AP Art History Summer Slides

Prehistoric Architecture Stonehenge (c. 3100 BCE) Post and lintel construction Megaliths are 21 to 24 feet tall, including height of lintel, and buried four feet in the ground Solar and lunar orientation Stones dragged from far away to this site Circle of megaliths embrace structure, enclosing it Inside circle of megaliths is a larger horseshoe-shaped group of megaliths which frame an “altar stone”

Stonehenge (c. 3100 BCE)

Post and lintel construction

Megaliths are 21 to 24 feet tall, including height of lintel, and buried four feet in the ground

Solar and lunar orientation

Stones dragged from far away to this site

Circle of megaliths embrace structure, enclosing it

Inside circle of megaliths is a larger horseshoe-shaped group of megaliths which frame an “altar stone”

Mesopotamian Periods Sumerian (3500 – 2340 BCE) Akkadian (2340 – 2180 BCE) Guti?Neo-Sumer (2180 – 2125 BCE) Babylonian (2125 – 1750 BCE) Hittites (1640 – 1200 BCE) Assyrian (1000 – 612 BCE) Neo – Babylonian (605-539 BCE) Persia (539 – 331 BCE)

Sumerian (3500 – 2340 BCE)

Akkadian (2340 – 2180 BCE)

Guti?Neo-Sumer (2180 – 2125 BCE)

Babylonian (2125 – 1750 BCE)

Hittites (1640 – 1200 BCE)

Assyrian (1000 – 612 BCE)

Neo – Babylonian (605-539 BCE)

Persia (539 – 331 BCE)

Sumerian Art (c. 3500 – 2400 BCE) Development of Cuneiform Building of Ziggurats Small Scale Sculpture in marble, diorite, hammered gold and lapis lazuli The writing of Gilgamesh

Development of Cuneiform

Building of Ziggurats

Small Scale Sculpture in marble, diorite, hammered gold and lapis lazuli

The writing of Gilgamesh

Sumerian Art Ziggurat at Ur Mud-brick construction Solid, no interior Large ceremonial staircases Temple at top now missing Functioned as religious site and center of civic pride Holes in surface used to show flags Oriented by the points of the compass Painted surface

Ziggurat at Ur

Mud-brick construction

Solid, no interior

Large ceremonial staircases

Temple at top now missing

Functioned as religious site and center of civic pride

Holes in surface used to show flags

Oriented by the points of the compass

Painted surface

Sumerian Art Statuettes from Tell Asmar (c. 2700 BCE) Short compact statues Arms folded in front Inscription on back “Always praying” Huge eyes with giant pupils Men have long flowing beards that ripple down chest Compact statues Arms cut away at side Wear kilts

Statuettes from Tell Asmar

(c. 2700 BCE)

Short compact statues

Arms folded in front

Inscription on back “Always praying”

Huge eyes with giant pupils

Men have long flowing beards that ripple down chest

Compact statues

Arms cut away at side

Wear kilts

Standard of Ur ( c. 2600 – 2400 BCE) Hierarchy of Scale Narrative in art King inspects defeated enemies Horses placed behind each other to suggest depth Enemies nude to suggest defeat and debasement Repetition of forms

Standard of Ur

( c. 2600 – 2400 BCE)

Hierarchy of Scale

Narrative in art

King inspects defeated enemies

Horses placed behind each other to suggest depth

Enemies nude to suggest defeat and debasement

Repetition of forms

The Standard of Ur A mysterious object with one of the earliest representations of a Sumerian army From Ur, southern Iraq, about 2600-2400 BC This object was found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above the right shoulder of a man. Its original function is not yet understood. Leonard Woolley, the excavator at Ur, imagined that it was carried on a pole as a standard, hence its common name. Another theory suggests that it formed the soundbox of a musical instrument. When found, the original wooden frame for the mosaic of shell, red limestone and lapis lazuli had decayed, and the two main panels had been crushed together by the weight of the soil. The bitumen acting as glue had disintegrated and the end panels were broken. As a result, the present restoration is only a best guess as to how it originally appeared. The main panels are known as 'War' and 'Peace'. 'War' shows one of the earliest representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes, others are paraded naked and presented to the king who holds a spear. The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre. Banquet scenes such as this are common on cylinder seals of the period, such as on the seal of the 'Queen' Pu-abi, also in the British Museum.

