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Description
Flashcards by Emma Chiaravalli, updated more than 1 year ago
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Created by Emma Chiaravalli
over 4 years ago
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| Question | Answer |
| patrician carrying the busts of two ancestors Barbarini Togatus, end of 1st century, palazo di conservatori rome verism the importance of elders art is no longer just for rulers not idealized patrician = nobility triangle structure golden ratio drapery of fabric shows knowledge of greek art | |
| augustus of primaporta early 1st century had a lot of portraits of himself baby= cupid, venus's son (family claimed to be descendants of venus) military outfit, oratorical gesture contraposto not veristic, idealized but also shows a likeness relief on armor = god is on his side, victory | |
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garden vista, villa of livia at primaporta near rome, late 1st century livia = augustus' wife wall paintings popular because they lasted longer atmospheric perspective, illusionistic, depth SO many kinds of trees and fruits |
| flavian ampitheatre Rome 70-80 CE Permanent theatre for fights to the death between people and animals Paid for by the flavian family (provided jobs and entertainment) Form of the colosseum follows greek amphitheaters CONCRETE True arch Stress goes onto the ground rather than out to the sides so less likely to crumble Had been previously used in egypt and mesopotamia They were weaker because they were made of brick which is weaker and they were a corbelled arch Roman vaulting (both seen in the colosseum) Barrel vault Two buttresses Groin vault Pier Made of two intersecting barrel vaults Exterior opening marked with numbers which suggests seating Columns like greek buildings like the Parthenon in greece Decorative and not load bearing though Different order on each level Bottom: tuscan columns Second: ionic Third: corinthian | |
| pantheon Rome, c. 110-128 CE former Roman temple, now a church, in Rome commissioned by Marcus Agrippa during the reign of Augustus The building is cylindrical with a portico of large granite Corinthian columns | |
| Constantine the Great, from the Basilica of Maxentius and Constantine, om, 325-326 CE, marble, 8’6” high was a huge acrolithic statue of the late Roman emperor Constantine the Great hieratic emperor style larger-than-life eyes which gaze toward eternity | |
| Wall with Torah Niche, from a house-synagogue, Dura-Europos, Syria, 244-245 CE, tempera on plaster, for gathering and studying jewish scriptures it was an assembly hall niche for the torah scroll archaologists thought before finding this that Jews did not have figurative artwork 58 scenes, togas hierarchic scale, etc. roman style but with jewish subject PAINTING SHOWING SPOILS OF JERUSALEM | |
| The Good Shepherd, Orants, and the Story of Jonah, painted ceiling of the Catacomb of Saints Peter and Marcellinus, Rome, late 3rd–early 4th century domed ceiling with compartments with different scenes different than other roman paintings center = christ as the good shepherd (moschophorus, common to portray good things as a shepherd) others = jonah swallowed by fish, praying figures | |
| Sarcophagus of Junius Bassus c. 359, marble, 4x8 feet edict of milan = religious freedom so christianity was not illegal and they could spend more money on intricate art draped toags, contraposto | |
| Virgin and Child with Saints and Angels, icon, second half of the 6th century, encaustic on wood icons: to help people in meditation and prayer to feel connected to those they were praying to iconoclasm | |
| Crucifixion and Iconoclasts, from the Chludov Psalter, mid 9th century, tempera on vellum after iconoclasm was abolished miniature showing a parallel between the people who crucified christ and people white washing icons manuscripts and scrolls were hand written and time consuming to make | |
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Virgin and Child, apse of the Hagia Sophia, Constantinople, dedicated in 867, mosaic looking to establish direct connection with the viewer not a lot of detail and not naturalistic proportions and drapery different from roman art because it is depicting what we can not see |
| The Dome of the Rock, Jerusalem, begun 691 shrine that functions as a triumph of islam central plan with a dome a holy site for jews and christians ornamental and decorative no direct portrayals of muhammads journey to heaven motifs like plants representing the garden of paradise passages of the quaran | |
| Prayer Hall, Great Mosque of Cordoba, Spain, begun 785/786 white stone and red brick double arches spollia (reusing architecture from what was previously there) double columns with two capitals one decorative one not horseshoe arch niche in the wall tells you which way to face = MIHRAB | |
| Page from the Qur’an, Surah 2:286 and title of surah 3 in Kufic script, Syria, 9th centry, black ink, pigments, and gold on vellum, used a wide reed pen dipped in ink right to left, five lines of text gold ornament on bottom of the page that has the title cilligraphers thought of VERY highly because writing it was a form of reverence to god | |
| Tile Mosaic Mihrab, from the Madrasa Imami, Isfahan, Iran, founded 1354, glazed and cut tiles College center for learning, constructed during a time of political turmoil niche in the wall direction of mecca/the kabba person leading prayer (imam) sits inside inscription on inside = five pillars of faith outside = not kufic, more condensed | |
| Ardabil Carpet, produced in the Safavid royal workshops, Ardabil, Iran, 1539-1540, dyed wool pile, undyed silk warp and weft one of the most well known crafts very highly regarded bought by europeans exotic women passed on the trade to other generations |
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