Week6 roman middleages_part2

Hellenistic Period
323 BCE – 146 BCE
Sculptures are far more realistic – rather than ideal – portraits assume greater importance
Drama and emotion – often appear theatrical, excessive
Brought large scale into architecture
Actively exported Greek culture: politics, law, literature, philosophy, religion, and art.

Alexander the Great
In 334 BCE, at the age of 20, Alexander launches the war that would lead to the greatest territorial conquests in history
Spread Greek and Hellenistic ideas over Persia, Asia Minor (Turkey), Egypt, Syria, India, Afganistan
Died at 33.

Corinthian pilasters on a Buddhist stupa of green schist at Mingora, in the Upper Swat Valley, Pakistan. 2 nd Century CE Gandhara Buddha. 1st-2nd century CE. Herculean depiction of Vajrapani (right), as the protector of the Buddha, 2nd century CE Gandhara, British Museum.

Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height approx. 4’ 5”. British Museum, London.

Dying Gaul. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230–220 BCE, approx. 3’ 1/2” high. Museo Capitolino, Rome.

Jeff Koons Michael Jackson and Bubbles , 1988

Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230–200 BCE. Marble, approx. 7’ 1” high. Glyptothek, Munich.

Michelangelo Rebellious Slave 1513-16 Marble Height 215 cm (7 ft) Musée du Louvre, Paris

ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.

Bronze statuette of a veiled and masked dancer , Greek, 3 rd -2 nd Century BC From Alexandria, Egypt

Auguste Rodin, 1902 “The Boxer,” Roman bronze copy of Greek sculpture by Apollonius the Athenian, 1st century BCE

Altar to Zeus in the Pergamon Museum, Berlin. – 2 nd Century BCE

The Nazi-era architect Albert Speer used the Pergamon Altar as the model for the Zeppelintribüne, 1934-37

Laocoön and his sons, from Rome, Italy, early first century CE Marble, approx. 7’ 10 1/2” high. Vatican Museums, Rome.

Portrait of Homer. Marble, Roman copy after a Greek Hellenistic original, 1st to 2nd century AD. From Baiae, Campania. Dimensions H. 57.5 cm (22 ½ in.)

The Winged Victory of Samothrace, also called the Nike of Samothrace, is a third century B.C. marble sculpture of the Greek goddess Nike (Victory).

Hermes and the Infant Dionysos , 4 th Century BC

The greek god Hermes (Mercurius for the Romans) in the Pio-Clementine Museum is a 1st century Roman copy of the Greek 4th century BCE original from the Praxiteles school.

Venus de Milo Parian marble, h 2.02 m (6 1/2 ft) Found at Milo 130-120 BC

Salvador Dali, 1936, Venus de Milo with Drawers

Greek to Roman
Roman era beginning 510 BCE
Hellenistic forms are displaced by realism that portrays children and the aging and ordinary citizens
Relief portrait head of a man, c.1st Century bce, marble, 9 5/8" height. Double portrait, "Gratidia and Gratidius Libanus," c.1st Century bce, marble with traces of paint, 23 3/4" height.

Rome came of age during the Hellenistic Period.
The Romans were great admirers of Greek achievements in the arts.
Romans made realistic portrayals of individuals as opposed to idealized portrayals of generic people.

Roman Contributions to Art
Architectural and Engineering
Arch
Dome
Concrete
Painting
Landscapes
Illusionism
Realistic/individual portraits

“With the Greeks there’s always and aesthetic element. I prefer the virile realism of Rome which doesn’t embellish. The truthfulness of Roman art – it’s like their buildings, but all the more beautiful in their genuine simplicity.”
Pablo Picasso

Portrait of Caracalla, ca. 211–217 CE. Marble, approx. 1’ 2” high. Metropolitan Museum of Art, New York.

Head of a Patrician, Roman, Republic period - 1 st century BC

Statue of an old market woman, Early Imperial, Julio-Claudian, 1st century A.D. Roman

Equestrian statue of Marcus Aurelius, 164-166 BCE, Bronze

Colosseum, Rome, 72-80 CE

"Nothing can last forever. Once the sun has shone brightly, it sets in the ocean. The moon wanes after it is full. Thus the ferocity of love often becomes a gentle breeze." ~written in Latin verse on the wall of a house in Pompeii

Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreath Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140

Desolation, 1836 Oil on canvas

Roman statue of Aphrodite – washed up on the coast of Israel on December 14, 2010 after a storm – dating from between 1,700 and 2,000 years ago

Key Terms: Icon Isometric Perspective Mosaic Illumination Basilica Cross Plan Central Plan Key Movements: Byzantine Romanesque Gothic Chapter Fifteen Christianity and Formation of Europe

Christianity and the Formation of Europe
Roman Empire was overextended, internally weakened and increasingly invaded – it would soon disintegrate
Christianity quickly becomes one of the most popular and well organized religions in the late Roman Empire
Christianity under periods of persecution and later recognition (313)

The Good Shepherd, the story of Jonah, and orants, painted ceiling of a cubiculum in the Catacomb of Saints Peter and Marcellinus, Rome, Italy, early fourth century.

