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Prebles' Artforms, Eleventh Edition Patrick Frank

Introduction

Influence of Greece over concept of "beauty" as ideal, perfect
Classical Greek and Roman cultures dominated Western civilization from fifth century BCE until the decline of Rome.
Later influence of Christian Byzantines
Orthodox Church headquartered in Constantinople

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Culture regarding humankind as the closest thing to perfection in physical form
Power to reason
Gods had human weaknesses
Importance of the individual

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Three stages
Archaic
Painters better known than sculptors
Euphronios Krater
Refers to shape of handled vessel
Individual achievement statues
Kouros, male, and kore, female, youths
Individuals not rulers but posed similar to Egyptian rulers

Prebles' Artforms, Eleventh Edition Patrick Frank

Euphronios Krater. c.515 BCE.
Terra cotta. Height 18", diameter 21-3⁄4".
Photograph Scala, Florence. Courtesy of the Ministero Beni e Att. Culturali. [Fig. 16-1]

Closer Look: The Euphronios Krater

Closer Look: Technique: Red-Figure and Black-Figure Vessels

Euphronios Krater. c.515 BCE.
Terra cotta. Height 18", diameter 21-3⁄4".
Photograph Scala, Florence. Courtesy of the Ministero Beni e Att. Culturali. [Fig. 16-1]

Prebles' Artforms, Eleventh Edition Patrick Frank

Kouros. c.580 BCE.
Marble. Height 76".
The Metropolitan Museum of Art, New York. Fletcher Fund, 1932 (32.11.1). © 2013 Image The Metropolitan Museum of Art/Art Resource/Scala, Florence. [Fig. 16-2]

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Three stages
Classical
Art emphasizes rational simplicity, order, and restrained emotion
Increasingly naturalistic sculpture
Spear Bearer of Polykleitos
Blemish-free, prime-of-life athlete
Contrapposto (counterpoised) pose of rest

Prebles' Artforms, Eleventh Edition Patrick Frank

Polykleitos of Argos. Spear Bearer (Doryphoros). 5th century BCE. Roman copy of Greek original, c.440 BCE.
Marble. Height 6' 6".
Museo Acheologico Nazionale, Naples, Italy. akg-images/Nimatallah. [Fig. 16-3]

Video: Greek Sculpture (BBC: How Art Made the World)

Video: Students on Site: Doryphoros

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Three stages
Classical
Parthenon, Ictinus and Callicrates
Built as a gift to Athena Parthenos
Post-and-lintel construction
Refined clarity, harmony, and vigor
Careful ratio of 4:9 throughout
None of the major lines is straight
Slight bulge called entasis above center
Metopes featuring Lapiths and Centaurs

Prebles' Artforms, Eleventh Edition Patrick Frank

Ictinus and Callicrates. Parthenon, view from the northwest. 448–432 BCE.
Acropolis, Athens. Photograph: Duane Preble. [Fig. 16-4a]

Prebles' Artforms, Eleventh Edition Patrick Frank

Ictinus and Callicrates. Parthenon. 448–432 BCE.
Acropolis, Athens. Photograph: Duane Preble. [Fig. 16-4]

Architectural Panorama: Parthenon (Athens, Greece)

Ictinus and Callicrates. Parthenon. 448–432 BCE.
Acropolis, Athens. Photograph: Duane Preble. [Fig. 16-4]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Battle of the Lapiths and Centaurs. Metope from the Parthenon. c.440 BCE.
Marble. Height 67-3⁄4".
The British Museum © The Trustees. [Fig. 16-4c]

Video: Students on Site: Lapith and Centaur

The Battle of the Lapiths and Centaurs. Metope from the Parthenon. c.440 BCE.
Marble. Height 67-3⁄4".
The British Museum © The Trustees. [Fig. 16-4c]

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Three stages
Classical
Later period led away from noble and serious, favoring the sensual
Venus de' Medici, Praxiteles
Refined and modest pose
Three architectural orders identified by capitals at the top
Doric, Ionic, and Corinthian

Prebles' Artforms, Eleventh Edition Patrick Frank

Venus de' Medici (Medici Venus). 3rd century BCE.
Marble. Height 5' .
Photo Scala, Florence - courtesy of the Ministero Beni e Att. Culturali. [Fig. 16-5]

Prebles' Artforms, Eleventh Edition Patrick Frank

Architectural Orders.
[Fig. 16-6]

Architectural Simulation: Greek Orders

Architectural Orders.
[Fig. 16-6]

Prebles' Artforms, Eleventh Edition Patrick Frank

Greece

Three stages
Hellenistic
Approx. 323 BCE to 30 BCE
Decline of Athens as city-state
The Laocoön Group
Mythology interpreting gods' disapproval of Laocoön's prophecy
Hierarchic proportion