Akkadian Art Victory Stele of Naram-Sin (c. 2230 BCE) Naram-Sin as a god ruling with three gods symbolized as stars Defeats his enemies: one thrown off cliff, one begs for mercy; one has a spear through his throat Naram-Sin acts with the gods’ blessings, but is independent of them He wears the horned crown of divinity He and his army climb a mountain Narrative in art Hierarchy of scale Relief sculpture Rigid ground lines discarded Regimentation of winners as opposed to the scattered defeated

Victory Stele of Naram-Sin

(c. 2230 BCE)

Naram-Sin as a god ruling with three gods symbolized as stars

Defeats his enemies: one thrown off cliff, one begs for mercy; one has a spear through his throat

Naram-Sin acts with the gods’ blessings, but is independent of them

He wears the horned crown of divinity

He and his army climb a mountain

Narrative in art

Hierarchy of scale

Relief sculpture

Rigid ground lines discarded

Regimentation of winners as opposed to the scattered defeated

Detail Victory Stele of Naram-Sin

Babylonian Art Stele of Hammurabi c. 1792 – 1750 BCE) 300 law codes at bottom Punishments depend on social standing Earliest body of laws in existence Hammurabi standing saluting god Shamash Hammurabi rules with the permission of the god Shamash hands the code to him Divinely inspired law Shamash has a coil-shaped crown, an extremely long beard and flames (wings?) coming from his back Cuneiform writing for text

Stele of Hammurabi c. 1792 – 1750 BCE)

300 law codes at bottom

Punishments depend on social standing

Earliest body of laws in existence

Hammurabi standing saluting god Shamash

Hammurabi rules with the permission of the god

Shamash hands the code to him

Divinely inspired law

Shamash has a coil-shaped crown, an extremely long beard and flames (wings?) coming from his back

Cuneiform writing for text

Assyrian Art Lamassu (c. 700 BCE) Guardian figure protects entrances into palaces Combination of man and animals Winged, hoofed Has five legs: two if you look from the front, four as you look from the side

Lamassu (c. 700 BCE)

Guardian figure protects entrances into palaces

Combination of man and animals

Winged, hoofed

Has five legs: two if you look from the front, four as you look from the side

Assyrian Archers Pursuing Enemies (from the Palace of Nimrud c. 883 – 859 BCE) Detail of wall-relief sculpture Assyrians attacking a city and city giving up Enemies are fleeing by swimming away, afloat on inflated skins Hierarchy of scale: people are larger than the city they occupy Meant as a warning and message to visiting dignitaries Assyrian Art

Assyrian Archers Pursuing Enemies (from the Palace of Nimrud c. 883 – 859 BCE)

Detail of wall-relief sculpture

Assyrians attacking a city and city giving up

Enemies are fleeing by swimming away, afloat on inflated skins

Hierarchy of scale: people are larger than the city they occupy

Meant as a warning and message to visiting dignitaries

Ashurbanipal Hunting Lions, Dying Lioness (from the Palace of Nineveh c. 883 – 859 BCE) Relief sculpture Animals show emotion, humans none Ruthless rendering of lions Chaotic arrangement of lions Organized arrangement of humans Humans as stoic and severe

Ashurbanipal Hunting Lions, Dying Lioness (from the Palace of Nineveh c. 883 – 859 BCE)

Relief sculpture

Animals show emotion, humans none

Ruthless rendering of lions

Chaotic arrangement of lions

Organized arrangement of humans

Humans as stoic and severe

Persian Palace Complex of Darius and Xerxes at Persepolis Founded by Darius the Great c. 518 BCE Meant as reception center demonstrating great wealth Looted and burned by Alexander the Great in 331-330 BCE (note Xerxes leading invasion of Greek mainland in 480 BCE)

Palace Complex of Darius and Xerxes at Persepolis

Founded by Darius the Great c. 518 BCE

Meant as reception center demonstrating great wealth

Looted and burned by Alexander the Great in 331-330 BCE

(note Xerxes leading invasion of Greek mainland in 480 BCE)

Persian Art Persepolis, Iran (c. 515 BCE) Palace complex Apadana with huge columns 60 feet tall 36 columns with bull-shaped tops Reliefs on walls symbolize Persian guards called Immortals 10,000 Immortals protected the city and ruler Large ramps leading to apadana enable chariots to enter hall

Persepolis, Iran (c. 515 BCE)

Palace complex

Apadana with huge columns 60 feet tall

36 columns with bull-shaped tops

Reliefs on walls symbolize Persian guards called Immortals

10,000 Immortals protected the city and ruler

Large ramps leading to apadana enable chariots to enter hall

Audience Hall at Persepolis (c. 500 BCE)

