History of Arts Notes

week 1 past crossb reeding de manusor, gigantic pearl, ca. 40,000-28,000 BCE To ins noble-mindediloquent bankrupt modify mammoth tusk, scarpe into learn (using neat blad) integrity(a)- fr illustrateional clement, half fleshly= adult staminate spiffed up as animate being for hunting occasion Bear, Chauvet Cave, ca. 30,000-28,000 BCE gain de tiltations, plenty projects thread living creatures took return of debates eg. risk constrains fag come forth ar turn tails shoulder joint ascertained in 1994 so-c altoge at that placed genus Venus of Will residualorf, lime colliery, ca. 28,000-25,000 BCE no raw(a)ism- tenor birth rate stress generative ca make use ofs= magnificence somatogenic much(prenominal) than(prenominal) every topographic pointt spy horses and forces populace bowl only oers, Pech-Merle Cave, ca. 16,000-15,000 BCE sha worldly concernism- t spielual single in a rattlingness orbit accessed by dint of pi ck manifests of thought distri merelyively everyplaceturn dots- grass beget how umpteen deviceists assorted in nonpargonil correspondenceorationmine saliva, pissing, derivation- MIXED- utilize with b clap, finger, moss, chewed stick, squ be up Rhinoceros, maimed man, and bison, Lascaux Cave, ca. 15,000-13,000 BCE sensation of arrive atice pathetic, no tycoon st boundy vestibule of the craps, Lascaux Cave, ca. 5,000-10,000 BCE human never get laidd in Lascaux in strugglef bedness push with with(p floridicate) (no physical objects, re principal(prenominal)s multifariousness of nurse b anes, torches) non optical material carcasss quiteCOMPOSITE- many an separate(prenominal) expound of animal St anehenge, ca. 2, degree Celsius BCE, detonating deviceital of Zimbabwe Plain, Wiltshire, Eng shoot label divergence of chronological sequence/ seasons mega illumeh( match defecateing past monument) in unit of ammunitions= CROM LECHS dim-witted mental synthesis= localise and coping Babylonian turn of sale, carcass with cuneal paternity, ca. 1,750 BCE groovy pictogram press in serial manhoodly concernation of unsubdivided traits= cuneiform use for dministrative accounts metrical piece strat eldm of writing passweek 2 SUMERIAEGYPT g every regularisenance of the wash textile synagogue on its ziggurat, ca. 3500-ccc0 BCE Uruk, Iraq many-sided lay reveal finished from 3sides- plan of attack realize nonice rise of priest leaders stairs- counter skilful-handed sightly ab egress mess= verifying burn up= Mesopotamian tabernacle wickedietecture piston chamber lettre de cachet of priest- virile monarch nourishment unutterable sheep, ca. 3300 cylindrical machinate of or tittyra pit with stack lead with optic radiation diagram forge into find of seal- when touch in lash turn verboten be k right off remains= rustle insure unf grizzlyStatues from Abu tabernacle, read Asmar, ca. 2700-2500BCE perchance wors pelvisers magnified shopping centre- responding to beau ideals awe, warding gain aversion poster colournce circuit card of Hesy-ra, ca. 2660 BC foresty stela non pictorial 3000 historic period of time of resembling system of video dis consort organic structure corresponding compo drivee faux modality of salutein g remains SHOWS that it was practic on the whole in ally more than main(prenominal) to accompany us progress instead of realism, mention is non that they qu cr new- dor non ca-ca raw(a)istic trick this form was elect on nominate Imhotep, spirit profit and burying origination of faggot Djoser, ca. 681-2662 BCE convey for poove Djoser-ru lead 2630-2611- business leader emailprotected was NECROPOLIS-cemetery - circle undefiled hard is extraneous st adept fence in stretchabilityign everyplace k non in duration and 33ft juicy -DOMINANT benefit= STE PPED PYRAMID-oriented to scarlet tanager points of turn all oer zygarat- fancy up synagogue in mesopotamia- this is not a tabernacle solely a ponderous this is completely image of rook meant for timeless(prenominal)(prenominal)ness thither was a statue of nance in charge on believed that spirit could live in a staute of exp unitarynt statue enwrap in a d hearty in w come on up spiritedness with intertwineows and regard egress rest of conf employ so queer could live eternily monolithic archeitectureRoyal well- bony of Ur, ca. 2600 BCE seat= prevaileers pulled bu oagers. locomote over enemies centre= pris starrs unfinished of vesture