Final Exam Review

Transcript

1. Final  Exam  Review  
   Exam  Format  
     Sec3on  I:  Slide  IDs  (10)  
    Ar#st/Architect  
    Title  
    Culture/Stylis#c  Period  
    Cultural  Significance  
     Sec3on  II:  Chronology  
    Place  Slides  in  Proper  
    Chronological  Order.  
     Sec3on  III:  Essay  
    Study  your  major  
    themes  
   Good  to  Know…  
     Exam  Date:  Tuesday  Dec.  
   13,  8:00-­‐10:00  
     I  will  be  on  campus  on  
   Friday  (12/9)  and  Monday  
   (12/12)  if  you  would  like  to  
   make  an  appointment.  
     Full  study  guide  is  on  
   Blackboard  under  “Study  
   Guides.”  
    
   

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2. Slide  IDs:  Cultural/Stylis3c  Periods  
   1.  Late  An3que  
   2.  Byzan3ne  
   3.  Anglo-­‐Saxon  
   4.  Hiberno-­‐Saxon  
   5.  Visigoth  
   6.  Norse  
   7.  Carolingian    
   8.  Oconian    
   9.  Romanesque  
   10. Gothic  
   11. Late  Gothic  
   

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3. “a  fiery  light,  flashing  intensely,  came  from  the  
   open  vault  of  heaven  and  poured  through  my  
   whole  brain.”    
   The  vision  of  Hildegard  of  Bingen,  from  Scivias  
   (detail  of  facsimile).    1150-­‐1175.    
   Author  Page,  from  Scivias  (detail  of  facsimile).    
   1150-­‐1175.    
   

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4. Reconstruc3on  drawing  of  Cathedral.  San3ago  
   de  Compostela,  1078-­‐1122.      
   The  vision  of  Hildegard  of  Bingen,  from  Scivias  
   (detail  of  facsimile).    1150-­‐1175.    
   

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5. “Afer  this  I  saw  a  vast  instrument,  round  and  
   shadowed,  in  the  shape  of  an  egg,  small  at  the  
   top,  large  in  the  middle,  and  narrowed  at  the  
   bocom;  outside  it,  surrounding  its  circumference,  
   there  was  a  bright  fire  with,  as  it  were,  a  shadowy  
   zone  under  it.    And  in  that  fire  there  was  a  globe  
   of  sparkling  flame  so  great  that  the  whole  
   instrument  was  illuminated  by  it.”    
   Vision,  from  Scivias  (detail  of  facsimile).    
   1150-­‐1175.    
   

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6. Hubert  Airy,  Illustra3on  of  visual  migraine  aura,  
   1870.  
   “Outward,  my  eyes  are  open.    So  I  have  
   never  fallen  prey  to  ecstasy  in  the  
   visions,  but  I  see  them  wide  awake,  day  
   and  night.    And  I  am  constantly  fecered  
   by  sickness,  and  ofen  in  the  grip  of  pain  
   so  intense  it  threatens  to  kill  me.”    
   Vision,  from  Scivias  (detail  of  facsimile).    
   1150-­‐1175.    
   

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7. The  legacy  of  the  Roman  Empire  in  medieval  art  
   Concepts:  
   Gestures  (oratory/
   blessing)  
   Syncre3sm:  Wine  
   (Eucharist/Bacchus),  
   Winged  Figures  
   (Personifica3ons/Angels),        
   Examples:  
   Augustus  Primaporta,  
   Icons,    
   Archangel  Michael  (Ivory  
   Panel)  
   Catacombs  
    
    
    
   

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8. Good  Shepherd,  Orants,  and  the  Story  of  Jonah,  Catacomb  of  
   SS.  Peter  and  Marcellinus,  Rome,  Late  3rd-­‐Early  4th  century  
   

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9. Figures  from  the  Story  of  Jonah,  Turkey  (?),  Late  Third  
   Century  CE  
   

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10. Wine  Making,  Church  of  Santa  Costanza,  Rome,  c.  350  CE  
    Dionysus  Seated  Among  Vines,  
    House  of  the  Masks,  Delos  Late  
    2nd  Century  BCE  
    John  15:1-­‐17    lI  am  the  true  vine,  and  my  
    Father  is  the  vinedresser…z  
    

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11. Church  of  Santa  Costanza,  Rome,  c.  350  CE  
    Mausoleum  of  Augustus,  Rome,  c.  14  CE  
    

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12. Aula  Pala3na,  Trier,  4th  century  CE  
    Basilica  Ulpia,  Forum  of  Trajan,  Rome,  112-­‐117,  
    dedicated  117  CE.  
    