Egyptian Art Predynastic Period c. 4500 - 3150 BCE Archaic Period3150 - 2700 BCE The Old Kingdom 2700 - 2213 BCE First Intermediate Period2213 - 2061 BCE The Middle Kingdom 2061 - 1668 BCE Second Intermediate Period1668 - 1560 BCE The New Kingdom 1560 - 1069 BCE Third Intermediate Period1069 - 767 BCE Late Period 767 - 525 BCE Persian Period525 - 332 BCE Greek Period332 - 30 BCE Roman Period30 BCE - AD 395

Predynastic Period c. 4500 - 3150 BCE

Archaic Period3150 - 2700 BCE

The Old Kingdom 2700 - 2213 BCE

First Intermediate Period2213 - 2061 BCE

The Middle Kingdom 2061 - 1668 BCE

Second Intermediate Period1668 - 1560 BCE

The New Kingdom 1560 - 1069 BCE

Third Intermediate Period1069 - 767 BCE

Late Period 767 - 525 BCE

Persian Period525 - 332 BCE

Greek Period332 - 30 BCE

Roman Period30 BCE - AD 395

Palette of Narmur (reverse side) (circa 3000 BCE) First Historical Document currently known. Ceremonial Palette Represents the Unification of Upper and Lower Egypt by King Narmur Demonstrates the power and strength of the Pharaoh through imagery Utilizes Hierarchical scale

Palette of Narmur

(reverse side)

(circa 3000 BCE)

First Historical Document currently known.

Ceremonial Palette

Represents the Unification of Upper and Lower Egypt by King Narmur

Demonstrates the power and strength of the Pharaoh through imagery

Utilizes Hierarchical scale

Egyptian Old Kingdom Architecture Step Pyramid, Saqqara (c. 2750 BCE) Built by Imhotep: first known architect - for Pharaoh Zoser) 6 unequal steps Largest pyramid Giant staircase Pharaoh buried inside Outgrowth of the early mastaba burial structures

Step Pyramid, Saqqara

(c. 2750 BCE)

Built by Imhotep: first known architect - for Pharaoh Zoser)

6 unequal steps

Largest pyramid

Giant staircase

Pharaoh buried inside

Outgrowth of the early mastaba burial structures

Egyptian Old Kingdom Architecture Three Pyramids of Gizeh (Giza) (c. 2570 – 2500 BCE) Used no mortar Largest Pyramid for Cheops, also Mycerinus and Khafre) Stone casing Burial of the pharaohs Sides of the pyramids face north, east, south, west Pyramids face rising run 2.3 million stone blocks weigh 2.5 tons each

Three Pyramids of Gizeh (Giza) (c. 2570 – 2500 BCE)

Used no mortar

Largest Pyramid for Cheops, also Mycerinus and Khafre)

Stone casing

Burial of the pharaohs

Sides of the pyramids face north, east, south, west

Pyramids face rising run

2.3 million stone blocks weigh 2.5 tons each

Egyptian New Kingdom Art Mortuary Chapel of Hatshepsut (c. 1480 BCE) Memorial to most important female pharaoh of Egypt Three colonnaded terraces Two ramps Suited to setting Interplay of horizontals and verticals Verticals match landscape behind Decorated to evoke the Nile

Mortuary Chapel of Hatshepsut

(c. 1480 BCE)

Memorial to most important female pharaoh of Egypt

Three colonnaded terraces

Two ramps

Suited to setting

Interplay of horizontals and verticals

Verticals match landscape behind

Decorated to evoke the Nile

Egyptian New Kingdom Art Akhenaten (c. 1360 BCE) Uniques in Egyptian style – breaks with severe formulas Represents Pharoah who promoted monotheism for the the sun god Aten Frontal pose Epicene body Curving contours Slack jaw Full lips Big hips Belly hangs over belt

Akhenaten (c. 1360 BCE)

Uniques in Egyptian style – breaks with severe formulas

Represents Pharoah who promoted monotheism for the the sun god Aten

Frontal pose

Epicene body

Curving contours

Slack jaw

Full lips

Big hips

Belly hangs over belt

Aegean Art 2500 – 1100 BCE Pre-cursor to the Greeks

2500 – 1100 BCE

Pre-cursor to the Greeks

Cycladic Art Folded Arms Slight & Virginal Delicate proportions Subtle contours Most Likely Painted c. 2500 – 1100 BCE

Cycladic Art

Folded Arms

Slight & Virginal

Delicate proportions

Subtle contours

Most Likely Painted

Minoans Little Concern for defense or religion (no fortifications or temples) Utilized Metals System of writing Urban, mercantile civilization Emerging in Neolithic Age Found on the Island of Crete

