Art History Flashcards
-stones with charcoal drawings of animals-geometric designs - 4-5"
Form of Apollo 11 Stones
30,000 BC - 9,000 BC
Paleolithic
sculpture which projects from a flat background. a very shalow relief sculpture is called a bas-relief
relief sculpture
- found in Apollo 11 caves in Namibia
Context of Apollo 11 Stones
8,000 BC - 2,300 BC
Neolithic
-sacred place (deep in a cave)- in situ-not a dwelling because the creators of these were nomads-Paleolithic Europe- Lascaux, France
Context of Great Hall of the Bulls
A groove cut into stone/wood that is shaped to receive a projection of the same dimensions
Mortise and Tenon
a carving in which the outlines of figures are deeply carved into a surface so that the figures seem to project forward
sunken relief
-naturalistic charcoal drawings in a cave-natural materials: plants, charcoal, iron ore-twisted perspective- human are stick figures while animals are realistic looking
Form of Great Hall of the Bulls
- to show an animal ritual (very unusual to find pictures of humans/hunting)-ancestral animal worship
Function of Great Hall of the Bulls
a building with an elongated ground plan
axial plan
- pictures animals in motion- pictures on top of pictures (all from different artists from many time periods)-cows, bulls, horses, deer -650 paintings
Content of Great Hall of the Bulls
-found in a tomb in Mexico (MesoAmerica)-14000-7000 BCE
Context of Camelid sacrum
a column that is not freestanding but attached to a wall
Engaged column
- carved bone
Form of Camelid Sacrum
base line upon which figures stand
ground line
-spiritual mask-house spiritual essence of a hunted animal
Function of Camelid Sacrum
- sacrum bone (hip bone) carved in shape of a canine/wolf
Content of Camelid Sacrum
- canyon painting (layers of painting from different times so makes it hard for carbon dating)- Large black female with horns and white details-depicts motion
Form of Running Horned Woman
- show this person as holy or a god because of the horns
Function of Running horned woman
the front of a building.
facade
the top element of a column
capital
- shows a woman with horns running- dots on her body represent body painting- shows a deity wearing ceremonial headgear?
Content of Running Horned Woman
empty space around an object or a person, such as the cut-out areas between a figures legs or arms of a sculpture
negative space
- Susa, Iran in 4200-3500 BCE-neolithic-new technology: use of potter's wheel
Context of Bushel with ibex motifs
-dog figures, mountain goat, cranes
content of Bushel with ibex motifs
-painted terra cotta, clay- geometric forms - set in registers, controlled and repeated planar composition
Form of Bushel with Ibex Motifs
a deep blue stone prized for its color
lapis lazuli
-sandstone stele-stylized human depiction
Form of Anthropomorphic stele
-found on trade routes in the Arabian Peninsula, Saudi Arabia-fourth millennium
Context of Anthropomorphic stele
cuneiform
image
hieroglyphics
image
- used in incense trade-religious/burial practices
Function of Anthropomorphic stele
-Figure wearing belted robe with knife hanging from it
Content of Anthropomorphic stele
- carved jade-low reliefs-abstract designs-abstract, geometric faces- square with a circle insideContext:
Form of Jade cong
-jade usually appears in burials of high ranked people
Function of Jade Cong
- Liangshzu, China in 3300-2200 BCE-jade in China is linked with virtues like beauty, durability, and subtlety
Context of Jade Cong
-low reliefsdecorations on this refer to spirits/ deities
Content of Jade Cong
- sandstone-post and lintel (two vertical posts support a horizontal beam)- arranged in a circle
Form of Stonehenge
-Wiltshire, UK in 2500-1600 BCE
Context of Stonehenge
- probably religious ceremionies- burial?- marker of mid-summer solstice
Function of Stonehenge
-greywacke stone-Stylized representation of animal
Form of Ambum stone
- Ambum Valley, Papua New Guinea around 1500 BCE
Context of Ambum Stone
- objects like these are believed to have supernatural power- used as a spirit stone in rituals- maybe original used as pestle and mortar
Function of Ambum Stone
- show fertility-two heads represent life and death that happens everyday
Function of Tlatico female figure
-Ceramic statue of large waisted woman with big hips and two heads-No hands or feet-Naked except for jewelry
Form of Tlatilco female figurine
- Central Mexico in 1200-900 BCE-many of the other figures show deformities like this
Context of Tlatilco Female figurine