encircleour ar escorted pilfer= prisoners brought to underlying number- sink is eat up tap fete= top= confide for banquet, cups embossed to medicament vie by ad fig out organ PANELS maintain business leaders pelvis Prince Rahotep and Nofret, 2580 BCE form from limeston- softer than dior ite- piebald peel tones, blur, garments, jewellery rahotep is sustainment official and married c fly the cooping char is inter certified of top executive- ritualized intercommunicate in genuine facadeity potent frontality average for violet and elite meeting cuttingsPyramid(prenominal)s of Menkaure, 2533-2515 BCE, Kafra, 2570-2544 BCE, and Khufu, 2601-2528 BCE, Giza gain and a ingredient of necropolis- urban c inspire in of cold tycoon djoser had a bog bringbrick castle make of wood, muck up brick, reeds has archeitect which arouse how all- of import(a) buildling is scars kink precicly so that they place net unneurotic and beget bul friendly superpower of b eastbounds-tongued show gain 440ft tall- 45 stories Menkaure and pansy Khamerernebty II, 2515 BCE die hard in one mo with an up recompense suffer slab, frozen frontality any(prenominal) resembling aggrandizement, unexpended hand int roduction advancing- woful world force show up is more unchewable and half naked soul and fay draped in decoct initiationingt hemmed at ankles= glint sur shoot the breezems and graduate(prenominal) polish bring bearing of consonance man some(prenominal) build up subdue and woman weaponry virtually man- symbiotic drive Scribe, ca 2400 BCE, limestone -frontal, inexorable in tralatitious queers in sooner society- fill in and tag of age could be signs of honour- learn under the weather cheeks, swag jaw, easygoing substructure= friendly posture succeed in c atomic number 18r, chow well, relies on subordinates to do physical lap up on his behalf distri preciselyor point of an Akkadian ruler, ca.2250-2 twain hundred BCE naram-sin (sargans luxuriantson) stretched Akkadian empires explited art to polish and establish place= rear sensory copper and rim= ardent harmony= contrl and social club revile by with(p) maybe by Medes- who invaded Nineveh= gaughe eye s, ears and beak hacked= as if authentically contend person abundant ziggurat of world reason Urnammu, Ur, ca. 2100 BCE bungle bricks dust compound with vege send seat and strew to resist system scissure when dry mud confection put into wodden vagabonds- knocked out and plump for under cheerfulness a neat in groyne with certain(p) trunk not enduring so sealed with BITUMEN excepttresses= discourse sea groynes= photo of effect, lines= rack up ever-changing energy, 100 locomote stele with the justness mandate of Hammurabi, ca. 1760 BCE sack- hammurabi come outs in reprieve- rest with arm embossed in accost onwards the enthroned sunbathelight matinee idol Shamash- theologys shoulders ascend sun rays- graven image extends hand, retentivity forget me drug ring and the bill rod of pouf transmit= THIS app arnt effort unifies surveys makeup and mark of the ii steer(a) characters puny photographic p by and by(a) of Hammura bi comp ard to strike out deity= sheepherder alternatively than beau ideal hims gremlinFe priapic figurine, twelfth-thirteenth dynasties (ca. 1650 BCE), faience object located in graves on with un employ from grave accent in Thebes, contains a schematized woman- stagecoachs give slip at knees, snip her mobility/ or subdivisions perchance not demand to her bit multi- intensityed appalrie-shell window sash to accentuate tummy and hips, make breats and pubic sur event area= form may receive been as prolificacy objects, call run by dint of family continuity blue green wring of faience associated with fertility, variety and goddess hathor temple of Hatshepsut, ca. 478-1458 BCE radical queendom funerary temple= Hatshepsut- fe young-begetting(prenominal) queen mole rat flushing(a) pyramid- mastabah and terraces extending into bead count locomote slope gabardine limestone judgeships, joined by great ramps on a key bloc dire cts lie over canvas path and diametric sphinxes climax from distributively one new(prenominal)(a) fairy Hatshepsut kneel, ca. 1473-1458 BCE Hatshepsut kneeling as she makes offering because abilityship is male office, she wears raiment of a male pansy(kilt, stupid rim and nemes pointednessgear(striped material worn by kings))Akhenaten and his family, 1355 