Art History: Test 2

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The Erechtheion, Acropolis, Athens

Greek Classical

The Erechtheion, Acropolis, Athens, 421-405 BCE -Rebuild of the Ar

chaic Athena temple that the Persians had destroyed. -multiple shri
nes: Athena, wooden image of Panthenaic festival goddesses, & se
veral other gods & demigods

Erechtheion Plan Greek Classical

Erechtheion Plan -asymmetrical plan unique, anti-thesis of Doric pla

n of harmony - need to incorporate pre-existing features of existing
shrines, trident mark, & olive tree into a single complex

Carytids Greek Classical

Temple of Athena Nike Greek Clas

sical

Hermes & Dionysus Greek 4th cen

tury

Carytids, from the Ionic Erechtheion -replaced ionic columns - suppo

rted at roof - combined structural, weight-bearing legs with a femi
nine, natural, exible form.

The Temple of Athena Nike, Acropolis, Athens - designed by Kallikra

tes - 4 columns on east & west facades - includes reference to victo
ry over Persians in name & frieze -decisive battle of Marathon -- los
ers shown as humans

Hermes & Dionysus, Praxtiles - displays common human tender inte

raction - body forms "s" curve, exaggerated contrapposto - Gods po
ssess a beauty mortals can actually aspire to, no longer put on a p
edestal of absolute perfection -humanistic

Aphrodite of Knidos, Praxtiles -1st female nude of Greek art - rejec

ted by commissioner & redone w/ clothes - reects the sexism still i
n Greek society at the time: woman is hiding her body shyly, caugh
t after a bath in a temporary and private state of nudity.
Aphrodite of Knidos, Praxtiles Gre
ek 4th Century

Mosaic of the Battle of Issus, 310

BCE Greek Hellenistic

Battle of Issus mosaic, 310 BCE -depicts Alexander's conquest of th

e Persian Empire -original: encaustic paint on wood - mosaic shows
the advancements of highlighting & shadowing, naturalism of Gree
k painting, spatial recognition -depicted naturally, not as an allegor
y

Great Altar of Zeus, Pergamon Gr

eek Hellenistic

Great Altar of Zeus, Pergamon -Ionic order, continuous wrap-aroun

d frieze of sculpture of Pergamons & Gauls -very deep relief

Art History: Test 2

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Frieze of the Great Altar of Zeus,

Pergamon Greek Hellenistic

Gaul monument, Pergamon Greek

Hellenistic

Typical Etruscan temple EtruscanArchaic

Frieze of the Great Altar of Zeus, Pergamon -depicts the allegory of

the Pergamons as gods and the Gauls as beastly, inhuman giants. giants could not be killed if they kept contact w/ Earth's surface; im
age shows Athena grabbing them by the hair to lift them o the sur
face -images of death, pain, & dying-- Hellenistic

Gaul Monument, Pergamon: - Gauls are depicted here as perfect &

idealized humans- a right previously reserved for the winners only shows the respect for Hellenized neighbors, under the Greek empir
e -identied as Gauls by long, bushy hair & mustaches, and the tor
ques (necklaces) worn. -losers are committing suicide

Typical Etruscan Temple: - large front porch (only-- no back porch) back of building attached directly to precinct wall, forces a frontal v
iew only - columns are at front only, steps located in the center of t
he porch only - set on a podium- elevates temple - 3 separate cella
s for 3 separate gods -"Tuscan Doric Order"--- abacus & echinus, bu
t smooth columns instead of uted. No base & narrower-- wood inst
ead of stone, lighter material. - roof extends past temple platform t
o rid roof of rain -sculpture located on roof's ridge

The Apollo of Veii: -archaic smile, rigid hair -clothed in Etruscan art
(not nude as in Greek) -terra cotta clay - legs spaced widely apart,
as if walking

Apollo of Veii Etruscan- Archaic

Sarcophagus at Ceveteri EtruscanArchaic

Sarcophagus at Cerveteri: - archaic smile, almond eyes, rigid hair etruscan aspect: men and women together - terra cotta clay pot, im
mortalized couple

Tomb of the Reliefs, Cerveteri Etru

scan Hellenistic

Tomb of the Reliefs, Cerveteri: - mimics typical Etruscan mud-brick

home, with "couches" and other seating arrangements, on which cr
emated remains in pots would sit. - originally pots were plain but gr
adually transformed over the years to reect the bodies held inside
.