Christ as Sol Invictus, detail of a vault mosaic in the Mausoleum of the Julii, Rome, Italy, late third century. Apollo / Helios, from a Roman floor mosaic. Borrowed iconography of the Greek and Roman gods Apollo and Dionysus

Calf Bearer (Moschophoros) , dedicated by Rhonbos on the Acropolis, Athens, ca. 560 B.C. Marble, restored height approx. 5' 5". Jesus as the Good Shepherd. Ceiling - S. Callisto catacomb. - mid 3rd century A.D.

Portraits of the four tetrarchs, from Constantinople, ca. 305 CE. Porphyry, approx. 4’ 3” high. Saint Mark’s, Venice.

Portrait of Constantine, from the Basilica Nova, Rome, Italy, ca. 315–330 CE. Marble, approx. 8’ 6” high. Palazzo dei Conservatori, Rome. A symbol of his continuing presence in Rome after moving the administration to Constantinople His features are exaggerated, especially the geometrical eyes, and his hair is abstracted. This is a precursor to Byzantine art.

Reconstruction drawing of the Basilica Nova (Basilica of Constantine), Rome, Italy, ca. 306–312 CE.

Aula Palatina, Trier, Germany, early fourth century CE (interior).
While most Greek, Roman, and Egyptian temples were designed to be viewed from the exterior as dwelling places for the gods- Christianity emphasized congregational worship.
They adopted a Roman meeting-hall plan called a basilica , which is a long, rectangular structure.

Restored view (a), plan (b), and section (c) of Old Saint Peter’s, Rome, Italy, begun ca. 320. (The restoration of the forecourt is conjectural.) They added a transept , an elongated rectangle, to the apse as a focal point. This constructed the cross plan Demolished in 1506

Christ before Pilate, folio 8 verso of the Rossano Gospels, early sixth century. Tempera on purple vellum, approx. 11” X 10 1/4”. Diocesan Museum, Archepiscopal Palace, Rossano.

The Annunciation to the Shepherds, from the Lectionary of Henry II (1002-1014 CE), 17x13”
Hierarchical scale
Angels, Humans, Animals
Drapery falls at harsh, unnatural angles
Symbols in the scene take precedence over realism/truth

Europe and the Byzantine Empire ca. 1000

Byzantine Art
Based on less naturalistic Eastern styles.
It centered on flattened, linear qualities and elaborate materials.
They emphasized the heavenly qualities as opposed to everyday qualities.
Figures appear weightless and area placed in undefined space

Hagia Sophia – 532-537 – dome rises 183 feet above the floor Converted to a mosque in 15 th Century

Aerial view of San Vitale, Ravenna, Italy, 526–547. Centrally planned, with a major vertical axis/emphasis

National Jewish – Colorado Blvd, Denver

Plan of San Vitale, Ravenna, Italy, 526–547 .

Christ as the Good Shepherd, mosaic from the entrance wall of the Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.

Theodora and attendants, mosaic from the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547.

Portrait of a husband and wife, wall painting from House VII,2,6, Pompeii, Italy, ca. 70–79 CE. Approx. 1’ 11” x 1’ 8 1/2”. Museo Nazionale, Naples.

Pantokrator, Theotokos and Child, angels, and saints, apse mosaic in the cathedral at Monreale, Italy, ca. 1180–1190. Note the position and authority of the deity Pantokrator = “Ruler of All” Emphasizes the divine, awe-inspiring majesty of Christ as opposed to his gentle, approachable incarnation as Jesus seen in catacomb murals

Interior of Saint Mark’s (view facing east), Venice, Italy, begun 1063. By de-emphasizing the roundness and weight of the human form – artists are expressing the otherworldliness or holiness of these figures floating in a Byzantine vision of heavenly splendor

The Middle Ages – 476-15 th Century
Sack of Rome – 410 AD
Early Middle Ages Ca. 600-800
Middle ages last roughly 5 th Century – 15 th Century
Roman Empire had broken down
Age of widespread violence, illiteracy, disease and superstition
Urban populations decline
The first crusade -1095
1347-1350 – Black Plague kills 30-60% of Europe’s population

Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and enamel cloisonné with garnets and emeralds, 7 1/2” long. British Museum, London. Massive influx of Germanic peoples – mosrly nomadic tribes

Monks copied and illuminated/decorated pages of Scripture and other writings with infinite detail. X-P page From the Lindisfarne Gospel Book

robotlab, “The Bible Scribe”, 2007.

Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 1/2” high. Louvre, Paris. Holy Roman Emperor -crowned politically as well as spiritually

Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze, approx. 11’ 6” high. Musei Capitolini, Rome.