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13. St.  Michael  the  Archangel,  Ivory  Panel,  
    Constan3nople,  6th  Century  CE  
    Could  be  another  
    angel  or  an  
    emperor  receiving  
    this  orb.  
    Diptych  =  Di  (Two)  Ptukhe  (Fold)  
    

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14. The  Evangelist  Machew,  Lindisfarne  Gospels,  Scotland  710-­‐725  CE.  
    Ezra  Repairing  the  Gospels,  
    Codex  Amia3nus,  680-­‐715.  
    

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15. Saint Matthew. Folio 15.
    Coronation Gospels, from Aachen.
    c.800-810.
    Saint Matthew. Folio 18. Ebbo
    Gospels, from Hautevillers. c.816-835.
    

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16. ★  The  knowledge  to  make  concrete  was  lost  to  
    Medieval  Europe.  
    Saint-­‐Mar3n-­‐du-­‐Canigou,  French  Pyrenees,  
    1001-­‐1026.  
    Groin  Vault  
    

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17. Controversy  over  images  in  Chris3anity  
    Concepts:  
    Iconoclasm    
     Iconoclasts:  
     idolatry,    
     iconophiles:  focus,  
     venera3on,    
    Bernard  of  Clairvaux:  
    distrac3ng,  expensive,  
    Abbot  Suger:  expensive  
    images  honored  God,    
     
    Examples:  
    

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18. Eleousa  
    Vladimir  Virgin,  
    Constan3nople,  12th  
    Century  
    “Virgin  of  
    tenderness.”  
    Or  
    Glykophilsousa  
    “Virgin  of  Sweet  
    Kisses”  
    

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19. Iconoclasts  (Breakers  of  Images):  
    1)  Icons  are  akin  to  the  “graven  images”  men3oned  
    in  the  second  commandment:  “4  Thou  shalt  not  
    make  unto  thee  any  graven  image,  or  any  likeness  
    of  any  thing  that  is  in  heaven  above,  or  that  is  in  
    the  earth  beneath,  or  that  is  in  the  water  under  
    the  earth:5    thou  shalt  not  bow  down  thyself  to  
    them,  nor  serve  them.”  (Exodus  20:  4-­‐5)  
    2)  Icons  are  man  made,  as  opposed  to  relic,  and  do  
    not  deserve  to  be  venerated:  “The  divine  nature  is  
    completely  uncircumscribable  and  cannot  be  
    depicted  or  represented  by  arEsts  in  any  medium  
    whatsoever.”  (IconoclasEc  Council,  754)  
    

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20. Iconodules  (Lovers  of  Images):  
    1)  Icons  are  powerful  didac3c  tools:  “An  image  is,  aJer  
    all,  a  reminder;  it  is  to  the  illiterate  what  a  book  is  
    to  the  literate,  and  what  the  word  is  to  hearing,  the  
    image  is  to  sight.”  (John  of  Damascus)  
    2)  Icons  are  a  valuable  proxy  by  which  the  faithful  could  
    demonstrate  their  love  and  honor  for  the  divine:  
    “God  created  man  to  his  own  image”  (Genesis  1:27)  
    3)  Icons  are  a  valid  way  to  communicate  Christ’s  
    humanity  and  suffering:  “How,  indeed,  can  the  Son  
    of  God  be  acknowledged  to  have  been  a  man  like  us
    —he  who  was  deigned  to  be  called  our  brother—if  
    he  cannot  be  depicted?”  
    

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21. The  Crucifixion  and  
    Iconoclasts  
    whitewashing  an  
    icon  of  Christ,  
    Khludov  Psalter,  
    850-­‐75.  
    

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22. Simon  Magus  and  
    Patriarch  
    Nikephoros,  
    Khludov  Psalter,
    850-­‐75.  
    

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23. Theodora  Instruc3ng  her  Daughters  in  the  Venera3on  
    of  Icons,  Madrid  Skylitzes,  12th  Century.    
    

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24. Icon  of  the  
    Triumph  of  
    Orthodoxy,  
    Constan3nople,  
    1400.  
    

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25. Portal,  Fontenay  Abbey   Portal,  Priory  Church,  Moissac  
    Façade,  Fontenay  Abbey,  France,  
    1139-­‐1147.  
    

