ArtHistoryTest2

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The Erechtheion, Acropolis, Athens

Greek Classical

The Erechtheion, Acropolis, Athens, 421-405 BCE -Rebuild of the Ar

chaic Athena temple that the Persians had destroyed. -multiple shri

nes: Athena, wooden image of Panthenaic festival goddesses, & se

veral other gods & demigods

Erechtheion Plan Greek Classical

Erechtheion Plan -asymmetrical plan unique, anti-thesis of Doric pla

n of harmony - need to incorporate pre-existing features of existing

shrines, trident mark, & olive tree into a single complex

Carytids Greek Classical

Carytids, from the Ionic Erechtheion -replaced ionic columns - suppo

rted flat roof - combined structural, weight-bearing legs with a femi

nine, natural, flexible form.

Temple of Athena Nike Greek Clas

sical

The Temple of Athena Nike, Acropolis, Athens - designed by Kallikra

tes - 4 columns on east & west facades - includes reference to victo

ry over Persians in name & frieze -decisive battle of Marathon -- los

ers shown as humans

Hermes & Dionysus Greek 4th cen

tury

Hermes & Dionysus, Praxtiles - displays common human tender inte

raction - body forms "s" curve, exaggerated contrapposto - Gods po

ssess a beauty mortals can actually aspire to, no longer put on a pedestal of absolute perfection -humanistic

Aphrodite of Knidos, Praxtiles Gre

Aphrodite of Knidos, Praxtiles -1st female nude of Greek art - rejec

ted by commissioner & redone w/ clothes - reflects the sexism still i

n Greek society at the time: woman is hiding her body shyly, caugh

t after a bath in a temporary and private state of nudity.

Mosaic of the Battle of Issus, 310

BCE Greek Hellenistic

Battle of Issus mosaic, 310 BCE -depicts Alexander's conquest of th

e Persian Empire -original: encaustic paint on wood - mosaic shows

the advancements of highlighting & shadowing, naturalism of Gree

k painting, spatial recognition -depicted naturally, not as an allegor

y

Great Altar of Zeus, Pergamon Gr

eek Hellenistic

Great Altar of Zeus, Pergamon -Ionic order, continuous wrap-aroun

d frieze of sculpture of Pergamons & Gauls -very deep relief

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Frieze of the Great Altar of Zeus,

Pergamon Greek Hellenistic

Frieze of the Great Altar of Zeus, Pergamon -depicts the allegory of

the Pergamons as gods and the Gauls as beastly, inhuman giants. -

giants could not be killed if they kept contact w/ Earth's surface; im

age shows Athena grabbing them by the hair to lift them off the sur

face -images of death, pain, & dying-- Hellenistic

Gaul monument, Pergamon Greek

Hellenistic

Gaul Monument, Pergamon: - Gauls are depicted here as perfect &

idealized humans- a right previously reserved for the winners only -

shows the respect for Hellenized neighbors, under the Greek empir

e -identified as Gauls by long, bushy hair & mustaches, and the tor

ques (necklaces) worn. -losers are committing suicide

Typical Etruscan temple Etruscan-

Archaic

Typical Etruscan Temple: - large front porch (only-- no back porch) -

back of building attached directly to precinct wall, forces a frontal v

iew only - columns are at front only, steps located in the center of t

he porch only - set on a podium- elevates temple - 3 separate cella

s for 3 separate gods -"Tuscan Doric Order"--- abacus & echinus, bu

t smooth columns instead of fluted. No base & narrower-- wood inst

ead of stone, lighter material. - roof extends past temple platform t

The Apollo of Veii: -archaic smile, rigid hair -clothed in Etruscan art

(not nude as in Greek) -terra cotta clay - legs spaced widely apart,

as if walking

Sarcophagus at Ceveteri Etruscan-

Archaic

Sarcophagus at Cerveteri: - archaic smile, almond eyes, rigid hair -

etruscan aspect: men and women together - terra cotta clay pot, im

mortalized couple

Tomb of the Reliefs, Cerveteri Etru

scan Hellenistic

Tomb of the Reliefs, Cerveteri: - mimics typical Etruscan mud-br ick

home, with "couches" and other seating arrangements, on which cr

emated remains in pots would sit. - originally pots were plain but gr

adually transformed over the years to reflect the bodies held inside

.