High Middle Ages
Most of the great cathedrals of Europe were built during this time
Ca. 800-15 th Century (Renaissance)
The Crusades – 1095-1270
The Magna Carta – 1215
Basis for English constitutional law
The Black Plague – 1348-1349

Europe About 1100

Battle of Hastings, detail of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embroidered wool on linen, 1’ 8” high (entire length of fabric 229’ 8”). Centre Guillaume le Conquérant, Bayeux. This is one of 72 episodes depicting the Norman invasion. Note the abstracted flattening and use of isometric perspective. The entire piece is like a long picture book, 20 inches high and 231 feet long, that tells the story of the conquest of England by William of Normandy in 1066.

Europe About 1200

Feudalism
Drawn from ancient Roman styles.
Romanesque architecture is defined by
Overall massiveness
Thick stone walls
Round Arches
Barrel-vaulted stone ceilings
Crusades and Pilgrimages
The Romanesque Period (1050 to 1200 C.E.)

St. Sernin, Toulouse (nave)

Vezelay, exterior tympanum (Mission of the Apostles)
Sculpture used to teach religion to people since most could not read.
Artists used other art rather than nature for models – figures appear to be dolls or marionettes
Realism is not the goal – conveying a spiritual message is

Altarpiece, French, 1450-1500 – painted limestone

Nave elevations of four French Gothic cathedrals at the same scale (after Louis Grodecki): (a) Laon, (b) Paris, (c) Chartres, (d) Amiens.

Gothic Style
The Gothic architectural style is an exaggerated form of Romanesque with ornate, linear, vertical elements. It is characterized by:
- Intricate decorative detail
- Higher and more pointed peaks
- Ribbed vaulting
- Flying buttresses
- Stained glass windows
Revival of Classicism

Aerial view of Chartres Cathedral (from the northwest), Chartres, France, begun 1134; rebuilt after 1194.

First tower built between 1134 and 1150 – Romanesque Second tower built between 1142 and 1160 - Gothic

Plan of Chartres Cathedral, Chartres, France, as rebuilt after 1194 (after Paul Frankl).

Denver’s Cathedral of the Immaculate Conception

cathedral of st. john in the wilderness

Old Testament kings and queens, jamb statues, central doorway of Royal Portal, Chartres Cathedral, Chartres, France, ca. 1145–1155. Romanesque style can be seen in the elongated and flattened bodies of these figures created to embellish architecture

Chartres Cathedral, 13 th Century
Gothic door jambs from the south transept on the right are naturalistic, imply movement, and were sculpted to show the anatomy underlying the fabric.
They are more in the round, almost appearing to be ready to step away from the column they are attached to.

Saints Martin, Jerome, and Gregory, jamb statues, Porch of the Confessors (right doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1220–1230.

Visitation, jamb statues of central doorway, west facade, Reims Cathedral, Reims, France, ca. 1230. Contrapposto Drapery articulates the bodies underneath

Virgin and Child and angels (Notre Dame de la Belle Verrière), window in the choir of Chartres Cathedral, Chartres, France, ca. 1170, with 13th century side panels. Stained glass, 16’ X 7’ X 8”. Like the gold of Byzantine depictions the gemlike colors of stained glass represent a medieval vision of heavenly splendor

Rose window and lancets, north transept, Chartres Cathedral, Chartres, France, ca. 1220. Stained glass, rose window approx. 43’ in diameter.

Gerhard Richter 4096 Colours 1974 254 cm X 254 cm Enamel on canvas

Gerhard Richter, window for Cologne Cathedral in Germany – August 2007

Blanche of Castile, Louis IX, and two monks, dedication page (folio 8 recto) of a moralized Bible, from Paris, France, 1226–1234. Ink, tempera, and gold leaf on vellum, 1’ 3” X 10 1/2”. Pierpont Morgan Library, New York.

CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence.

Duccio, Christ Entering Jerusalem , detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21” By the early 1600’s we begin to see a break with the Middle Ages art styles in favor of: - Naturalistic spatial techniques - Realistic proportion - Depiction of movement Two artists very influential in making this transition, which is considered a precursor to the Renaissance style, are Duccio and Giotto.

Fresco wall painting in a cubiculum (bedroom) from the Villa of P. Fannius Synistor at Boscoreale , ca. 40–30 b.c.; Late Republican Roman

DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1309–1311. Tempera on wood, detail approx. 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena.

GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”.

Towards the Renaissance
From
Death
Famine/malnutrition
Plague/disease
Illiteracy, superstition
Limited choices
To
Longer life expectancy
Improved nutrition
Better health/living conditions
Literacy and education
Personal choice

Week6 roman middleages_part2

by nateabels on Sep 23, 2010

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Week6 roman middleages_part2 — Presentation Transcript