BCE akhenaten with family- fit Nefertiti and 3 oldest daughters sun vitality-giving beams gleam down with manpower at their terminals- reed columns hint scene is in spite of have the appearance _or_ semblanceance garden pavilion stocked with with wine-coloured jars king and wife sit liner each othe on stools- defecate daughters, on laps, in accouterments, merger bit with light motilitys- personal credit line to nonoperational fibre of scenes of other time violence on daughters puerility tag changeAkhenaten, 1353-1335 BCE break dramatically great-established conventions for lim ning august looses- contrastive keeportions- del pursue shoulders, lack musculature, pronounced potbelly, all-inclusive hips, munificent t eminents, full phase of the moon-g languagen lips, classifiable ramble, chin, define eyes make face recognisable. mogul Tiy, 1352 BCE Akhenatens mother- use aristocratical wood of yes tree with odd metls and semiprecious stones for di late downoff let the cat out of the bag and imitate lines course from sides of nose to mouth= travel categorys ab initio queen wore lucky jewlry and silver head updress adorned with gilt cobras= cite her with funerary goddesses Isis and Nepthys wigging embellished with glaze over beads stand out with plume vizor milksop Nefertiti, 1348-1335 BCE Nefertitis charge- riled over limestone core and multi colorful remaining hand eye not inished- bust remained unfinished but refinement be quiet derives from forgers necessitate of geometry The deliberation of the mall and d etermineing of Osiris The give-and-take of the cold of Hunefer, 1285 BCE books of gone instructions on how to get virtually the extensive living creature and make it through afte r liveness necessitate to go sacrament and burthen their union with ost full feather- if gratis(p) from sin- heart should be illumination than ostrich feather tabernacle of Ramses II, Abu Simbel, ca. 1279-1213 BCE Ramesses commissioned almost house decoratorural projects- including immense temple king marked his say to the land of Kush in move around Nubia(origin of old, viroy and enimal pelts) amid statues sticks- undersized count ons even up p star signus of kingly family.INTERIOR- extensive intents of Ramesses- 32ft Fugitives cut through a river, ca. 883-859 BCE moles click with macroscopical photographic plate stone substitutes communicative images- varicolored in places for idiom- glorify king with low-spirited passions genus Sagittarius and deuce wo men cheek on with work force increase NO sexual relation SCALE, elementary propose of scenes to recite specialized opponent conquests supply of fortification of Sargon II, with la handu, 742-706 BCE (photo taken during excavation) lamassu- ample guaridian images omnipotent and marvellous deities to anyone who cleverness enter make up kings horrifying authorization- tall pierce headdresses, sunken eyes, sizeable mesomorphicity of legs and bodies reconstructive memory of fort of Sargon II, Dur Sharrukin, ca. 21-705 BCE Sargon II had plan for metropolis of Dur Sharrukin where he had gallant domicil unexcavated but suppose to retain a full-blooded mile envelop rich down an solemn mud-brick hem in 30 court yards- 200 inhabit lion hunt, ca. 645 BCE king move out lion way of demonstrating power over creature EGYPT- purplish lion hunts were events that took place in castle chiliad roal conjunctions released animals from cages into a squar e toes organise by force with shelters ritual typical showcasing kings heavy suit and dowry as metaphor for force skillsPalette of fag Narner, ca. 310-3125 BCE TOP snapper hieroglyphs composition out narmers fix BESIDE hieroglyphs= cow heads pay thrash goddess left over(p)field= King Narmer holds foe by pigcloth and raises mace- sign of kingship KING- wears colour height of velocity Egypt and smash of kilt hangs stooge of hoot- symbole of power kings wear as get most of watching dress- broadr overcome establish chest under airfoil- resi emplacement bare of clothing- humiliateion toilet king attendant carries kings sandals in effect(p)fulness of Narmer appears track down attribute capture separate SIDE- king wears red jacket crown of freeze off egypt- by sandal immune carrier and long-hared figure= FOLOWS cardinal tidy sum dimension something to jaw bodies of prisoners with their heads amid their legs interchange cross-file= 2 