Early European and Colonial Americas 200-1750 CE PDF

Unit 3 Early European and Colonial Americas 200-1750 CE ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Major battle in a Roman civil war between Constantine I and Maxentius). Came ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪...

Unit 3 Early European and Colonial Americas 200-1750 CE ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Major battle in a Roman civil war between Constantine I and Maxentius). Came ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Catacomb of Priscilla This middle image shows someone standing - Rome, Italy. in an orate pose which would be considered - Late Antique Europe, c. 200-400 CE a “prayer” pose. - Excavated tufa and fresco Early Christians that were already familiar to - Believed to be commissioned by them. Confraternities, family groups that would pool money to commission a portion of a - These are Christian catacombs; these provide some of catacomb. the earliest Christian images. - Served as burial places for family - Early Christian catacombs were based on existing members. burial traditions dating to the Etruscan and earlier - All catacombs were built outside of city roman empire. walls https://smarthistory.org/catacomb-of-priscilla-rome/ ▪ ▪ ▪ ▪ ▪ - - ▪ - - - - ▪ ▪ ▪ ▪ ▪ ▪ ▪ Good Shepherd fresco - Parallels between old and New Testament stories feature prominently in early Christian art; Christians see this as a fulfillment of the Hebrew scriptures; Shows Christian interest in adapting aspects of the Hebrew scriptures in their own context. - Restrained portrait of Christ as a Good Shepherd, a pastoral motive in ancient art going back to the Greeks. - Symbolism of the Good Shepherd: rescues individual sinners in his flock who stray. - Stories of the life of the Old Testament prophet Jonah often appear in the lunettes; Jonas regurgitation from the mouth of a big fish is seen as prefiguring Christ's resurrection - Peacocks and lunettes symbolize eternal life; Quails symbolize earthly life; Christ is seen as a bridge between these two worlds - The Good Shepherd was a popular image for early Christian Catacombs. - This motif of a figure with something over its shoulder is something that ha been used in traditions before Christianity. - We can see some influence of Augustus on the Good Shepherd. - Both standing in contrapposto - The good shepherd: rescue individual sinners in his flock who stray. - A motif that would go back to the Greeks. ▪ ▪ ▪ ▪  - Early Christian Architecture Santa Sabina - When Christianity was legalized, - Rome, Italy they needed a congregation space - Late Antique Europe to fit more people since they can - c. 422-432 CE now worship freely - Brick and stone, -Basilica form wooden roof - The Santa Sabina has tall, slender - Built by Peter of roman columns, also known as spolias. Ilyria - Axially planned building - Founded by Pope Celestine 1 but built by Peter of Illyria - Has a bare exterior with a sensitively decorated interior – this represents the Christian whose “exterior can be gross, but their interior soul is beautiful.” Other Roman elements: buildings made of brick and stone, wooden roofs ▪ ▪ ▪ ▪ “Short Essay” ▪ These images show us the interior and the ground plan for the Church of Santa Sabina in Rome. ▪ Describe the choice of materials used in the construction of the church. ▪ Describe at least two elements of the Christian Design that were adapted from non-Christian sources. ▪ Using both the photograph and the ground plan, analyze how the design of the building is meant to accommodate the needs of the Christian religious ceremonies. Possible Wooden roof that allowed for Spolias: Tall, slender columns. Christians worship Answers thinner walls in congregationally contrast to stone facing a pries. roofs that Wooden roof, Both photos show required heavier like those in the altar where walls. roman basilicas. the priest would be. Buildings made of brick and Long nave for Windows not stone as in congregation; made up of glass roman buildings highlights the but selenite, a priest. type of transparent and Just like in the colorless Jewish tradition, gypsum. men and women stood separately; men in the main aisle and women in the side aisle with partial views. Ground plan shows placement of aisles. Multiple Choice ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  ▪ ▪ ▪ ▪ Pendentives ▪ Form: Exterior: plain and massive with little decoration Interior: combination of centrally and axially planned church Walls and capitals are flat and thin and richly ornamented Large fields for mosaic decorations; at one time there were four acres of gold mosaics on the wall Many windows Dome: the first building to have a dorm supported by pendentives Altar at the end of the nave, emphasis places over the area covered by the dome Large central dome with 40 windows at base symbolically acting as a halo over the congregation when filled with light. Function: ▪ Originally a Christian church; Hagia Sophia means “holy wisdom” ▪ Built on the site of another church that was destroyed during the Nike revolt in 532. ▪ Converted to a mosque in the 15th century ▪ Converted into a museum in 1934, reconverted back into a mosque in 2020. Contex t: ▪ Marble columns appropriated from Rome, Ephesus, and other Greek sites. ▪ Patrons were emperor Justinian and empress Theodora, who commissioned the work after the burning of the original building in the Nike revolt Cross cultural comparison: ▪ Parthenon ▪ Pantheon ▪ Great Mosque at Cordoba  ▪ ▪ ▪ Classical Greek Hagia Sophia capital from the Capital Greek Erechtheum  33 12/5/2024 ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Content - emperor Justinian, as the central image, dominates all; Emperor's rank indicated by his centrality, halo, fibula, and crown - to his left the clergy, to his right the military - dressed in royal purple and gold - divine authority symbolized by the Halo; Justinian is establishing religious and political control over Ravenna, Form - Symmetry, frontality - Slight impression of procession forward - Figures have no volume; They seem to float and yet step on each other's feet - Minimal background: green base at feet; Golden background indicates timelessness ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Early Byzantine Europe Early 6th century Illuminated manuscript Austrian National Library, Vienna Materials: Tempera Gold Silver On purple vellum Form: Lively, soft modeled figures Classical training: contrapposto, shadowing, perspective Richly colored and shaded Text above illustrations Continuos narrative. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Jacob Wrestling Rebecca and Eliezer at the Angel the Well Genesis 32:22- Genesis 25:15-61 31 Jacob takes his Rebecca, shown two wives, maids twice, emerges from and 11 children the city of Nahor with and crosses a river a jar on her shoulder At night Jacob to go down to the wrestles an angel spring. The angel strikes She quenches the Jacob on the hip socket thirst of the camel Classical driver, Eliezer, and his influence on the camels. roman designed bridge. Medieval Colonnaded roads influence in the led to the springs. bridge's Roman water goddess perspective. i.e. personifies the shorter columns are placed on springs nearer side of bridge and taller ones are behind the figures. The illustrations below are pages from the Vienna Genesis : Rebeca and Eliezer at the Well on the left and Jacob Wrestling the Angel on the right. What is the written source of the images in the manuscript? Describe at east two elements of the work that indicate an imperial or royal patronage The scenes have several motifs taken from classical art. Using specific details, analyze how these settings are incorporated into the text. The scenes have several motifs taken from classical art. Using specific details, analyze why these settings are incorporated into the text. Virgin (Theotokos ) and Child between Saints Theodore and George. - Early Byzantine Europe - 6th or early 7th centuries - encaustic on wood - Monastery of Saint Catherine, Mount Sinai, Egypt Early Byzantine Europe. 6th or early 7th c. CE. Encaustic on wood.  The Monastery of Saint Catherine, was built during the reign of Justinian, is located in Egypt, at the place believed by Christians to be where God appeared to Moses. It is the oldest continuously inhabited Christian monastery, built on the site of the Chapel of the Burning Bush, which was constructed during the time of Constantine. According to the Koran, a letter of protection was given to the monastery by Mohammed. When Arab armies conquered the territory, early in the 7th century, this was the only Christian site spared.  Encaustic is a painting technique that uses wax as a medium to carry the color. The icon shows the Virgin and Child flanked by two soldier saints, St. Theodore to the left and St. George at the right. Above these are two angels who gaze upward to the hand of God, from which light emanates, falling on the Virgin. In early representations, Mary was given the tittle of Theotokos, or god-bearer by Eastern Christian In this icon, Mary is depicted as the physical embodiment of the throne of w isdom with the infant Jesus on her lap. Function icon placed in a medieval monastery for devotional purposes Content and form Virgin and child centrally placed; Firmly modelled - Mary As Theotokos, mother of God - Mary looks beyond the viewer as if seeing into the future - Christ child looks away, perhaps anticipating his crucifixion Saint Theodore and George flank virgin and child - Warrior Saints - stiff and hieratic - directly stare at the viewer; Engage the viewer directly Angels in the background looked toward heaven - painted in a classical style with brisk brushwork and encaustic, a Roman tradition - turn toward the descending hand of God, which comes down to bless the scene -  Image comparison: Theotokos in Hagia Sophia And Theotokos in the Monastery of Saint Catherine Theotokos derives from the Greek terms: Theos ('God’) and tiktein ('to give birth’). Mary is the Theotokos, the one who gave birth to God. ▪ ▪ ▪ ▪ ▪ ▪  50 12/5/2024 ▪ ▪ ▪ SAMPLE FOOTER TEXT ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Content: Evangelists' portraits come first, followed by a carpet page (so called because it resembles a carpet). These pages are followed by the opening of the gospel with a large series of capital letters. ▪ Contex t: ▪ Written by Eadrith, bishop of Lindisfarne. Unusual in that it is the work of an individual artist and not a team ▪ of scribes. Written in Latin with annotations in English between the lines; ▪ some Greek letters. - Latin script is called half-uncial. - English added around 970; it is the oldest surviving manuscript of Function: the bible in English. The first four books of the new - English script called Anglo-Saxon miniscule. testament, used for services Uses Saint Jerome's translation of the bible, called the vulgate. and private devotion. Colophon at the end of the book discusses the making of the Materials: manuscript. Manuscript made from 140 Made and used at the Lindisfarne Priory on Holy Island, a major calfskins (vellum), ink and religious center that housed the remains of the Saint Cuthbert. pigment  Saint Luke incipit Content: “incipit” means it depicts the opening words of Saint Lukes gospel: “Quoniam Quidem” Numerous Celtic spiral ornaments are painted in the large Q; step patterns appear in the large O. Naturalistic detail of a cat in in the lower right corner; it as eaten 8 birds. Incomplete manuscript page; some lettering not filled in. Saint Luke portrait page Contex t: Symbol associated with Saint Luke is the calf. Saint Luke is identified by Greek words using Latin characters: “Hagios Lucas.” There is also Greek text. Influence by classical author portraits. Sitting with his legs crossed, holding a scroll and writing instrument. Heavily bearded but still looking young.  