- Lapita peoples- Solomon Islands, Reef Islands in 1000 BCE
Context of Terra cotta fragment
-terra cotta with dentate stamping
Form of Terra cotta fragment
-dentate designs (circles, hatching, dots)
Content of Terra cotta fragment
- mud brick-collosal scale-built to resemble mountain
Form of White Temple and its ziggurat
- temple that is a meeting place for humans and gods in the center of the city
Function of White Temple and its ziggurat
-votive figures and dedicated to Anu the sky god-top temple was only for royals or clergy to enter
Content of White Temple and its Ziggurat
- Uruk; Modern day Warka, Iraq-Sumerian - 3500-3000 BCE
Context of White Temple and its ziggurat
-greywacke-organized in registers-hierarchic scale-low relief, twisted perspective
Form of Palette of King Narmer
-Narmer (on large scale) looking on the beheaded bodies of his enemies wearing crown of lower Egypt, harnessed lionesses (symbol of unification), bull knowcking down a city fortress (Narmer knocking over enemies)
Content from FRONT of Palette of King Narmer
-Hawk=Horus, Narmer wearing bowling pin crown (symbol of unification), stands barefoot (he is a divine king)
Content from BACK of Palette of King Narmer
-represents the unification of Egypt and country's growth as a powerful nation- palette for eye makeup
Function of Palette of King Narmer
-found in temple of Horus-Old Kingdom of Egypt-3000 BCE
Context of Palette of King Narmer
- bilateral symmetry- eyes exaggeration (beholding the divine)-gypsum and black limestone
Form of Statues of votive figures
-placed in ziggurat to resemble the people that aren't allowed to be in the ziggurats
Function of Statues of Votive figures
-the hands are placed in prayful gesture- elite male and female figures
Content of Statues of Votive Figures
- found in the Square Temple of Eshunna (modern day Tell Asmur, Iraq) -2700 BCE
Content of Statues of Votive Figures
-royal scribe-depicted with sagging body (realistic not ideal), thin face-holding tools to show he is ready to write
Content of Seated Scribe
-Saqqara, Egypt 2500 BCE-found near tomb (funerary object)
Context of Seated Scribe
-shows that the scribe is important but not perfect like a pharoah-made for tomb at Saqqara for the ka
Function of Seated Scribe
-painted limestone-crystal limestone eyes
Form of Seated Scribe
-built by Khufu, Khafre, and Menkuare (each temple name after)-Khufu temple (oldest and largest)-Old Kingdom- 2500BCE-Giza, Egypt
Context of Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx
-square base with 4 sloped sides (represents rays of sun)-polished limestone
Form of Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx
-maintain and protect tombs for eternity-Great Sphinx: protecter the pyramids behind it
Function of Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx
-pyramids with adjoining funerary complex; get to these through secret passageways-Great Sphinx: human head with lion body-descending order on West side of Nile
Content of Great Pyramid (Menkaure, Khafre, Khufu) and Great Sphinx
-greywacke-under life-size-symmetrical-Egyptian style: one foot in front of the other
Form of Menkaura and queen
-Old Kingdom 2500 BCE
Context of Menkaura and Queen
-king and queen same height, idealized figures-pharaoh crown-wife gives simple affectionate gesture
Content of Menkaura and Queen
-temple sculpture-symbolize his power and kingship
Function of Menkaura and Queen
-black-stone stele with words carved in it-basalt-frontal shoulders, everything else profile
Form of Code of Hammurabi
- Babylon (modern day Iran)-Susian (1760-1750 BCE)
Context of Code of Hammurabi
-tells us where the laws came from-exercises justice and divine authority to carry out the law
Function of Code of Hammurabi
-divine law code carved in stone-sun god, Shamash, giving laws to Hammurabi to be king -god is bigger (hierarchic scale)
Content of Code of Hammurabi
-cut sandstone and mud brick-hypostyle hall-symmetrical plan, axial plan-open ceilings-colossal columns with sunken relief
Form of Temple of Amun-Re and Hypostyle Hall
-Karnak, near Luxor -New Kingdom 1250 BCE-East side of the Nile
Context of Temple of Amun-Re and Hypostyle Hall
-134 sandstone columns-inscriptions/images of kings and gods on walls and columns-gates (suggesting old world to new world)
Content of Temple of Amun-Re and Hypostyle Hall
-used for festivities and prayer-only priests and pharoahs allowed
Function of Temple of Amun-Re and Hypostyle Hall
-site specific-across from Amun temple