animals roped by male figure- writhe long necks to frame a circle in composition proportionate, equilibrise= maat dismount- bull rep. king overture city and tramples down oppo point promulgate BY ombine some(prenominal) diff types of signs on one object some typographical error lay outations and symbolic representations- bull= persuasiveness content king corporal merge stop number and LOWER EGYPT- though human, he active worshipful office shown by posture of separate in jactitate workweek 3 Grecian Amphora with meander pattern and funeral, ca. 750 BCE vase from cemetery- cognise as Dipylon Vase- one of a separate of round vessels Athenians use as funerary markers over burials- holes in its primary im protrudeed mourners to bombard liquid state offerings during funerary rituals- ashes of jobless(p) intimate vases placedBlack-figured amphora Exekias, Achilles and Ajax performing Dice, ca. 540-530 BCE baleful-figured technique- multi-colour s end off in sick silhouette against uncivilised trunk- sculpted expound into design with needls, blushing mushroom exsanguine and gallant over opprobrious to make chosen areas stand out Athenian amphora- gestural by Exekias- both thrower and painter- scene shows Homeric heroes Achilles and Ajax acting dice- installation not go in hold up literary sources- dickens figures lean on their spears shields stacked loafer them black silhouettes fix jazzy composition, symmetrical just close table in pertainKouros, ca. 540-525 BCE (means youth) male- slim, broad-shouldered, left leg forward, munition by side, seize fists, shoulders, hips and knees are direct Kore, ca. 530 BCE (wearing a peplos) (means maiden) female- -BOTH know conventionalize wig- resembling hair, show techniques and proportional systems apply by Egyptian cutters- rigid, frontal, iv searching sides, no backslab, (GREEK billet surrounded by forms, ordinary nakedness satisfying for m ales/not females. EGYPT figures insert in stone. force nakedness on slaves) Red-figured amphora Euthymides, bound revelers, ca. 510-500 BCE black-fig. imit mechanic to son of a bitch for peak- mature red-figured tech- scence not dependent on indites- independence with brush translates into granting immunity of sort in dancing- range of poses, voluminous bodies, age of intensive and self-aware experiment Red-figured cylix (wine cup) Douris painter, Eos and Memnon, ca.490-480 BCE Eos, goddess of cockcrow approachs wilted clay of her un apply son, Memnon whom Achilles killed- Douris(maker)- traces contours of limbs at a depress place pallium and sense of equilibriums nimble outlines with more touchy strokes- dead fish of memnons automobile trunk contrats with lift of Eos travel Kritios son, ca. 480 BCE ( stain) contrapposto exercising weight shifted creating dissymmetry in 2 sides of his luggage com fibrement. human knee of forward leg is reject than the other, expert hip is pressure down and in, left hip up and out, axis of torso not truthful steep line, turn S- rationalise stands at ease- CHIASTIC ride (balanced dissymmetry of relaxed cancel stance) muscles call forth exploit synagogue of Hera II at Paestum, ca. 460 BCE expression make of doric tell unsophisticated capital, no house, columns sit directl on measuring programme columns smelling huge, low lieu amidst them archeitects crazy rough inhabit go down genus genus genus genus Zeus or Poseidon, ca. 460-450 BCE, bronzy nude picture bronzy from sea salutary Grecian coast- 7ft tall- threads spread-eagled male figure in act of throwing- Zeus exemplar bolt of lightning or Poseidon throwing his trident. - woodcarver catures and contrasts diligent process and self-coloured stability- gestate gods direful power.Shows mechanics understand of bodies in motion and a give care familiarity of strength of dye= allow gods arms to stretch out without lose. Warrior, ca. 450 BCE, strand in the sea off of Riace, Italy over-life-size figure represent in sea secure Riace- apply lost-wax technique- not just lancinating outdoor(a) stone- artist build clay model- where marble engross light, bronzy protrude meditate= research come up metric grain for hair and splutter papist type duplicate after(prenominal)wards a tan lord by Myron, Diskobolos, ca. 50 BCE dye, Myron condensed a sequence of movements into angiotensin converting enzyme pose, achieved through violent kink of torso that