From the Book of Matthew Form: Cross depicted on a page with horror vacui decoration. Dog-headed snakes intermix with birds with long beaks. Cloisonne style reflected in the bodies of the birds. Elongated figures lost in a maze of S shapes. Symmetrical arrangement. Black background makes the patter standout. Contex t: Mixture of traditional celtic imagery and Christian theology. Architecture: Cruciform plan: transept, ambulatory, radiating chapels, modular bays, crossing dome. Massive architecture: Westwork, thick walls, round arches, sturdy piers, barrel & groin vaults. Portal tympanums & capitals contain medium relief sculptural program.  Romanesque Europe c. 1050-1130 Stone Conques, France Form: - Church built to handle the large number of pilgrims: wide transepts, large ambulatory with radiating chapels. - Massive heavy interior walls, unadorned - No clerestory; light provided by windows over the side aisles and galleries. - Barrel vaults in nave, reinforced by transverse arches - Cross-like ground plans, called a Latin cross Function: - Christian church built along the pilgrimage road to Santiago de Compostela, a popular pilgrimage center for the worship of the relics of saint James - Radiating chapels housed relics of the saints.  St. Foy Church Tribunes aisle aisle Crossing Choir  This pilgrimage church is located high in the Pyrenees Mountains, along the route to Santiago de Compostela. It was originally an abbey; but only small parts of the monastery still exist. Like most pilgrimage churches it has a aisle cruciform plan with a barrel-vaulted nave line with interior arches. The plan was symbolic and helped control the crowds of pilgrims by providing a route through the church toward the apse where aisle radiating chapels holding saints’ shrines could be visited. A door in the transept allowed for an easy exit after making ablutions. St. Foy Church Barrel vault Tribune pier Compound Piers Alternate support system St. Foy Church Bestiaries Sculpture: Crowded, Shallow picture plan Abstracted figures twist & contort to fit shape of space, abstract landscape  Stone and paint Form: - Largest Romanesque tympanum - 124 figures densely packed together; originally richly painted Function: - Last judgement cautions pilgrimages that life transitory, and one should prepare for the next life. - Subject of the tympanum reminds pilgrims of the point of their pilgrimage Content: - Christ, as a strict judge, divides the world into those going to heaven and those going to hell. The last judgment scene on the tympanum above the - Christ is depicted with a welcoming main entrance provide an important message to right hand, a cast down left hand. worshippers. - Christ sits on a mandorla.  In the center the figure of Jesus enthroned sits in judgment with right hand raised and left hand down. The hand of God is visible pointing to a kneeling Saint Foy (Faith) mandorla  Mary, Peter, and an entourage of saints stand on Jesus’ right side above a symbolic representation of the house of paradise holding the saved.  Below Jesus, angels open graves allowing the dead to be judged. On Jesus right, a carved door opened to paradise. On his left, a monster’s open mouth leads to hell.  Door to paradise Door to hell https://www.bluffton.edu/~sullivanm/france/conques/stefoy/tympanum.html  The symbolic house of Hell is a chaotic scene presided over by a monstrous devil, also enthroned. Each of the damned represents a particular sin and was meant as a warning to worshippers and clergy. Enthroned devil  The reliquary of St. Foy is one of the most famous in Europe and was the object pilgrims came to see. Saint Foy was a young girl who was a martyred for refusing to sacrifice to the pagan gods of Roman Gaul (France). She was one of the most popular saints in Southern France, ensuring the town a steady stream of income from pilgrims. During this period, large three-dimensional representations were not trusted due to an association with pagan idolatry of the past, while smaller sculptures were tolerated. This reliquary, which holds the remains of the martyr, although small, was unusually sumptuous for the time period. Many of the precious gems, antique cameos, and intaglios were donated by pilgrims and were added to the artwork. The head may have come from a Roman sculpture of a child repurposed to signify the victory of Christianity over paganism. Pagans believe in the spiritual meaning of natural cycles, reincarnation, St. Foy and the divine in nature. They also believe in non-authoritarian religion Reliquary and that every person reveres the divine in their own way Reliquary of Saint Foy gold, silver, gemstones, and enamel over wood 9th century Form Child Saints school is housed in the rather managed looking enlarged head jewels, gems, and crown added over the years by the faithful, as acts of devotion facial expression is haughty and severe Function reliquary of a young girl martyred in the early 4th century Contex t Saint Foy (or faith) probably died as a martyr to the Christian faith during the persecutions in 303 under emperor Diocletian; she was tortured over a Brazier; She refused to sacrifice to the Roman gods in a Pagan ritual. Saint Foy, triumphant over death, looking up and over the viewer's head relics of her body were stolen from a nearby town and enthroned in 866 one of the earliest large scale sculptures in the Middle Ages.  