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26. “immoderate  height  of  [Cluniac]  churches…their  
    immoderate  length,  their  excessive  width,  
    sumptuous  decora3on  and  finely  executed  
    pictures,  which  divert  the  acen3on  of  those  
    who  are  praying.”    
    –  Bernard  of  Clairvaux,  Apologia.    
    Nave,  Fontenay  Abbey,  
    France,  1139-­‐1147.  
    Nave,  Monastery  at  Cluny,  
    France,  1088-­‐1130.  
    

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27. Capital  Detail  
    Capital  Detail  
    Nave,  Fontenay  Abbey,  
    France,  1139-­‐1147  
    Cloister,  Priory  Church,  
    Moissac,    
    

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28. “What  profit  is  there  in  those  ridiculous  monsters,  in  
    that  marvelous  and  deformed  comeliness,  that  
    comely  deformity?...So  many  and  so  marvelous  are  
    the  varie3es  of  divers  shapes  on  every  hand  that  we  
    are  more  tempted  to  read  in  the  marble  than  in  our  
    books,  and  spend  the  whole  day  in  wondering  at  
    these  things  than  in  medita3ng  upon  the  law  of  God.    
    For  God’s  sake,  if  men  are  not  ashamed  of  these  
    follies,  why  at  least  do  they  not  shrink  from  the  
    expense?”    
    –Bernard  of  Clairvaux  
    Historiated  Capital  with  Lions’  Heads,  Cloister,  
    Priory  Church,  Moissac,  France,  c.  1115.  
    

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29. Ambulatory  and  Apse  Chapel,  Abbey  
    Church  of  St.  Denis,  France,  
    1140-­‐1144.  
    Transept,  Abbey  Church  of  
    St.  Denis,  France,  1140-­‐1144.  
    

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30. Interac3on  between  the  viewer  and  art  
    Concepts:  
    Romanesque:  fear,  
    anxiety,  intensity.  
    Gothic:    
    Examples:  
    

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31. Eleousa  
    Vladimir  Virgin,  
    Constan3nople,  12th  
    Century  
    “Virgin  of  
    tenderness.”  
    Or  
    Glykophilsousa  
    “Virgin  of  Sweet  
    Kisses”  
    

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32.  
     
     
     
     
     
    Christ  in  Majesty  
     
     
     
     
     
    Good                                    Wicked  
     
     
     
     
     
     
     
     
     
     
     
     
    Hell  
     
     
     
     
     
     
     
     
     
     
     
     
    Heaven  
    Monastery  of  Ste.  Foy,  Conques,  France,  
    11th  and  12th  Century.  
    

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33. Reliquary statue of Sainte Foy (St. Faith),
    Conques, France, 9th-10th centuries.
    Furtum  Sacrum  =    
    “Sacred  Thef”  
    

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34. Ambulatory  and  Apse  Chapel,  Abbey  
    Church  of  St.  Denis,  France,  
    1140-­‐1144.  
    Transept,  Abbey  Church  of  
    St.  Denis,  France,  1140-­‐1144.  
    

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35. Upper  Chapel,  Church  of  Sainte-­‐Chapelle,  
    Paris,  1239-­‐1248.  
    

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36. Virgin  and  Child,  originally  
    from  St.  Denis,  c.  
    1324-­‐1339.  
    Virgin  of  Paris,  Notre  Dame  
    de  Paris,  c.  14th  century  
    

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37. Virgin  of  Paris,  Notre  Dame  
    de  Paris,  c.  14th  century  
    Virgin  and  Child,  Auvergne,  
    France,  12th  century    
    

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38. Jean  Pucelle,  Betrayal  of  Judas  and  the  Annuncia3on,  
    the  Book  of  Hours  of  Jeanne  d’Evreux,  1325-­‐1328.  
    

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39. Art  as  didac3c  materials  
    Concepts:  
    How  have  images  been  
    jus3fied  as  “didac3c”?  
    Why  was  it  so  important  
    at  this  3me  for  art  to  
    teach  the  viewer?  
    What  are  some  of  the  
    limita3ons  of  artworks  as  
    learning  materials?  
    Examples:  
    Look  below  
    

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40. Eleousa  
    Vladimir  Virgin,  
    Constan3nople,  12th  
    Century  
    “Virgin  of  
    tenderness.”  
    Or  
    Glykophilsousa  
    “Virgin  of  Sweet  
    Kisses”  
    

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41. Miracles  
    Miracle  at  Chonae,  
    St.  Catherine’s  
    Monastery  at  Mt.  
    Sinai,  12th  Century.  
    