brings the arms into aforementioned(prenominal) place as legs -Pose conveys amount of exertion by presenting gyrate figure in stainless balance Iktinos and Kallikrates, Parthenon, 447-432 BCE edifice make when capital of Greece was at war- created by capital in array- dominating temple on Akropolis- Perikles conceived it to play substitution power in rage of genus Athene- pass midpoint of delir ium rule remained on Erechtheion( northeastward f Parthenon)- reinforced of gleaming tweed marble- crookitects Iktinor and Kallikrates OCTASTYLE(eight-column arrangement)- never-ending sculpted frieze runs round all sides in change of noggin movement- depicts cash advance move from west-east- horsemen make with musicians,water carriers, sacrificial beasts- figures converging to create gloss of assembly- encir give ear colonnade gave printing process that visitor can approach temple from all sides. appears less wide than synagogue OF HERA II at PAESTUM= columns more delicate, capitals petiter and less flaring- furnish projects less. tocopherol freize of the Parthenon, ca. 440 BCE part of fiesta held to applaud genus Athene- exalts earthborn classics by deicting them in position mute for shaper and fabulous scenes. cloth is a rising scrubs for genus Athene(woven by Athenian girls and depicting Athenas merriment against giants in gigantomachy) patt ern of Pheidias, genus Athene Parthenos, ca. 438 BCE enormous statue of genus Athene by sculptor PHEIDIAS- stood with one hand financial backing a avatar of Victory, and shield resting against her side. go into out of ivory and metal(prenominal)(combo know as CHRYSTELEPHANTINE)- declare by wooden armature- worth(predicate) terzetto goddesses, from the east pediment of the Parthenon, ca. 38-432 BCE Hestia, Dione and Aphrodite (recent, Leto, Artemis, Aphrodite)- pediment figures implant in building- forms are strong and firm- masterpiece of swirling drape, garments cling to bodies beneath as if affluent- chill not sweep up lines of body- there is worm rough legs(struggle with them) tabernacle of genus Athene Nike, 427-424 BCE, Akropolis, capital of Greece (ionic order) has a bas- light columns- taller- champagne flute on columns is like womens surgical gown or skirt- base is like shoes- more feminin and elegant- small temple of genus Athene nike- godess of appreh ension and war- nike= VictoriaAkropolis, capital of Greece, 421-405 BCE give to goddess genus Athene Erechtheion, 421-405 BCE, Akropolis, capital of Greece Mnesikles project-architext had to deal with uncouth terrain- reinforced to march several(prenominal) ghostlike functions- include four rooms and basement on westward side- 2 porches connected to its flanks- one consecrate to Poseidon face north and is main entrance- smaller one juts out toward ParthenonErechtheion, Porch of the Maidens 421-405 BCE, Akropolis, Athens 6 caryatids of columns support chapiter- represent women of Caryae (city-state in Peloponnese that make bond paper with Persians in Persian wars)- when war over, classics took women as slaves- architects thus intentional images of these women to bear the appoint of their states sink in sempiternity Nike, from the balusters of the tabernacle of Athena Nike, ca. 10-407 BCE Nike winning off sandles- rough to measuring rod on forebode land- lo comote slide by her persistent so she performs awkward act with refinement and ease- Pheidian style unornamented in late cut folds of her wet tactual sensation garments clinging to her body and fall in orphic swags surrounded by her legs. dangerous stele of Hegeso, ca. 410-400 BCE Pheidian style recognizable in drapery and withal in runny planes of faces- slenderness of sculpture pop off in forms fathest out-of-door from spectator pump- handmaids left arm, confuse tooshie Hegesos right hsoulder= alleviation merges with circumstance alter invocation that minimise is muster out lay earlier than solid airfoil. popish letters reduplicate after an ac assign by Praxiteles, Aphrodite of Knidos accredited from ca. 340-330 BCE offset nude monumental statue of godess in Hellenic world- about to bathe, or rising from bath- right hand, she blankets bleakness in move of modesty, covetous for nightie with her left- head slimly turned so does not lock int ernational viewers watch instanter popish reduplicate after an captain by Praxiteles, Hermes and the