St. Foy Reliquary St. Foy http://www.tourisme-conques.fr/en/histoire-patrimoine/eglise-abbatiale/tympanum-last-judgement.php  Romanesque Europe 1066-1080 Embroidery on linen Bayeux, France Form: Color used in a decorative, although unnatural, manner – different parts of a horse are colored variously. Neutral background of unpainted fabrics Flat figures, no shadows Content: Tells the story (in latin) of William the Conquerors conquest of England at the battle of hastings in 1066. The story, told from the Norman point of view, emphasizes the treachery Harold of England, who breaks his vow of loyalty and betrays William by having himself crowned more than 600 people, 75 scenes fanciful beasts in upper and lower registers borders sometimes comment on the main scenes or show scenes of everyday life: bird hunting, farming Function: uncertainty over how this work was meant to be displayed, perhaps in a cathedral hung from the pillars in the nave or hung in a hall along a wall Technique: tapestry is a misnomer; Actually, it's an embroidery Probably designed by a man and executed by a woman Contex t: - Continues the narrative tradition of medieval art; 230 feet long - Narrative tradition goes back to the Column of Trajan Patronage: - Commissioned by Bishop Odo, half brother to William the Conqueror ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Rib vault Ogee arch Rose window Chartres Cathedral, Gothic Europe - Known for its architectural innovations, numerous sculptures - original: c. 1145-1155 CE and stained glass. - reconstructed: c. 1194-1220 CE - The cathedral is associated with the Virgin Mary, and this - limestone, stained glass had made it the destination of pilgrims. - 112 feet high and 427 feet high - This continues to be a pilgrimage site for Roman Catholics. - Contains a lot of figure sculptures, - The purpose of the sculptures was to preach and instruct. large columns and miniatures. They are different scenes from the Old and New Testaments. Flying buttresses ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Santa Sabina - 800 years later, churches still used the same basilica plan. - The appearance looking different is part of the contextual differences. - religion was similar but physical setting and time period were 800 years apart. - Architectural changes were made with the purpose of letting light in. Chartres Cathedral, Gothic Europe  ▪ ▪ ▪ Virgin with the Dead Christ (Röttgen Pietà). 1300–1325 (14th). Painted wood. Smart History / Khan Academy ▪ ▪ ▪ ▪ ▪ - Dedication Page with Blanche of Castile and King Louix IX of France from Bible Moralisée. - 1226-1234 CE. - Illuminated manuscript (ink, tempera, and gold leaf on vellum).  The dedication page depicts Saint Louis’ mother, Queen Blanche of Castile, with her son in an architectural frame reminiscent of those see on cathedral reliefs and on stained glass windows. This symbolizes Queen Blanche passing her Christian morals to her son so he can be a proper ruler. Below them, in another frame the monks, who made the book are depicted in their craft. - Scenes from the Apocalypse from Bible Moralisée. - 1226-1234 CE. - Illuminated manuscript (ink, tempera, and gold leaf on vellum). Form: The scenes from the Apocalypse illumination accompanied verses from the book of Revelation. The bright colors and rondels were influenced by stained glass windows of the period. 8 medallions; format derives from stained glass windows Function: Moralized bible Content: Each scene has text with summary of the event Old and new testament scenes are paired as complementing one another. Context: Done for the royal court at paris  Louis IX of France, commonly known as St. Louis was the only French king to be canonized as a saint. He was an avid collector of books such as this costly moralized Bible, an illustrated manuscript containing selections of Biblical text with commentary and illustrations explaining the moral significant of the selections. As with most illuminated manuscripts of the period the people are depicted in contemporary clothing. ▪ ▪ Golden Haggadah (Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) - Late medieval Spain - c. 1320 - Illuminated manuscript, pigments and gold leaf on vellum. - British Library, London ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  David C. 1440-1460 Bronze National museum, Barello, Florence Form: First large bronze nude statue. Exaggerated contrapposto of the body. Sleekness of the black bronze adds to the femininity of the work. Function: Life-size work, probably meant to be housed in the Medici palace courtyard; not for public viewing. Content: Work depicts the moment after David slays the philistine goliath with a rock from a slingshot; David decapitated goliath with his own sword. David contemplates his victory over goliath, whose head is at his feet; Davids's head is lowered to suggest humility. Laurel on Davids hat suggests he was a poet; hat is a renaissance design Contex t: ▪ David symbolizes Florence taking on larger forces with ease; perhaps goliath would have been equated with the duke of Milan ▪ Nothing is known of its commission or patron, but it was placed in the courtyard of the Medici palace in Florence ▪ Modern theory alleges that this a figure of mercury and the decapitated head is of argon. Mercury is the patron of the arts and merchants, and therefore an appropriate symbol for the Medici.  