Context of Mortuary Temple of Hatsheput
-statue of Hatsheput kneeling: offering plants to Amen, the sun god-ascent up to temple-chapels and shrines dedicated to her-hypostyle hall
Content of Mortuary Temple of Hatsheput
-mortuary temple for Hatsheput but she wasn't buried there-statue shows her power in male ways (beard and kneeling is priest-like gesture
Function of Mortuary Temple of Hatsheput
-sandstone-red granite statue-built into rock cliff
Form of Mortuary Temple of Hatsheput
-New Kingdom (Amarna) 1350 BCE
Context of Akhenaton, Neferiti, and three daughters
-shows intimacy of the family-conveys realistic fidgetiness of children-state religious shift in evolving Egyptian art
Function of Akhenaton, Neferiti, and three daughters
-couple receiving blessing from Aten (the sun god-rays shown)-show husband and wife seated with their children-rays shining upon the family showing their divinity
Content of Akhenaton, Neferiti, and three daughters
-sunken relief piece, limestone, hieroglyphics
Form of Akhenaton, Neferiti, and three daughters
-sarcophagus (body inside)-materials used represent the royal wealth (143 objects buried with him)
Function of Tutankhamun's tomb (innermost coffin)
-crook and flail- symbols of Osiris-cobra and vulture coming from headpiece- gods of Upper and Lower Egypt-Son of Akhenaton
Content of Tutankhamun's tomb (innermost coffin)
-gold-inlay with stones and enamel
Form of Tutankhamun's tomb (innermost coffin)
-guide people to the afterlife and make journey from life to death
Function of Last Judgement of Hu-Nefer (page from Book of the Dead)
-New Kingdom 1275 BCE-found in Hu-Nefer's tomb-from the Book of the Dead
Context of Last Judgement of Hu-Nefer (page from Book of the Dead)
-Hu-Nefer being lead to final judgement-heart weighed on scale against Osiris (test to see if has a heavy heart)-sin must weigh less than feather-Hu-Nefer is accepted into afterlife
Content of Last Judgement of Hu-Nefer (page from Book of the Dead)
-painted papyrus scroll-continuous narrative
Form of Last Judgement of Hu-Nefer (page from Book of the Dead)
-support doorways of Assyrian palaces-intimidate those who enter
Function of Lamassu
- from the citadel of Sargon II (modern day Iraq)- 720-705 BCE-Sumerian
Context of Lamassu
-god-like figures-animal body, human head-5 legs
Content of Lamassu
- alabaster-limestone -Large sculpture of mythological creature
Form of Lamassu
- Persepolis, Iran; Persian influence- 520-465 BCE-built by Darius and Xeres; destroyed by Alexander the Great
Context of Audience hall (apadana)
-hypostyle hall-cut sandstone and mud brick-built in a hillside with big platform-72 columns (3 portico made of 12 columns)
Form of Audience Hall (apadana)
- relief on the side pictures Darius and Xeres -stairs have central relief of king enthroned with attendants
Content of Audience Hall (apadana)
-used to hold thousands of people (audience hall), king's receptions- ascend upwards symbolic
Function of Audience Hall (apadana)
-long buildings (stoa)-covered places- public markets-at foot of Acropolis, road that leads up
Form of Athenian Agora
-marketplace/meeting area-temple (pay tribute to Athena)
Function of Athenian Agora
-participated with government-democracy- didn't vote representatives but instead participated directly
Context of Athenian Agora
-600-150 BCE-Athens, Greece
Identifiers of Athenian Agora
-marble with remnant of paint-archaic smile-Egyptian inspiration shown through the stance of one foot slightly in front of other-incaustic paint
Form of Anavysos Kouros
-not a specific civilian depicted (not individualized)-male nude (warrior)-observing the human body
Content of Anavysos Kouros
-grave marker for male (Greece)
Function of Anavysos Kouros
530 BCE (Male)
Date of Anavysos Kouros
-archaic smile-patterned hair-marble with paint remains-smaller scale
Form of Peplos Kore from Acropolis
-women with arm out (supposed to hold out a oil lamp but hand broken off)
Content of Peplos Kore from Acropolis
-in front of temples to "light the way"-votive figure
Function of Peplos Kore from Acropolis
530 BCE (Female)
Date of Peplos Kore
-calyx krater (type of painted pot)-stiffness in the figures contrast the other relaxed side of the vase-sense of depth perception-red figure technique with white highlight
Form of Niobides Krater
-460-450 BCE
Date of Niobides Krater
First time isocephalism is used in vase painting
Unique about Niobides Krater
sculpture that projects from a flat background.