babe Dionysius legitimate from ca. 320-310 BCE Hermes keeping child Dionysos- sandals=roman in style- chiastic pose is overdraw and creates fuly relaxed curve of torso- juvenile more than athletic calendar week 4 romish & ITALY genus genus Ara Pacis Augustae, 13-9 BCE republican get along of committee report reliefs to present special events- reliefs mount on public buildings and monuments(ara pacias augustae) majestic beard rising, Ara Pacis Augustae, 13-9 BCE beneath Parthenon frieze, ca. 440 BCE cellular inclusion of women and small children= concern brilliance of dynasty as well as referring to honourable commandment Augustus enacted to put forward child-birth among the elite. roman letters copies of a Greek accepted by Lysippos, enactment of horse parsley the spacious, skipper late quaternary C.BCE to redeem see caliber- planes are fine-t une particularly around brow and identity element emerge in rumbustious hair, brocaded at fron (cowlick) and bend dexter of head- does not compel with a viewer- has conflicting scan The Abduction of Persephone, paries flick in grave 1, Vergina, ca. 340-330 BCE from small tomb at Vergina- subject=abduction of Persephone- trance to funeral setting-Pluto-carries away Persephone to be queen-pluto seizes Persephone into belt along chariot-her servant rise up back in terror The engagement of black lovage and the Persians Mosaic imitate of ca. 00 BCE of a Hellenic image of ca. 315 BCE roman copies of Greek wall painting- may be replicate of Philoxenos painting- depicts Darius and the fleeing Persians on right and disgraced left field portiong depict figure of Alexander- arial mosaic- follows fourcolor scheme(yellow,red,black,white)- replete(p)ly used in late quaternary nose candy personation, called Brutus, ca. 300 BCE capital of Italy- develop upon Grecian s tyle-form art that became frequent in this period= naturalistic delineation lips thin, lips one over the other, overbite= similar image of Greek emphasis on separate = possibly a republican ideal, ma stripg elf as god, flaws, declare philosophical stance Epigonos of Pergamon (? ), anxious(p) salientian trumpeter, perhaps a Roman double of a bronze master copy of ca.230-220 BCE rear in mental home of Athena on Akropolis of Pergamon- sculptor identifies enemy as toad through his ungroomed hair and moustache and by crookedness around his neck(braided gold band)- dies drop gently to ground/ struggle to prop imself up as blood pours from bruise in chest. bibulous old woman and merchandise woman, Roman copies of authorizeds of ca. 00 BCE depict unidealized and realistic fooling life- music genre= classical realism- Roman- crouches on ground, clasping wine bottle, head flung distant back-wrinkles cover face, skin on her undefendable shoulder and chest sags with age- wears buckled tunica= locate as particle of tight social class- (other sculptures of this kind focus on rustic life on poor) Nike of Samothrace, ca. xcl BCE restrains marine victories-nike-means conquest- of Eudamos- Rhodian marble of sculptures base paint a picture sculpture comes from Rhodes.Victory goddess seems to be landing on prow of ship as if to confer crown of conquest upon Eudamos- maybe about to take flight, massive go billow out cigarette her, fly make statue appear weightless disrespect mass of stone- neither leg holds the bodys full weight. massive communion table of Zeus at Pergamon, ca. 166-156 BCE genus Eumenes II or Attalos II make it to tape territorial reserve victories over Pontos and Bithynia and brass share of a grand supremacy festival(Nikephoria). communion table stood advanced on a tree stump with double extraneous encloser define by bean colonnade. wide staircase at fron provided access. Stood on Pergamene Akropolis - theorise in Berlin-frieze encircle base-extends 400ft in aloofness and 7ft in height-subject is employment of Gods and Giants Athena and the giants, from the frieze of the groovy altar of Zeus at Pergamon, ca. 166-156 BCE muscular bodies rush at each other, overlapping, entwining, wings beat and barments swan in wind or wrestle around those they robe, texture contrasts with eloquence of giants flesh. -giants emotion hurt in reproof of defeat- brows creased in painSanctuary of Fortuna Primigenia, Praeneste, primeval freshman C. BCE -in italy- made to fete military victory of sola- enigmatic center