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42. The  Ladder  of  Divine  Ascent,  
    from  St.  Catherine’s  at  
    Mount  Sinai,  7th  Century.  
    

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43. Chi  Rho  Iota  Page,  Book  of  Kells,  Hiberno-­‐
    Saxon,  9th  Century  CE.    
    

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44. Pentateuch  
    Story  of  Adam  and  Eve,  from  the  Ashburnham  
    Pentateuch,  6th  Century  CE.  
    Abel  tending  his  flock  
    Cain  working  the  land  
    Cain  Murdering  Abel  
    

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45. Gelasian  Sacramentary,  Merovingian,  8th  century  
    Alpha   Omega  
    The  beginning  and  the  
    end.  
    

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46. Death  
    of  a  
    Miser  
    Torment  of  
    Avarice  
    Torment  
    of  Lust  
    Scene  of  
    Torment  
    

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47. Religious  Spaces  
    Concepts:  
    •  basilicas,    
    •  centrally  planned  
    churches,    
    •  luminosity,    
    •  vaul3ng,    
    Examples:  
    See  below  examples  
    

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48. Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    

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49. Schematic plan for a monastery at St. Gall, Switzerland, 9th Century CE.
    Although  it  was  never  built,  the  plan  of  St.  Gall  remains  
    the  model  for  ideal  monasteries.  
    

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50. Nave,  Fontenay  Abbey,  
    France,  1139-­‐1147.  
    Nave,  Monastery  at  Cluny,  
    France,  1088-­‐1130.  
    

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51. Ambulatory  and  Apse  Chapel,  Abbey  
    Church  of  St.  Denis,  France,  
    1140-­‐1144.  
    Transept,  Abbey  Church  of  
    St.  Denis,  France,  1140-­‐1144.  
    

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52. Upper  Chapel,  Church  of  Sainte-­‐Chapelle,  
    Paris,  1239-­‐1248.  
    

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53. Materiality  
    Concepts:    
    •  Wealth  
    •  gold,    
    •  luminosity,    
    •  illuminated  manuscripts    
    •  stone  churches  
    Examples:  
    See  Below  Examples  
    

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54. Virgin  and  Child,  originally  
    from  St.  Denis,  c.  
    1324-­‐1339.  
    Virgin  of  Paris,  Notre  Dame  
    de  Paris,  c.  14th  century  
    

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55. Upper  Chapel,  Church  of  Sainte-­‐Chapelle,  
    Paris,  1239-­‐1248.  
    

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56. Reliquary statue of Sainte Foy (St. Faith),
    Conques, France, 9th-10th centuries.
    Furtum  Sacrum  =    
    “Sacred  Thef”  
    

    View Slide

57. Fantasy/Animals  
    Concepts:  
    •  historiated  columns    
    •  relief  sculpture  of  
    Romanesque  churches  
    •  Anglo-­‐Saxon  art    
    •  Hiberno-­‐Saxon  
    manuscripts  
    Examples:  
    Look  below  for  more  
    examples  
    

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58. Trumeau, South Portal, Lions (Jeremiah or Isaiah?),
    Church of Saint-Pierre, Moissac, France, c.1115
    

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59. Cloister  Relief  
    “Dove  Capital,”  Cloister,  Moissac,  France,  c.  
    1115.  
    

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60. The  Followers  of  Jesus,  Historiated  Capital,  
    Cloister,  Moissac,  France,  c.  1115.  
    “Monsters”  
    

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61. Historiated  Capital  with  Lions’  Heads,  Cloister,  
    Priory  Church,  Moissac,  France,  c.  1115.  
    Lions’  Heads  
    Griffons  acacking  lions  
    

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62. Jean  Pucelle,  Betrayal  of  Judas  and  the  Annuncia3on,  
    the  Book  of  Hours  of  Jeanne  d’Evreux,  1325-­‐1328.  
    Jous3ng  Scene  
    Marginalia  
    

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63. Jean  Pucelle,  Betrayal  of  Judas  and  the  Annuncia3on,  
    the  Book  of  Hours  of  Jeanne  d’Evreux,  1325-­‐1328.  
    Marginalia  
    Children  playing  
    

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