walls inlaid with mirrors c. Used for festivals and parties 4. Gardens a. Visible from the Hall of mirrors( central axis lined with trees, terraces, pools, and lakes) b. Formal gardens served as a transition from the ordered, man- made palace to natural gardens c. Change depending on the seasons and location d. Very neat and organized 5. City’s 3 main avenues axis converged at the King’s bedroom a. So he can keep an eye on high ranking officials b. The king’s bedroom was an informal audience room c. Form: i. Stone, marble, glass, gold, silver, wood, gardens ii. Palace consist of 700 rooms iii. 2153 windows iv. 2000 acres of garden d. Function: i. Emphasized the importance and power of King Louis XIV ii. Used to host parties and military agreements iii. To compared the king’s wisdom to the God, Apollo iv. Symbolized power of the absolute monarch 94. Screen with the Siege of Belgrade and Hunting Scene (Circle of the González Family. c. 1697–1701 ce. Tempera and resin on wood, shell inlay) a. Context: i. Spanish piece AP Art History Course Study Guide ii. iii. Commissioned by Jose Sarmiento de Valladares Only known artwork that combines biombos and encapuchados b. Content: i. Depicts the Battle of Belgrade (1688) ii. A hunting scene in nature iii. Influenced by Japanese folding screens (New Spain was in trade with Japan) c. Form: i. Style: Spanish Colonial, Flemish, Dutch d. Function: i. To be placed in the viceroy's palace as a decorative piece ii. Intended to be viewed by two different audiences 95. The Virgin of Guadalupe (Virgen de Guadalupe) (16th century, oil and possible tempera on maguey cactus cloth and cotton. Basilica of Guadalupe, Mexico City) a. Context: i. Found everywhere in Mexico ii. Made during Spanish colonization and missionary period b. Content: i. May represent Mary because of grey skin color ii. Acts as a devotion to Guadalupe iii. The virgin of Guadalupe was thought to have stopped the flooding of Mexico city iv. Has a mass in her honor on december 12 v. Paid her reverence vi. It is a replica vii. Enconchado- mother in pearl inlaid ( for this artwork wood) viii. Has an iridescent surface ( suggest heavenly and the divine) ix. Sunlight beams behind her x. There are stars in her cloak ( that image comes from the book of revelation) xi. Below her, she is being supported by an angel xii. The virgin appear before a man Jaun Deigo ( an indigenous man) and tells him to go to bishop and put a shrine to her on the hill where they met ( Hill of tepeyac) c. Form: i. Oil and maybe tempra on cactus cloth and cotton d. Function: AP Art History Course Study Guide i. For religious purposes and dedication 96. Fruit and Insects (Rachel Ruysch. 1711 ce. Oil on wood.) a. Context: i. During renaissance ii. Rachel Ruysch was born to the wealthy family in Amsterdam iii. First successful female artist during the Baroque period iv. She specialized in still life b. Content: i. A still life of fruits, vegetable and insects ii. In the Autumn iii. Grapes =blood of christ iv. animals= naturalism v. Illusion and realism throughout painting c. Form: i. Oil on wood ii. Still life painting iii. Realistic iv. Vibrant colors v. Uncommon subjects d. Function: i. For Rachel Ruysch Cosimo II = a sign of friendship and commonwealth ii. Was sold iii. Painting was for widening merchant class 97. Spaniard and Indian Produce a Mestizo(Attributed to Juan Rodríguez Juárez. c. 1715 ce. Oil on canvas.) a. Context: i. Metizo- a person of European and Indigenous descendant ( most types with father and idigenous mother) ii. First of a series showing mix of races and cultures iii. Casta painting- focus on bad living conditions for families that are mixed racially iv. Also appear darker as they become more racially mixed, b. Content: i. Spanish father and Indigenous mother with a boy holding their child ( the boy that is holding the child is not a son of the two adults) AP Art History Course Study Guide ii. iii. Indigenous mother wearing a huipil( a traditional dress worn by indigenous women) lace sleeves and jewelry Spanish husband wearing french style clothes 1. Hand on baby’s head or wife’s arm 2. The boy(servant ) holding the baby looks upward at Spaniard Family looks calm iv. c. Form: i. Oil painting d. Function: i. Discourage racial mixing because dark skinned people were considered dirty, unattractive and less civilized ii. Tries to show European blood is superior 98. The Tete a Tete, from Marriage a la Mode(William Hogarth. c. 1743 ce. Oil on canvas.) a. Context: i. The second of six painting that make coherent,meaningful story ii. The story revolves around a marriage of the daughter of a merchant to the son of a popular family ( works are know altogether as Marriage a la mode) iii. Set in the mid 18th -century ( the industrial revolution) iv. Aristocracy lost some power to merchants b. Content: i. Translates to face to face ii. Shows the young couple after the forced marriage iii. The husband(Viscount Squanderfield) slouching in a chair 1. Possibly drunk 2. Has a mark of syphilis on his neck 3. Likely has returned form having sex with a woman a. A dog sniffing at a bonnet in his pocket ( sign of fidelity in Renaissance) iv. Viscountess Squaderfield 1. Flirtatious 2. Top of bodice is unbutton( sign that she was inmate with another man) 3. She holds a mirror in right hand above her head 4. She has a stain on her dress 5. Sitting with legs apart v. The guy(pious Methodist) in the middle looks fed up with couple,existing vi. Instrument on floor that has fallen out of the case( music was played for sex and sensuality ) AP Art History Course Study Guide vii. viii. ix. c. Form: i. ii. iii. Classical structure with broken nose Painting of cupid in ruins Painting covered up by curtain Oil on canvas 69.9x90.8 cm Composition 1. Few objects in foreground- the area of the picture/painting nearest to the viewer immediately behind the picture plane 2. Central figure in the middle ground 3. The background consist of a seperate room, architectural features, paintings 4. Area of emphasis - cluttered mantlepiece 5. Vertical( edges of painting and columns) and curvy lines(mostly in arches) throughout painting d. Function: i. Satirical commentary ii. Appeal to middle class