relief sculpture
A very shallow relief sculpture
bas relief
a public plaza in a Greek city where commercial, religious, and societal activities are conducted
agora
the body of a column
shaft
having four coulumns in the front and rear of a temple
amphiprostyle
A projecting ledge over a wall
cornice
the upper story of a Greek temple
entablature
the model of a grieving mother; after boasting of her fourteen children, jealous gods killed them
Niobe
an alliance headed by Athens that says that all Greek city-states will come together and help fight the Persians
Delian League
-marble (Roman); bronze (Greek)-contrapposto: shifted weight-not meant to portray a specific person but rather specific characteristics of a Greek
Form of Doryphoros
-missing its spear-athlete and warrior-gazes off in the distance
Content of Doryphoros
-Artist= Polykleitos of Argos in 450 BCE -Roman copy of the Greek original
Context of Doryphoros
-hold image of goddess Athen (in cella)-celebrate the female figure-civic pride (Athena)-commercial, civic, religious, and social building
Function of Athenian Acropolis
-Athens, Greece 450-410 BCE
Context of Athenian Acropolis
-marble with paint-hierarchic scale-drape accentuates the body
Form of Grave Stele of Hegeso
-funerary object-put on graves in Classical period-commemorates the death of Hegeso
Function of Grave Stele of Hegeso
-genre scene: slave bringing jewelry box to nike figure for her to examine the jewelry-inscription identifies Hegeso
Content of Grave Stele of Hegeso
410 BCe
date of Grave Stele of Hegeso
-marble-textures shown-very dramatic motion, explosive, -forward movement counteracted by the backward movement of her wings
Form of Winged Victory of Samothrace
-nike lands on front of ship descending from the heavens-wet drapery look to the sculpture-twist and contrapposto of the torso
Content of Winged Victory of Samothrace
-war monument-commemorating a naval victory-nike is a symbol of victory
Function of Winged Victory of Samothrace
190 BC
Date of Winged Victory of Samothrace
-marble frieze-elevated with steep dramatic staircase-complex forms with big muscles showing violent energy and detail-ionic columns
Form of Great Altar of Zeus and Athena at Pergamon
-frieze wrapping around the monument shows gods overpowering the Titans-Titans vs. Olympians-"Athena": gigantomachy, battle between the gods and giants (gods win)
Content of Great Altar of Zeus and Athena at Pergamon
-war monument (Greek defeat of Gauls)-break architectural boundaries -altar dedicated to Zeus
Function of Great Altar of Zeus and Athena at Pergamon
-175 BCE- Asia Minor, Turkey
Date and Place of Great Altar of Zeus and Athena at Pergamon
-cut stone and fresco-axial symmetry
Form of House of the Vettii
-atrium (inner courtyard with pool)-reception area (atrium) has open ceiling-catch basin to collect rainwater-peristyle garden in back of house-living room with frescoes-frescoes show person's taste and used as conversation pieces for businessmen to discuss
Content of House of the Vettii
-represents the wealth of the people who lived there
Function of House of the Vettii
-Pompeii, Italy-Imperial Rome 2nd century BCE rebuilt 62-79 CE-wealthy family's home set in the middle of markets
Context of House of the Vettii
-terra cotta (sign that this is Etruscan)-lifesize-archaic smile, patterned hair-extending arms
Form of Sarcophagus of the Spouses
-husband and wife reclining on a couch dining "dining in banquet for eternity"-four pieces put together
Content of Sarcophagus of the Spouses
-funerary container to hold ashes not the body
Function of Sarcophagus of the Spouses
-520 BCE Etruscan
Context of Sarcophagus of the Spouses
-temple: wood, mud brick, tufa (volcanic rock)-sculpture: terra cotta-animated and moving sculpture (estruscan)
Form of Temple of Minerva and sculpture of Apollo
-Apollo apart of a narrative of Herakles, acroterion (roof sculpture)-deep porch, 3 cella (entrance is emphasized)-archaic Greek smile
Content of Temple of Minerva and sculpture of Apollo
-Estruscan temple made to be a place to worship the Estruscan gods and goddesses-acroterians probably shows a mythic event
Function of Temple of Minerva and sculpture of Apollo