Prebles' Artforms, Eleventh Edition Patrick Frank

The Laocoön Group. 1st century CE Roman copy of a 1st-or 2nd-century BCE Greek original.
Marble. Height 95-1⁄4".
Musei Vaticani, Rome. Photo Scala, Florence. [Fig. 16-7]

Video: Students on Site: Laocoön

The Laocoön Group. 1st century CE Roman copy of a 1st-or 2nd-century BCE Greek original.
Marble. Height 95-1⁄4".
Musei Vaticani, Rome. Photo Scala, Florence. [Fig. 16-7]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rome

Practical, less idealistic from the Greeks
Portrait Head of an Old Man
High degree of individuality
Recorded imperfections give character
Greatest achievements in civil engineering, town planning, and architecture
Semicircular arch featured

Prebles' Artforms, Eleventh Edition Patrick Frank

Portrait Head of an Old Man. Italy. 25 BCE–10 CE.
Marble. 13-3⁄4" × 61-5⁄16" × 9-3⁄4".
The J. Paul Getty Museum, Villa Collection, Malibu, California. [Fig. 16-8]

Portrait Head of an Old Man. Italy. 25 BCE–10 ce.
Marble. 13-3⁄4" × 61-5⁄16" × 9-3⁄4".
The J. Paul Getty Museum, Villa Collection, Malibu, California. [Fig. 16-8]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rome

Public works projects
Colosseum
Flavian Amphitheater
Three-story round-arch colonnade with different architectural orders
Meant for amusements such as gladiatorial matches and game hunts

Prebles' Artforms, Eleventh Edition Patrick Frank

The Colosseum. 70–80 CE.
Rome. © John McKenna/Alamy. [Fig. 16-9]

Architectural Panorama: Colosseum (Rome, Italy)

Video: Students on Site: Colosseum

Video: The Flavian Amphitheater (Colosseum)

The Colosseum. 70–80 CE.
Rome. © John McKenna/Alamy. [Fig. 16-9]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rome

Public works projects
Pantheon
Major temple to all gods capped by dome
Single entrance framed by a columned porch (portico)
Recessed squares called coffers
Oculus at the top

Prebles' Artforms, Eleventh Edition Patrick Frank

Pantheon, view of the entrance. 118–125 CE.
Rome. © Vincenzo Pirozzi, Rome. [Fig. 16-10a]

Architectural Panorama: Pantheon (Rome, Italy)

Video: Students on Site: Pantheon

Pantheon, view of the entrance. 118–125 CE.
Rome. © Vincenzo Pirozzi, Rome. [Fig. 16-10a]

Prebles' Artforms, Eleventh Edition Patrick Frank

Pantheon plan and section. Rome. 118–125 CE.
[Fig. 16-10b–c]

Pantheon plan and section. Rome. 118–125 ce.
[Fig. 16-10b–c]

Prebles' Artforms, Eleventh Edition Patrick Frank

Giovanni Paolo Panini. The Interior of the Pantheon, Rome. c.1734.
Oil on canvas. 50-1⁄2" × 39".
National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1939.1.24
[Fig. 16-11]

Prebles' Artforms, Eleventh Edition Patrick Frank

Rome

Paintings
Show love of luxury
Survived from Pompeii, Herculaneum
One from a villa near Naples
Complex urban scene
Perspective from Hellenistic murals
After collapse of Roman Empire, representation of third dimension ceased to be of interest.

Prebles' Artforms, Eleventh Edition Patrick Frank

Europe from 117 to 1400.
[Fig. 16-12]

Prebles' Artforms, Eleventh Edition Patrick Frank

Roman painting. Bedroom from the Villa of P. Fannius Synistor at Boscoreale, Pompei. 1st century BCE.
Fresco on lime plaster. Height (average) 8'.
Metropolitan Museum of Art. Rogers Fund, 1903. N. inv.: 03.14.13a-g © 2013 Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 16-13]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Followers of Christianity
Initially forced to hide
Burial chambers called catacombs
Simplified figure painting
As in Christ and the Apostles
Constantine's role
Acknowledged and adopted Christianity
Spiritual values stronger than failing stability of material world

Prebles' Artforms, Eleventh Edition Patrick Frank

Christ and the Apostles. Mid-4th century 1st century CE.
Early Christian fresco.
Catacomb of St. Domitilla, Rome, Italy. Photograph Scala, Florence. [Fig. 16-14]

Christ and the Apostles. Mid-4th century 1st century ce.
Early Christian fresco.
Catacomb of St. Domitilla, Rome, Italy. Photograph Scala, Florence. [Fig. 16-14]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Constantine's role
Head of Constantine
New type of imperial portrait
Large eyes and stiff features suggesting spiritual life
Moved capital of Roman Empire to Constantinople (Byzantium)
Roman Empire divided and Western half collapsed in 476