Little Concern for defense or religion (no fortifications or temples)

Utilized Metals

System of writing

Urban, mercantile civilization

Emerging in Neolithic Age

Found on the Island of Crete

Minoan Vessels Tossed in dump sites c. 1800 BCE c. 1500 BCE

Painting Murals done in Fresco (c. 1500 BCE) Large gaps filled in by modern restorers Extremely curvilinear and lyrical line Vibrant colors, smooth lines and sense of nature

Painting

Murals done in Fresco (c. 1500 BCE)

Large gaps filled in by modern restorers

Extremely curvilinear and lyrical line

Vibrant colors, smooth lines and sense of nature

Palace of Knossos, Crete (c. 1600 – 1400 BCE) Rambling and not pre-planned Labyrinthine in nature Columns larger at top, taper to bottom Bulbous round tops of columns Megaron ( chamber composed of straight angled intersecting walls and a door opening to the outer space) Low ceilings, intimate rooms Terraces and open galleries No armaments or fortifications

Palace of Knossos, Crete (c. 1600 – 1400 BCE)

Rambling and not pre-planned

Labyrinthine in nature

Columns larger at top, taper to bottom

Bulbous round tops of columns

Megaron ( chamber composed of straight angled intersecting walls and a door opening to the outer space)

Low ceilings, intimate rooms

Terraces and open galleries

No armaments or fortifications

Toreador Fresco (c 1500 BCE) From the fresoes at the Palace of Knossos Red-brown color of men Yellow of women Curving lines Religious ritual?: jumping over the bull Bull appears decorative and non-threatening Thin waists Inspired by Egyptian art

Toreador Fresco

(c 1500 BCE)

From the fresoes at the Palace of Knossos

Red-brown color of men

Yellow of women

Curving lines

Religious ritual?: jumping over the bull

Bull appears decorative and non-threatening

Thin waists

Inspired by Egyptian art

Snake Goddess (c. 1600 BCE) Very small (apporx. 1 foot tall) Frontal Symmetrical Quilted skirt, no visible legs Pronounced breasts Astonished expression Thin waist

Snake Goddess (c. 1600 BCE)

Very small (apporx. 1 foot tall)

Frontal

Symmetrical

Quilted skirt, no visible legs

Pronounced breasts

Astonished expression

Thin waist

Harvester Vase (c. 1550-1500 BC) Carved in low relief – note overlapping to depict space

Rhyton Bull from Knossos (c. 1550 – 1500 BCE) Incised lines Inlaid shell and rock crystal in eyes

Rhyton Bull from Knossos (c. 1550 – 1500 BCE)

Incised lines

Inlaid shell and rock crystal in eyes

Mycenaean Art on the mainland of the Greek peninsula Mycenaean civilization was overwhelmed and destroyed around 1100 BCE – a time in which Greece entered a period known as the Dark Ages

Mycenaean Art Lion Gate, Mycenae, Greece Propylon (columned gateway) Heads of animals made of separate pieces of stone or metal, don’t survive May have been sphinxes, not lions Huge rocks grooved in place without mortar Outer protected entrance of a Mycenaean citadel C. 1250 BCE

Lion Gate, Mycenae, Greece

Propylon (columned gateway)

Heads of animals made of separate pieces of stone or metal, don’t survive

May have been sphinxes, not lions

Huge rocks grooved in place without mortar

Outer protected entrance of a Mycenaean citadel

C. 1250 BCE

Mycenaean Art Treasury of Atreus, Mycenaean Dome of corbeled stones Unknown function (tomb?) Largest vaulted interior space built up to at that time, and until the Roman Pantheon Each stone gently curved to create a circular interior C. 1250 BCE

Treasury of Atreus, Mycenaean

Dome of corbeled stones

Unknown function (tomb?)

Largest vaulted interior space built up to at that time, and until the Roman Pantheon

Each stone gently curved to create a circular interior

C. 1250 BCE

Funerary Mask (c. 1500 BCE) Repoussé Death mask Curly-cue like ears Life-like yet primitive quality Beard, moustache and eyebrows rendered in short thick strokes Claimed as the Mask of Agemmemnon by Heinrich Schliemann in 1876

Funerary Mask (c. 1500 BCE)

Repoussé

Death mask

Curly-cue like ears

Life-like yet primitive quality

Beard, moustache and eyebrows rendered in short thick strokes

Claimed as the Mask of Agemmemnon by Heinrich Schliemann in 1876