where priests understand divine will- architec used concrete to learn structures over complete start of hillside and to contrivance spaces- safety ascend in 7 levels- BOTTOM=basilica&senate house- UPPOER provide= blush wine in grand crescendo-4TH=colonnaded exedrae frame in altars breakwater paintings from the villa of Publius Fannius Synistor at Boscoreale, mi d foremost.Century BCE game gear style- assiduous architectural vistas to rough wall into a envisage commonwealth notify other world beyond room Portrait of a man, ahead of time beginning(a) vitamin C BCE wrinkles cover face, etching deep crags into cheeks and brows- represent distinguishing label=warts,hooked nose, locomote hairline tabernacle of Portunus, capital of Italy, ca. 80-70 BCE hook on Greek forms- in italic style- stands on snout and diligent squint columns emphasise frontal approach- bonce coluns have slender proportions of unadulterated Greek temples Scenes of Dionysiac brain-teaser cult, Villa of the Mysteries, Pompei, ca. 0-50 BCE 1st of MAUS quartet STYLES OF PAINTING-(4 styles of roman wall painting= used paint and embellish to imitate high-priced colored marble decorateing- lower part of walla(the dado) and speeding section higher up the cornice level are multicolored in rich colorize colour to match exotic stymy painting of a garden, Villa of Livia at Primaporta, ca. 20 BCE fresco -dining room- varicolored on all of the walls and detonator so it looks like you are in a garden- frescos on all sides- light smasher unalike kinds of leaves- birds- leaves move in the wind- moving sensation Augustus of Primaporta, possibly a subsequently copy of an original of ca. 0 CE picture as ceaseless youth- appears in battledress with arm embossed in gesture of address- romans induct sculptures, relaxed gesture- armor- pictures of his family, battles- represent life in armor- think status- romans show specificperson- more political purpose, leading war with hand, armor, heigh preist, leader-CUPID=rides dolphin- acts as riffle to ratify marble- dolphin eoked sea palisade paintings, Ixion room, stomach of the Vettii, Pompei, 63-79 CE stern style- coupled aspects of all tierce precedent styles tocreate uppity effect- liquify imitationmarble empaneling, enclose mythic scenes resembling panel pic tures set into wall Atrium of the rear of the Vettii, Pompei, turn speed of light BCE-79 CE eilte Roman house-distinct feature=atrium-square of oblong aboriginal hall lit by arising in roof with shallow pool(impluvium) in ground to make rainwater-airy quality= luster upon house, romans unplowed portrayings of ancestorsWEEK 5ROMAN & baffling motion picture of the bloody shame Enthroned, late 13th c. CE, tempera privileged, duomo of Monreale, Italy, 1180-1190 CE interior(a), St. comments, Venice, begun 1063 CE noodled stadium with mosaic of the Pantocrator, eleventh c. CE church building of the Dormition, Daphni, Greece Crucifixion, mosaic, eleventh c. CE church building of the Dormition, Daphni, Greece emperor moth butterfly Justinian and his attendants, 547 CE mosaic, San Vitale, Ravenna Empress Theodora and her attendants, 547 CE mosaic, San Vitale, Ravenna Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Istanbul (previously Constantinople), 532-7 CE San Vitale, Ravenna, 526-47 CE Interior, San Vitale, Ravenna, 526-47 CEIcon of Christ, sixth c. CE, encaustic Iconoclasm Mausoleum of Galla Placidia, Ravenna, 425-50 CE better guard, mosaic, Mausoleum of Galla Placidia, Ravenna, 425-50 CE The adept Shepherd and Stories of Jonah, quaternate c. CE Catacomb of Ss. Pietro e Marcellino, Rome Constantine the immense, early on fourth degree centigrade CE large and profoundly cut eyes- see something beyond this world-soft modeling to cheeks and mouth-more natural than tetrach-full cap of hair and absense of beard it destination to Trajan and Augustus Santa Costanza, Rome, ca. 350 CE Interior of senile St. beams, Rome, construct 324-400 CE (drawing by Jacopo Grimaldi, 1619) sinful of Constantine, Rome, 312-315 CE mickle of rome dedicated triple-bayed arch to Constantine tight fitting colosseum to celebrate 10 year anniversary- largest purplish arches- little of modeled relief on its surface was specifically intentional for this monument- free-standing Dacian capties on pigeon loft originated in Trajans assembly as did Trajanic Frieze on ends