Leon Battista Alberti C. 1450 Stone, masonry Florence, Italy Form: Three horizontal floors separated by strongly articulated stringcourse; each floor is shorter than the one below. Pilasters rise vertically and divide the spaces into squarish shapes Emphasized cornice caps Square windows on the first floor, windows with mullions on the second and third floor. Rejects rustication of earlier renaissance palaces, used beveled masonry instead Benches on lower level connect the palazzo with the lower level. Function: City residence of the Rucellai family Building format expresses classical humanist ideals for a residence; bottom floor was for business; family received guests on the second floor; family's private quarters were on the third floor; hidden fourth floor was for servants. Contex t: ▪ The articulation of the three stories links the buildings to the colosseum levels, which have arches framed by columns: the first-floor pilasters are Tuscan (derived from doric); the second are Alberti's own invention (derived from ionic); the third are Corinthian. ▪ Original building: Five bays on the left, with a central floor, Second doorway bay and right bay added later Eight bay fragmentary; owners of the house next door refused to sell, and the Palazzo Rucellai never expanded. Patronage: ▪ Paton was Giovanni Rucellai, a wealthy merchant ▪ Rucellai coat of arms, a rampant lion, is placed over two second floor windows ▪ Friezes contain Rucellai family symbols, billowing sails Madonna and Child w ith Tw o Angels Fra Filippo Lippi C. 1465 Tempera on wood Uffizi, Florence Content and symbolism Symbolic landscape Rock formations symbolize the Christian Church. City near the Madonna's head is the Heavenly Jerusalem Contex t Mary seen as a young mother Model may have been the artists lover Landscape inspired by Flemish painting Scene depicted as if window were in a Florentine home Humanization of a sacred theme; sense of domestic intimacy. Lippi was a monk, as indicated by the word “Fra” that precedes his name. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Alhambra ▪ 1,730 meters (1 mile) of walls ▪ Thirty towers of varying size enclose this “city within a city.” ▪ Access was restricted to four main gates. ▪ The Alhambra's nearly 26 acres include structures with three distinct purposes, a residence for the ruler and close family, the citadel, Alcazaba— barracks for the elite guard who were responsible for the safety of the complex.  Hall of the Sisters Form 16 small windows are placed at Court of the Lions the top of the hall Form 5,000 muqarnas, carved in Thin columns supporting heavy roofs, feeling of weightlessness. stucco onto the ceiling, refract Intricate patterns, sculpted ceilings and walls. light. Central fountain supported by 12 lions Abstract patters and forms Parts of the walls are chiseled to create vibrant light patterns Highly sophisticated and refined interior Contex t Contex t Built by Mohammed V between 1370 and 1391 Perhaps used as music room or Follows traditional of western Islamic palace design; rooms for receptions arranged symmetrically around rectangular courtyard. Name is from the two big twin Courtyard divided into 4 parts. Each one symbolizes the 3 parts marble flagstones placed on of the world. Water channel symbolizes 4 rivers of paradise the floor. Courtyard is a symbol of Paradise, combining columns, gardens In between the flagstones is a and water in a unified expression. fountain that channels water to the Court of the Lions. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Albercht Durer 1504 Engraving Metropolitan Museum of Art, New York Form: Influenced by classical sculpture Adam looks like the Apollo Belvedere, and eve looks like Medici Venus. Italian massing of forms, which he learned from his Italian trips Ideal image of humans before the Fall of Man Contrapposto of figures from the Italian renaissance, in turn also based on classical Greek art. Northern European devotion to detail. Content: ▪ Four humors are represented in the animals: cat (choleric or angry), rabbit (energetic),elk (sad), ox (lethargic) ▪ The mouse represents Satan ▪ Parrot is a symbol of cleverness ▪ Adam tries to dissuade Eve; he grasps the mountain ash, a tree from which snakes’ recoil. Contex t: ▪ Prominent placement of the artists signature indicates the rising of status of his occupation. Cross cultural references: ▪ Polykleitos, Doryphoros ▪ Botticelli, Birth of Venus ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Left: Last Judgement Right: Figure bathed in Moses is holding the Christs blood Ten Commandments Faith in Christ alone is They represent old law, needed for salvation Catholicism Symbolically, the The law of Moses is not barren branches of enough to live a good the tree on the left life. side contrast with the A skeleton chases a full bloom on the man to hell right. Hunters in the Snow Pieter Bruegel the Elder 1565 Oil on wood Art History Museum, Vienna Form Alpine landscape, typical winter scene inspired by the artists trips to the alps in Italy. Strong diagonals lad the eye deeper into the painting Figures are peasant types, not individuals Landscape has a high horizon line with panoramic views. This was a northern European tradition. Very detailed. ▪ ▪ ▪ ▪ ▪ Birth of Venus Sandro Botticelli C. 1484-1486 Tempera on canvas Uffizi, Florence Form Crisply drawn figures Landscape is flat and unrealistic; v shaped waves Figures are floating, not anchored to ground. Content Venus emerges fully grown from the foam of the sea, faraway look in her eyes. Roses are scattered before her ; roses created at the same time as Venus, symbolizes love can be painful. On the left: Zephyr (west wind) and Chloris (nymph) On the right: handmaiden is rushing to cloth Venus. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  vertical horizontal Perspective!  Da Vinci used liner perspective to create the illusion perspective to create the illusion of realistic space that is a continuation of the real refectory (dinning hall). The result is the illusion of dining with Jesus and his disciples.  In a dramatic break from tradition, da Vinci placed Judas on the same side of the table as Jesus and depicted the disciples with real human emotions. Content: - There are various reactions on the faces of the apostles; Surprise, fear, anger, denial, suspicion - Judas, the betrayer, falls back clutching his bag of coins; His face symbolically in darkness - The only Leonardo da Vinci work remaining in situ (original site).  Patronage: - Commissioned by the Sforza family of Milan for the refectory (room used for communal meals) of a Dominican Abbey The fresco was commissioned for the refectory of an abbey of friars (male member of the church). Experiments with pigments and the fresco process resulted in this work being heavily damages by time and the elements. Recently a complete restoration was done on it, and many scholars are unhappy with the results. Da Vinci favored realism overs symbolism. His use of three windows and the sunset to symbolize the end of Jesus earthly life was a method for using symbolism in a realistic manner.  ▪ ▪ ▪ ▪ Form: Masculine modeling of forms. Bold, direct, powerful narrative expressions. Function: Function of chapel: where new popes are elected and where papal services take place. name derives from Pope Sixtus IV, patronage of buildings redesign between 1473-1481.  Function: One of the paintings in the chapel Content: Details Noah and his family's escape from rising waters. Remaining survivors cling to mountaintop, fate will be sealed. Arch in the back is the only haven. The Flood Delphic Sybil Michelangelo C. 1508-1512 Contex t: Form: Fresco 1/5 sibyls (prophetesses) on Wears Greek style Sistine Chapel, Vatican City, Italy ceiling turban Greco-Roman figures who Head is turned as if Form: Christians believed foretold listening. More than 60 figures in composition. the coming of Jesus Christ. Sorrowful expression Figural styles Combinations of Christian Dramatic contrapposto religious and pagan Scroll contains prophecy mythological imagery. Powerful built female figure. Content: Michelangelo chose complicated arrangement. Illustrates first few chapters of Gensis in nine scenes. Also has old testament scenes. Massive figures are mean to be seen from a distance. 300 figures, no two are in the same pose Enormous variety of expression. Contex t: His paintings are painted over the window level the chapel as well as the ceiling. Chapel is dedicated to Virgin Mary. Central panel depicts Eve, the archetype of Mary. Raphael, 1509-155, fresco, Apostolic Palace, Vatican City, Italy Form: Open, clear light uniformly spread throughout the composition. Nobility and monumentality of forms parallel the greatness of the figures represented; figures gesture to indicate their philosophical thought. Raphael's overall composition was influenced by Leonardo DaVinci's the last supper. Contex t & Content: Function & Patronage: Commissioned by Pope Julius ii to decorate In the center we see the two greatest figures in ancient his library. Greek thought: Plato (pointing up) and Aristotle (pointing Illustrate the vastness and variety of the out) papal library. Raphael is on the extreme right with a black hat. Originally called Philosophy because the Michelangelo, resting on the stone block writing a poem, pope’s philosophy books were meant to be housed on the shelf below. represents a philosopher. This figure was not part of the original composition.  This alter piece was commissioned for the hospital chapel at Saint Anthony’s Monastery in Isenheim, Germany. The hospital treated many victims of ergotism (called St. Anthony’s fire at the time) which explains the presence of Saint Anthony in the artwork. Ergotism: poisoning produced by eating food affected by ergot, typically resulting in headache, vomiting, diarrhea, and gangrene of the fingers and toes. It is a complicated structure with three views. This first view, with wings closed, is a crucifixion. The second view, with the wings open, includes an annunciation scene, a resurrection scene, and an angel concert. The third view, with inner wings open, contains three carved wooden statues and scenes of Saint Anthony, Saint Augustine and Saint Jerome. The painting was meant to bring peace to patients and visitors of the hospital. This piece is one of the last of the Northern European altarpieces, which fell out of favor after the Protestant Reformation. Isenheim Altarpiece, Matthias Grünewald, 1512- 1516 CE Oil on wood Altar Piece  Isenheim Altarpiece , First view Matthias Grünewald, 1512-1516 CE Oil on wood IAP Northern Renaissance  Isenheim Altarpiece , Second view Matthias Grünewald, 1512-1516 CE Oil on wood  Isenheim Altarpiece , Third view Matthias Grünewald, 1512-1516 Oil on wood  Titan 1538 Oil on canvas Uffizi, Florence Form: Layers of glazes to produce rich effect. Oil painted in layers; glaze gives rich color. Complex spatial environment: figure is placed forward, servants in the middle, open window and plants in the