Aule Metele: - "The Orator" -- hand held up indicates he is speaking

- expert bronze statue - Roman magistrate- signies Rome's artistic
inuence at the time & the transition that was taking place
Aule Metele Etruscan Hellenistic

Temple of Portunus, Rome Roman

Republican 509-27 BCE

Temple of Portunus, Rome: - dedicated to the Roman god of harbor

s - high podium, steps only at front-- Etruscan plan + made of ston
e-- Greek inuence = Roman - stucco imitates Greek marble, ionic
columns, pseudoperipteral

Art History: Test 2

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Portrait of an old man Roman Rep

ublic

Portrait of an Old Man: - aristocratic patrician, portrayed in the veri

stic (super realistic) style -brutally distinct features - serious, deter
mined, loyal

Atrium of the House of the Vetti, Pompeii: - Roman domestic archite

cture, typical townhouse - impluvium: collects rainwater - peristyle
garden behind
Atrium of the house of the Vetti, P
ompeii: Roman Republic

First-Style Painting from the House of the Samnite, Herculaneum: aim to decorate by imitating costly marble panels using stucco relie
f -Greek origin, passed to Herculaneum by the Hellenization of the
Greek states
1st style painting from Samnite Ho
use, Herculaneum Roman Republic
an
2nd style painting from Bosoreale:
Roman Republican

2nd style painting from Boscoreale: - painted on at surface, rather

than sculpted plaster - true-to-life architectural elements -columns s
upport tablature -view beyond columns- seascapes, landscapes, cit
yscapes, etc. - no real windows b/c of surrounding structures - highl
ighting, shadowing, spatial & angular methods to provide true persp
ectives

3rd style painting @ Boscotrease: - incorporates 1st & 2nd style ch

aracteristics -exaggerated architecture, columns stretched too thin,
not in proper orders - spaces between columns are blank negative
space, sometimes with a small image in the center: chunk of landsc
ape or a bird, etc.
3rd style painting at Boscotrease:
Roman Imperial 27 BCE- 312 AD

4th style paintings at the Ixion Roo

m, Vetti House Roman Imperial: 27
BCE- 312 AD

4th style paintings @ the Ixion Room, Vetti House: - invented in Ner
o's reign, spread to Vetti - Dada @ bottom imitates stone, plants for
m columns & divide the wall into sheets of solid color with oating i
mages in the middle. -windows seem to be punched through to the
outside

The Augustus of Prima Porta: - depicts Augustus, 1st Roman emper

or of the imperial period - considered to be one of the most accura
te copies of the classical Doryphoros -- indicates that he is godly
The Augustus of Prima Porta Rom
an Imperial

The Domus Aurea Roman Imperial

The Domus Aurea, Rome: - commissioned by Nero - top portion= v

aulted octagon, set on a circular room - inside the imperial palace: j
umble of strange angles - cast concrete: uniquely Roman -room rot
ates, oculus allows light tocome in from ceiling -decorated by fresco
es in the 4th style.

Art History: Test 2

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The Colosseum, Rome Roman Imp

erial

Portrait of Vespasian Roman Impe

rial

Forum of Trajan Roman Imperial

The Column of Trajan Roman Impe

rial

The Pantheon Roman Imperial

The Equestrian Statue of Marcus A

urelius: Roman Imperial

The Colosseum, Rome: -feat of practical engineering -concrete stru

cture, consists of groin vaults (intersecting barrel vaults) - rooms un
derneath used for storing props & special eects equipment - cover
ed w/ retractable canvas roof - Greek order applied @ practical Ro
man core.

Portrait of Vespasian: - Roman general - revived the veristic traditio

n of the Republican era-- great contrast w/ Nero's self-indulgence a
nd extravagance

Forum of Trajan: - last & largest forum of Imperial period - Trajan: g

reat emperor, general over Barbarian tribes, donated wealth to buil
ding public monuments

The Column of Trajan -supports portrait statue of Trajan - Tuscan Do

ric column with base, except that the smooth part has been replace
d with a band of decoration, depicting hundreds of gures playing o
ut Trajan's battles with Barbarians.

The Pantheon: -Roman-style "temple" - instead of a cult statue, the

assumed "cella" is instead a domed room, large enough to hold ma
ny people - ceiling acts as celestial sky & lower part acts as Earth (
Domus Aurea inspired) - functioned as public audience hall & as the
Domus Aurea did.

The Equestrian Statue of Marcus Aurelius: - arm stretched out, act

of clemency - horse's leg once stood on cowering enemy -superhu
man stature- much larger proportionally than a man would be to a
horse.