Aule Metele Etruscan Hellenistic

Aule Metele: - "The Orator" -- hand held up indicates he is speaking

- expert bronze statue - Roman magistrate- signifies Rome's artistic

influence at the time & the transition that was taking place

Temple of Portunus, Rome Roman

Republican 509-27 BCE

Temple of Por tunus, Rome: - dedicated to the Roman god of harbor

s - high podium, steps only at front-- Etruscan plan + made of ston

e-- Greek influence = Roman - stucco imitates Greek marble, ionic

columns, pseudoperipteral





Portrait of an old man Roman Rep

ublic

Portrait of an Old Man: - aristocratic patrician, portrayed in the veri

stic (super realistic) style -brutally distinct features - serious, deter

mined, loyal

Atrium of the house of the Vetti, P

ompeii: Roman Republic

Atrium of the House of the Vetti, Pompeii: - Roman domestic archite

cture, typical townhouse - impluvium: collects rainwater - peristyle

garden behind

1st style painting from Samnite Ho

First-Style Painting from the House of the Samnite, Herculaneum: -

aim to decorate by imitating costly marble panels using stucco relie

f -Greek origin, passed to Herculaneum by the Hellenization of the

Greek states

2nd style painting from Bosoreale:

Roman Republican

2nd style painting from Boscoreale: - painted on flat surface, rather

than sculpted plaster - true-to-life architectural elements -columns s

upport tablature -view beyond columns- seascapes, landscapes, cit

yscapes, etc. - no real windows b/c of surrounding structures - highl

ighting, shadowing, spatial & angular methods to provide true persp

ectives

3rd st le aintin at Boscotrease:

3rd style painting @ Boscotrease: - incorporates 1st & 2nd style ch

aracteristics -exaggerated architecture, columns stretched too thin,

not in proper orders - spaces between columns are blank negative

space, sometimes with a small image in the center: chunk of landscape or a bird, etc.

4th style paintings at the Ixion Roo

m, Vetti House Roman Imperial: 27

BCE- 312 AD

4th style paintings @ the Ixion Room, Vetti House: - invented in Ner

o's reign, spread to Vetti - Dada @ bottom imitates stone, plants for

m columns & divide the wall into sheets of solid color with floating i

mages in the middle. -windows seem to be punched through to the

outside

The Augustus of Prima Porta Rom

an Imperial

The Augustus of Prima Porta: - depicts Augustus, 1st Roman emper

or of the imperial period - considered to be one of the most accura

te copies of the classical Doryphoros -- indicates that he is godly

The Domus Aurea Roman Imperial

The Domus Aurea, Rome: - commissioned by Nero - top portion= v

aulted octagon, set on a circular room - inside the imperial palace: j

umble of strange angles - cast concrete: uniquely Roman -room rot

ates, oculus allows light tocome in from ceiling -decorated by fresco

es in the 4th style.





The Colosseum, Rome Roman Imp

erial

The Colosseum, Rome: -feat of practical engineer ing -concrete stru

cture, consists of groin vaults (intersecting barrel vaults) - rooms un

derneath used for storing props & special effects equipment - cover

ed w/ retractable canvas roof - Greek order applied @ practical Ro

man core.

Portrait of Vespasian Roman Impe

rial

Portrait of Vespasian: - Roman general - revived the veristic traditio

n of the Republican era-- great contrast w/ Nero's self-indulgence a

nd extravagance

Forum of Trajan Roman Imperial

Forum of Trajan: - last & largest forum of Imperial period - Trajan: g

reat emperor, general over Barbarian tribes, donated wealth to buil

ding public monuments

The Column of Trajan Roman Impe

rial

The Column of Trajan -supports portrait statue of Trajan - Tuscan Do

ric column with base, except that the smooth part has been replace

d with a band of decoration, depicting hundreds of figures playing o

ut Trajan's battles with Barbarians.

The Pantheon Roman Imperial

The Pantheon: -Roman-style "temple" - instead of a cult statue, the

assumed "cella" is instead a domed room, large enough to hold ma

ny people - ceiling acts as celestial sky & lower part acts as Earth (

Domus Aurea inspired) - functioned as public audience hall & as theDomus Aurea did.

The Equestrian Statue of Marcus A

urelius: Roman Imperial

The Equestrian Statue of Marcus Aurelius: - arm stretched out, act

of clemency - horse's leg once stood on cowering enemy -superhu

man stature- much larger proportionally than a man would be to a

horse.