background. Content: Contex t: Venus looks at viewer directly. May not be Venus; may be a courtesan in the tradition of a Reclining in open space in a luxurious room. female reclining nude. Roses contribute to floral motif throughout work; Cassoni: trunks intended for storage of clothing for a roses and thorns symbolize the beauty and wife's trousseau seen in the background of the painting. problems of love. May have been commissioned by the duke of Urbino as a Dog may signify faithfulness. wedding painting. Mannerist painting – defy Contex t: conventional classical order. No tomb. Just carrying the lifeless body of Jesus. Jacopo da Pontormo Placed over the altar of a family 1525-1528 chapel near the front entrance. Oil on wood Self portrait on the extreme right. Santa Felicita, Florence Composition and mannerist style reflect the instability in European Form: politics. Anticlassical composition. Linear bodies twisting around one another Grouping of hands in center No ground line for some figures Elongation of bodies No weeping, sense of yearning. Bright colors ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Interior: No aisles; meant for grand ceremonies. Ceiling paintings Function: Principal Church of the Jesuit order. Contex t: Jesuits are seen as the defenders of Counter-Reformation ideals. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Form: Marble is handled in a tactile way to reveal textures. Skin is high gloss, feathers of the angel are rougher, drapery is animated and fluid, clouds are roughly cut. Figures seem to float in space, “rays of God’s light” illuminate scene from behind. Natural light is redirected from a hidden window. Work captures a moment in time – a characteristic of baroque art. Function and contex t: Saint Teresa was canonized in 1622; a new saint. Sculptural representation of her diary writings. Tells her visions of God, many involving an angel plunging her with an arrow. Pose suggestions sexual exhaustion, a consistent feeling consistent with her description of spiritual ecstasy. Counter-Reformation work used to increase piety and devotion among the Catholic faithful ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Content: Portrait of the artist is in his studio, working. Seems to be taking a step back from his large canvas and looks at viewer. The central is the Infanta (daughter of ruling monarch) Margharita of Spain with her meninas (attendants), a dog, a person affected with dwarfism and a little person. Two chaperons in half shadow, possibly Jose Nieto depicted in back (head of queen's tapestry). King and Queen appear in mirror in the background, what is mirror reflecting? - canvas? - king and queen in viewers space? - reflecting a painting of the king and queen on the far wall? What is the painter painting? - royal family? - the Infanta? - a painting of this painting? - us? There is no answer which expresses the Baroque fascination with exploring reality. Form: Alternating darks and lights draw the viewer deeper into the canvas Effect of light on shimmering surfaces Painterly brush strokes seen on the sleeves of the Infanta and the artist. Function: Painting was originally hung in King Philips IV’s study. Contex t: Paintings on the back wall depict Minerva, goddess of wisdom and patroness of the arts. ▪ ▪ ▪ 1. ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪  Johannes Vermeer C. 1664 Oil on canvas National Gallery of Art, Washington Form and Content: Stillness and timeless Woman is dressed in fine clothing Geometric lines focus on central point Light entering from the left, illuminates figures and textures. Contex t: Small number of Vermeer works are in existence. A family member may have posed as the model, possibly his wife. Theories: A moment of weighing and judging In the back there is a painting of the Last Judgement, weighing souls. The balance (scale) has nothing in it; may be symbolic of a balanced state of mind.  Rachel Ruysch 1711 Oil on wood Uffizi, Florence Form: Asymmetrical, artful arrangement Detailed illustration of natural objects in rural setting. ▪ ▪ ▪ ▪ ▪  Peter Paul Rubens Henri IV Receives the Portrait of Marie de’ Medici From the Marie de’ Medici cycle. 1621-25 Oil on canvas Northern Baroque Smart History / Khan Academy  Peter Paul Rubens The Landing of Marie de Médici at Marseilles 1623-25 Oil on canvas  1610: assassination of King Henry IV (married to Marie de’ Medici) 1610-43: Louis XIII ‘s mother, Marie de’ Medici, was his regent, advised by Cardinal Richelieu This is one of a series of paintings commissioned by Marie de Medici for her Paris home depicting her life. The painting depicts the Greek god of marriage, Hymenaeus, presenting a portrait of the patron to her future husband, King Henry IV of France. Jupiter and Juno are depicted in the clouds watching the scene.  The painting receive much negative attention because of Ruben’s placement of a real person among Greek gods. Marie de Medici is depicted as powerful, evident in the fact that she is the only figure staring directly at the viewer. This aspect of the work was not well received either, since most women of the time were depicted as modest. Rubens was well known for his style, which depicted typical Baroque movement and tactile sensation through the inclusion of curvaceous women.  Circle of the Gonzalez family 1697-1701 Materials: - tempera - Resin on wood - Shell inlay ▪ ▪ ▪ ▪ ▪ ▪ Louis Le Vau and Jules Hardouin-Mansart (architects). The Palace at Versailles. Versailles, France. Begun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture). Louis Le Vau and Jules Hardouin-Mansart (architects). Courtyard. The Palace at Versailles, Versailles, France. Begun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture).. Louis Le Vau and Jules Hardouin-Mansart (architects). The Palace at Versailles. Versailles, FranceBegun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture).  