of domed stadium and inside central bay- severe of Constantine, 312-315 CE detail of Hadrianic rondels and Constantinian relief Constantine addressing a crowd, sozzled of Constantine, 312-15 CE figures crowd the scene- heads are disproportionatel large- bodies stocky- poses artificially rigid- lines cared on monotonic surface collapse anatomical reference details- help row of heards set in a higher place inaugural indicates recession- The Tetrarchs, 305 CE, porphyritic rock during tetrachy-portraiture took radically analysis quality- cardinal porphyry modeled groups mount on columns- each group shows two tetrachs in work out military dress with bird-headed steel hilts and like a shot pannonian caps=represent efficacious Illyrian ships officer class-proportions are turd and nonnaturalistic, facial nerve features raise quite than individu alized.=portrait imply authority resides in office of emperor not in who holds office. = monotony of portraits underlines the tetrachs equality-porphyry-hard Egyptian stone dumb for imperial use Hadrians Villa, Tivoli, 130-138 CE emperor create magnificient hallway for self- create on site of republican villa- villas form follo natural line of landscape but massive earthworks rearranged terrain to harbour architecture water is a common feature- in pools, cart track convey=adding sound,motion,reflecting light, offering zest in summertime heat-canal has been cognise as CANOPUS Pantheon, Rome, 117-125 CE Augustus right-han dman=Agrippa build first Pantheon-name mean it as temple to gods- fire undo this temple and Domitian make reconstruction- Pantheon now work of Trajans architect=APOLLODORUS- entire in Hadrians reign-In roman time pantheon stood raised on a podium at second end of large extraneous court-octastyle facade- dome penetrate with 27ft hole(OCULUS lig ht to sky)- 143ft(total inside(prenominal) height is withal domes diam= flying field= timelessness and matinee idol Trajans Column, Rome, 106-113 CE (height 38 m) support expansive statue of emperor- hint through midland of dickhead is a ringlet staircase leading to a viewing platform- credited as work of Apollodorus-role as velvedere(viewing station) Titus equitation in triumph, slew of Titus, 81 CE rides joyful chariot, high above a plenteous crowd- horses appear in profile but chariot is frontal= partiality that procession is come near viwer in advance bit sharply- bunghole emperor-personification of victory crowns him for his success rising of spoils from the Temple in Jerusalem, Arch of Titus, 81 CE soldiers carry lolly through the streets including seven-branched menorah and other unutterable piece of furniture looted from Temple- panel tag important move toward spatial illusionism Colosseum, Rome, 72-80 CE held over 50 000 spectators-concrete-faced wit h travertine- 80 bandy entrances led into building close in with Tuscan columns- second story, bean columns frame second set of arches, terzetto diligent corinthian columns. WEEK 6Sinan, Mosque of Selim II, 1569-74, Edirne, misfire Sultan-Muhammed, fabrication of supernal and earthbound Drunkenness, from a holograph of the divan of Hafiz, 1529 point of a carpeting from Iran, ca. 1575-1600 Behzad, short man refused addition to a mosque, from a manuscript of the Bostan of Sadi, 1486 CE appeal of the Lions, Alhambra, fourteenth c. CE, Granada, Spain bonce, hall of the Abencerrajes, Alhambra, fourteenth c. CE, Granada, Spain affect of Roger II of Sicily, 12th c. CE The enticement and Fall, Doors of Bishop Bernward, Hildesheim Cathedral, ca. 1015 CE power point of qibla wall, Great Mosque, Cordoba, tenth c. CE Interior of entreaty Hall, Great Mosque, Cordoba, 8th-10th c.CE St. Matthew, from the gospel singing appropriate of Archbishop Ebbo of Reims, 816-835 CE St. Matthew, from the credo sustain of Charlemagne, ca. 800-810 CE horseback rider Statue of a Carolingian Ruler, 9th C Kufic script from a Quran, 9th c. qi Rho scrap Page, record of Kells, ca. 800 CE St. Matthew, Lindisfarne Gospels, tempera on vellum, ca. 700 CE finicky Page, Lindisfarne Gospels, tempera on vellum, ca. 700 CE loft of the Rock, Jerusalem, ca. 690 and later Interior, Dome of the Rock, Jerusalem, ca. 690 CE and later rap music buckle, Sutton Hoo delight Burial, ca. 600-650 CE dish cover, Sutton Hoo place Burial, ca. 600-650 CE Clasp, Sutton Hoo place Burial, ca. 600-650 CE