Christian House, Dura Europos Roman Imperial 27 BCE -312 AD

Christian House @ Dura Europos: - 1st evidence of Christians - loca

ted in the city of the Roman empire, modern-day Syria -fortification

wall surrounds city, with most important buildings and temples @ fo

rum; this house was on the outskirts & near the fortification wall: go

t buried in an attempt to strengthen it from invaders. -secret cult b

uilding, not official temple -mall and modest, most Christians were

poor & lower class -modifications done mostly in the initiation cere

Catacombs of Peter & Marcellinus,

rome Roman Imperial

Catacombs of Peter & Marcellinus, Rome -upper vault area: 3rd styl

e painting- big sheet of white, compartmentalized & decorated with

images -- Jonah & the whale: Jew thrown overboard, swallowed whol

e by a whale & 3 days later is vomitted out; symbolic of the death

& resurrection of Christ





The Arch of Constantine, Rome 31

2-315 Early Christian

Arch of Constantine, Rome - PAGAN not christian (Constantine pers

onally converted in 312, not nationally) - triple arch w/ tons of sculp

ture & relief - imperial portrait pictured becomes formula for repres

entation

Detail of the Arch of Constantine

Arch of Constantine, Rome -imperial portrait - emperor sits in the c

enter, as others stand - face fell off-- would have been made of a p

recious stone or metal

The Aula Palatina, Trier, Ear ly 4th

C. Early Christian

Aula Palatina, Trier, 4th c. - rectangular hall w/ coffered ceilings, ap

se, and raised platform for emperor's throne - became standard lay

out of imperial audience hall basilica

Sarcophagus of Junius Bassus, c. 3

59 Early Christian

Sarcophagus of Junius Bassus, c. 359 - old patrician family of Pagan

era - covered w/ various old Jewish stories & new Christian ones - p

ortrait of Christ--- modeled after imperial portrait

Old St. Peter's, Rome, begun c. 31

9 Early Christian

Old St. Peter's, Rome, 319 - 2nd most important building in Christia

n world (1st: Christ's tomb) - killed as blood-sport entertainment - to

mb developed into lavish structure, basilica - 5 aisles, clerestory wi

ndows, exposed rafters, trasected "T" shape basilica fuses tomb w/audience hall

Santa Costanza, Rome, begun 337

Roman Early Christian

Santa Costanza, Rome, 337 - centrally-planned building -ambulatory

: ringlike barrel vaulted corridor, separated by 12 pairs of columns

-brick exterior

Leaf from the Nicomachi/ Symmachi diptych - 2 panels: possible we

dding announcement - depicts 2 pagan priestesses/ gods in the Greek classical style - attempts to justify the now-illegal religion of Pag

anism through emotional persuasion; "good ole days" & tradition

Hagia Sophia, Constantinople, mid

4th c. (original); rebuilt around 532

Early Byzantine: 527-726 AD

Hagia Sophia, Constantinople - originally built by Constantine in the

mid 4th century as 5-aisle basilica church, but destroyed during a ri

ot in Justinian's rule - rebuilt around 532 AD as centrally-planned bu

ilding, stretched octagon w/ two thrones (bishop & emperor) -vertic

al axis btw. high central dome & floor instead of traditional horizont

al axis - embedded within palace architecture; dual function as city'

s cathedral & emperor's cathedral -decorative nonfunctioning walls





Interior of Hagia Sophia, 532

- divided heaven & earth inside; pendentives (triangular spherical s

egments) make up top half with holy images in golden mosaics, ligh

ts that let natural light in - bottom half represents earth, darker col

ors and mosaics portray mountains, meadows, streams, etc. -Natur

al light acts as stars & planets

San Vitale, Ravenna

San Vitale, Ravenna -true centrally-planned building: dome within a

n octagon, within an octagon -true "Byzantine" church -basket capit

als: lacelike exterior hides hollow inside

Justinian Mosaic, San Vitale, Raven

na Early Byzantine

-panel depicted inside church -mosaic -depict Justinian & wife Theod

ora in "icon" fashion -icons used emperor & God interchangably

functions of an icon portrait

1) intercessory: acts as a intermediary between humans and Gods--

have to pass prayers through lower level saints, all the way up the

hierarchy to Christ. 2) Anagogy: turns attention away from material

world, and into a higher realm.

Icon of the Virgin, Saints, & Angels

San Vitale, Ravenna Early Byzanti

ne

Icon of the Virgin, Saints, & Angels - baby Jesus is only an attribute

to Mary, the central figure, so this is a Virgin Icon - accompanied by

lower level saints, higher saints, angels, and the hand of God, whic

h is speaking down to Earth. Shows the lineage prayers must follow.



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