-Veii (near Rome, Italy) -sculpture made by Vulca
Context of Temple of Minerva and sculpture of Apollo
-tufa and fresco-wall paintings-great detailed piers-color coding to show genders (not race)
Form of Tomb of the Triclinium
-pictures people casually dining in triclinium (reclined on couches)-fully furnished-lively paintings of people dancing and in motion
Content of Tomb of the Triclinium
-keep record of domestic life-holds ashes (crematorium) and any other offerings to the dead
Function of the Tomb of the Triclinium
-Tarquinia, Italy-Estruscan 480-470 BCE
Context of the Tomb of the Triclinium
-mosaic copy of a Greek wall painting-tessarae: individual pieces of a mosaic-spacial illusionism-interweaving of figures
Form of Alexander Mosaic
-Alexander the Great confront Darius III at Battle of Isos-last major defeat of the Persians-dead tree signifies the death and sadness
Content of Alexander Mosaic
-floor mosaic showing dramatic representation of a historical event
Function of Alexander Mosaic
-Roman Republic -House of Faun, Pompeii 100 BCE
Context of Alexander Mosaic
-bronze-realistic- shows the exhaustion of a real athlete
Form of Seated Boxer
-boxer seated naked with only his boxing gloves-copper shows blood-cuts and bruises
Content of Seated Boxer
-Greek 100 BCE-Hellenistic-Boxing was a popular sport in Ancient Greece
Context of Seated Boxer
-marble-deep wrinkles, hooked nose, defined cheek bones
Form of Head of a Roman Patrician
-realistic portrayal of a Roman patrician-show sense of civic virtue: wisdom, seriousness, public service
Content of Head of a Roman Patrician
-kept in shrines of Roman houses-mask of values and virtues of Republican men in Rome
Function of Head of a Roman Patrician
-Republican Roman 75-50 BCE-influence of Greek Hellenistic art
Context of Head of a Roman patrician
-marble, over life-size-elevated to be more god-like-contrapposto-intricate relief sculpture on chest plate
Form of Augustus of Prima Porta
-Augustus barefoot-cupid riding dolphin (shows divinity-breastplate is about the Pax Romana: the power of empire is due to the military
Content of Augustus of Prima Porta
-shows Augustus as a god because he thought he was (barefoot and cupid riding dolphin signs of this)-shows him as civic ruler (judge's robe) and warrior (breastplate)
Function of Augustus of Prima Porta
-Imperial Rome (early empire) 1st century CE
Context of Augustus of Prima Porta
- stone + concrete -Corinthian, Doric, and ionic columns -outside mostly intact-barrel vaults, thick walls, groin vaults, arches
Form of Colosseum
-2 theaters-downward force of arches-bronze shield on top, 4 layers-76 entrances
Content of Colosseum
-entertainment for the public-usually dangerous like gladiator fights or animal hunts
Function of Colosseum
- Rome, Italy 70-80 BCE- Imperial Rome
Context of Colosseum
-column: marble, low relief-brick and concrete architecture-scroll-like frieze on column- continuous narrative-groin vaulting/barrel vaults in market
Form of Forum of Trajan
-forum: basilica in back with equestrian figure in the center and two libraries-marble column of trajan: ashes of trajans put in bottom, crowded composition, story of defeat of the Dacians-market of Trajan: multilevel mall with 150 shops
Content of Forum of Trajan
-column: celebrates the victory in the Dacian war-forum: marketplace
Function of Forum of Trajan
- Rome, Italy 106-112 CE column 113 CE
Context of Forum of Trajan
-marble-coffers: indentations in the ceilings-15' thick walls
Form of Pantheon
-big portico in the front with a rotunda in back that has a dome with an oculus-sculptures of gods in niches
Content of Pantheon
-houses all 7 planetary gods-famous burial space-coffers create illusion of heaven
Function of Pantheon
-imperial Rome 118-125 CE
Context of Pantheon
-marble-high relief with cluttered composition of soldiers
Form of Ludovisi Battle Sarcophagus
-figures piled on top of each other, crowded surface-Romans shown as the good guys (ideal/noble)-Romans trampling over defeated barbarians- enemies very caricatured with great detail
Content of Ludovisi Battle Sarcophagus
-tomb
Function of Ludovisi Battle Sarcophagus
-late imperial empire; 250 CE
Context of Ludovisi Battle Sarcophagus