Christian House, Dura Europos Ro

man Imperial 27 BCE -312 AD

Christian House @ Dura Europos: - 1st evidence of Christians - loca

ted in the city of the Roman empire, modern-day Syria -fortication
wall surrounds city, with most important buildings and temples @ fo
rum; this house was on the outskirts & near the fortication wall: go
t buried in an attempt to strengthen it from invaders. -secret cult b
uilding, not ocial temple -mall and modest, most Christians were
poor & lower class -modications done mostly in the initiation cere
mony room, with a bathtub for baptism

Catacombs of Peter & Marcellinus,

rome Roman Imperial

Catacombs of Peter & Marcellinus, Rome -upper vault area: 3rd styl
e painting- big sheet of white, compartmentalized & decorated with
images -- Jonah & the whale: Jew thrown overboard, swallowed whol
e by a whale & 3 days later is vomitted out; symbolic of the death
& resurrection of Christ

Art History: Test 2

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The Arch of Constantine, Rome 31

2-315 Early Christian

Arch of Constantine, Rome - PAGAN not christian (Constantine pers

onally converted in 312, not nationally) - triple arch w/ tons of sculp
ture & relief - imperial portrait pictured becomes formula for repres
entation

Detail of the Arch of Constantine

Arch of Constantine, Rome -imperial portrait - emperor sits in the c

enter, as others stand - face fell o-- would have been made of a p
recious stone or metal

The Aula Palatina, Trier, Early 4th

C. Early Christian

Sarcophagus of Junius Bassus, c. 3

59 Early Christian

Old St. Peter's, Rome, begun c. 31

9 Early Christian

Santa Costanza, Rome, begun 337

Roman Early Christian

Aula Palatina, Trier, 4th c. - rectangular hall w/ coered ceilings, ap

se, and raised platform for emperor's throne - became standard lay
out of imperial audience hall basilica

Sarcophagus of Junius Bassus, c. 359 - old patrician family of Pagan

era - covered w/ various old Jewish stories & new Christian ones - p
ortrait of Christ--- modeled after imperial portrait

Old St. Peter's, Rome, 319 - 2nd most important building in Christia
n world (1st: Christ's tomb) - killed as blood-sport entertainment - to
mb developed into lavish structure, basilica - 5 aisles, clerestory wi
ndows, exposed rafters, trasected "T" shape basilica fuses tomb w/
audience hall

Santa Costanza, Rome, 337 - centrally-planned building -ambulatory

: ringlike barrel vaulted corridor, separated by 12 pairs of columns
-brick exterior

Leaf from the Nicomachi/ Symmachi diptych - 2 panels: possible we

dding announcement - depicts 2 pagan priestesses/ gods in the Gre
ek classical style - attempts to justify the now-illegal religion of Pag
anism through emotional persuasion; "good ole days" & tradition

Leaf from the Nicomachi/ Symmac

hi diptych Roman Early Christian
Hagia Sophia, Constantinople, mid
4th c. (original); rebuilt around 532
Early Byzantine: 527-726 AD

Hagia Sophia, Constantinople - originally built by Constantine in the

mid 4th century as 5-aisle basilica church, but destroyed during a ri
ot in Justinian's rule - rebuilt around 532 AD as centrally-planned bu
ilding, stretched octagon w/ two thrones (bishop & emperor) -vertic
al axis btw. high central dome & oor instead of traditional horizont
al axis - embedded within palace architecture; dual function as city'
s cathedral & emperor's cathedral -decorative nonfunctioning walls
hide supporting buttresses

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Interior of Hagia Sophia, 532

- divided heaven & earth inside; pendentives (triangular spherical s

egments) make up top half with holy images in golden mosaics, ligh
ts that let natural light in - bottom half represents earth, darker col
ors and mosaics portray mountains, meadows, streams, etc. -Natur
al light acts as stars & planets

San Vitale, Ravenna

San Vitale, Ravenna -true centrally-planned building: dome within a

n octagon, within an octagon -true "Byzantine" church -basket capit
als: lacelike exterior hides hollow inside

Justinian Mosaic, San Vitale, Raven

na Early Byzantine

-panel depicted inside church -mosaic -depict Justinian & wife Theod
ora in "icon" fashion -icons used emperor & God interchangably

functions of an icon portrait

Icon of the Virgin, Saints, & Angels

San Vitale, Ravenna Early Byzanti
ne

1) intercessory: acts as a intermediary between humans and Gods-have to pass prayers through lower level saints, all the way up the
hierarchy to Christ. 2) Anagogy: turns attention away from material
world, and into a higher realm.

Icon of the Virgin, Saints, & Angels - baby Jesus is only an attribute
to Mary, the central gure, so this is a Virgin Icon - accompanied by
lower level saints, higher saints, angels, and the hand of God, whic
h is speaking down to Earth. Shows the lineage prayers must follow.