Louis Le Vau and Jules Hardouin-Mansart (architects). Hall of Mirrors. The Palace at Versailles, Versailles, France. Begun 1669 CE. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture).  The Hall of Mirrors was designed as the show piece of the palace. It has a grand narrative showing King Louis XIV’s aspirations. A wall of mirrors diffuses the daylight, adding to the effect. From the central window of the hall of mirrors a visitor was able to view the garden, which included a grand canal. Thousand of workers transformed the wooded landscape into an enormous manicured garden. Gardens. The Palace at Versailles, Versailles, France. Begun 1669 CE.  Palace of Versailles Begun 1669 Aerial view of palace and surrounding park Plan of the park, palace, and town of Versailles (after a 17th century engraving by Francois Blondel).  Master of Calamarca 17th century Oil on canvas National Art Museum, La Paz, Bolivia Content: Latin inscription: Asiel, fear of God The angels is depicted with a arquebus (type of rifle) instead of traditional sword Arquebus is a state-of-the-art weapon brought by the Spanish to the New World. Form: Elongated hat with feathers is a feature of dress of Inkan nobility. Indigenous people favored gold embroidered fabrics Military poses are derived from European engravings of military exercises. The drapery of the 17th century Spanish-American aristocrat; rich costuming The angel appears in androgynous stance. Mannerist influence in the stiffness of the figure and dance like pose Function: ▪ Probably one in a series of angel drummers, buglers, standard bearers and holders of swords. Contex t: ▪ A relationship is expressed between this kind of image and the einged warriors of pre-Colombian art. ▪ The feathered hat may reference Andean royalty ▪ Guns were symbols of power and dominance over native American peoples and their beliefs. ▪ Painting is related to Spanish American writings that alluded to angels coming at the Last Judgement well-attired with feathered hats and carrying guns.  Miguel González. The Virgin of Guadalupe. 1698. Based on original Virgin of Guadalupe. Basilica of Guadalupe, Mexico City. 16th c. Oil on canvas on wood, inlaid with mother-of-pearl. Colonial Americas The Virign of Guadalupe Smart History Virgin of Guadalupe  MARY, ANGELS (PUTTI) AND NARRATIVE CARTOUCHES, European inspired IMAGE’S FRAME, Japanese inspired frame EAGLE ON TOP OF CATUS, Aztec legend, symbol of the Aztec/Mexican nation ENCONCHADO, in laid mother of pearl, native American inspired  This work is signed by Miguel González, who along with his brother Juan González, is considered the foremost painter of enconchados. Invented in Mexico, the enconchado technique consisted of placing tiny fragments of mother-of-pearl onto a wooden support or a canvas, and then covering them with a yellowish tint and thin glazes of paint. The technique, which is inspired by Asian decorative arts, imparts a brilliant luminosity to the works due to the iridescence of the shell fragments. Throughout the colonial period there was a significant influx of Asian goods to Mexico via the legendary Manila Galleons that connected the East to the West. The Japanese embassies of 1610 and 1614 to Mexico also contributed to the fashion for Asian inspired objects. Interestingly, at the beginning of the seventeenth century, Japan and New Spain made attempts to formalize trade relations, but the effort was thwarted in part due to Japan's desire to curtail contact with the West following the country's unification. By the second half of the seventeenth century the importation of Japanese goods to the colony had radically decreased, which may have spurred the creation of Asian inspired objects in New Spain to fulfill local demand (e.g. ceramics, folding screens, and enconchados). Attributed to Juan Rodríguez Juárez. Spaniard and Indian Produce a Mestizo. 1715. Oil on canvas. Colonial America Juan Rodríguez Juárez (b. Mexico City 1675 - d. 1728) was an artist in the Viceroyalty of New Spain. He was a member of a Spanish family long noted for their accomplishments in the world of painting.  Paintings such as this one were known as pinturas de castas (caste paintings) and attempted to show the unique inter-ethnic mixing that was common in New Spain. The subject is modeled on depictions of the Holy Family but shows a native woman with a Spanish man and their offspring known as mestizo. The implications from the paintings such as this is that those with more European blood are closer to the top of the social hierarchy, with pure blooded Spaniards at the top. Many of these paintings were commissioned by elites who viewed this inter ethnic mixing as alarming and undesirable. -The indigenous mother (wife): dressed in huipil (traditional woman’s garment worn by indigenous women from central Mexico and Central America), lace sleeves, and expensive jewelry -turns and looks at husbands as she gestures towards child -Spaniard father (husband): -wears French-style European clothing, powdered wig -gazes down at the children, hand resting on the child’s back or wife’s arm -the young servant looks upwards to the father (not his father): allude to his greatness -The family appears calm, harmonious, loving Children: a young boy is carrying the couple’s baby. *NOTE THE YOUNG BOY (NOT BABY) IS NOT THEIR CHILD ▪ ▪ ▪ ▪ ▪ ▪ ▪