Prebles' Artforms, Eleventh Edition Patrick Frank

Head of Constantine. c.312 CE.
Marble. Height 8'.
Museo Dei Conservatori, Rome. Photograph: Duane Preble. [Fig. 16-15]

Head of Constantine. c.312 ce.
Marble. Height 8'.
Museo Dei Conservatori, Rome. Photograph: Duane Preble. [Fig. 16-15]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Survival of Byzantine Empire
Extensive building programs
Roman basilica adapted for public worship
Apse at each end
Long central aisle called nave
Old Saint Peter's Basilica in Rome
Perfection of mosaic utilizing tesserae

Prebles' Artforms, Eleventh Edition Patrick Frank

Old St. Peter's Basilica, reconstruction drawing. c.320–335.
Restoration study.
Kenneth J. Conant, Old St. Peter's Basilica, Rome. Courtesy of the Frances Loeb library, Harvard Graduate School of Design. [Fig. 16-16a]

Architectural Panorama: St. Peter's Basilica (Rome, Italy)

Prebles' Artforms, Eleventh Edition Patrick Frank

Old St. Peter's Basilica, interior view of basilica. Rome. c.320–335.
Fresco.
S. Martino ai Monti, Rome, Italy. Photograph: Scala, Florence/Fondo Edifici di Culto - Min. Dell'interno. [Fig. 16-16b]

Prebles' Artforms, Eleventh Edition Patrick Frank

Old St. Peter's Basilica, plan. c.320–335.
Rome. [Fig. 16-16c]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Transition of styles seen in Ravenna
Church of San Vitale
Glittering mosaics covering most interior surfaces
Figures of Emperor Justinian and Empress Theodora
Blend of religious and political authority
Byzantine art
Flat, decorative richness

Prebles' Artforms, Eleventh Edition Patrick Frank

San Vitale, exterior. 526–547.
Ravenna, Italy. Photograph: Scala, Florence. [Fig. 16-17a]

Architectural Panorama: Church of San Vitale (Ravenna, Italy)

Video: Students on Site: San Vitale Mosaics

San Vitale, exterior. 526–547.
Ravenna, Italy. Photograph: Scala, Florence. [Fig. 16-17a]

Prebles' Artforms, Eleventh Edition Patrick Frank

San Vitale, plan. 526–547.
Ravenna, Italy. [Fig. 16-17b]

Prebles' Artforms, Eleventh Edition Patrick Frank

Empress Theodora (detail). 526–547.
Mosaic.
San Vitale, Ravenna, Italy. © Cameraphoto Arte, Venice. [Fig. 16-17c]

Prebles' Artforms, Eleventh Edition Patrick Frank

Apse mosaic. 526–547.
San Vitale. Ravenna, Italy. akg-images/Cameraphoto. [Fig. 16-17d]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Influenced by controversy over biblical prohibition against the making of images and those who wanted pictures to tell sacred stories
Argument that stylized imagery could not be confused with a real person
Apse mosaic of San Vitale
Beardless Christ in royal purple
Invokes heavenly majesty

Prebles' Artforms, Eleventh Edition Patrick Frank

Christ as Pantocrator with Mary and Saints. Late 12th century.
Apse mosaic.
Cathedral of Monreale, Sicily. Photograph: Scala, Florence. [Fig. 16-18]

Closer Look: Technique: Mosaic

Christ as Pantocrator with Mary and Saints. Late 12th century.
Apse mosaic.
Cathedral of Monreale, Sicily. Photograph: Scala, Florence. [Fig. 16-18]

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Iconoclastic Controversy
Image-breakers, or iconoclasts
Punishment of those who owned images of Christ, Mary, saints, and angels
Icons made with precious materials
New image of Christ as Pantocreator, or ruler of the universe
San Vitale apse mosaic's typical hierarchic scale

Prebles' Artforms, Eleventh Edition Patrick Frank

Early Christian and Byzantine Art

Eastern Orthodox style
Closely supervised
Portraying symbolic, mystical aspects
Andrei Rublev, Old Testament Trinity
Tenderness of expression and elongation of bodies
Bright colors' intensity
Madonna and Child on a Curved Throne
Based on circular shapes, linear patterns

Prebles' Artforms, Eleventh Edition Patrick Frank

Andrei Rublev. Old Testament Trinity. c.1410.
Tempera on panel. 55-1⁄2" × 44-1⁄2".
Photo Scala, Florence. [Fig. 16-19]

Prebles' Artforms, Eleventh Edition Patrick Frank

Byzantine School. Madonna and Child on a Curved Throne. 13th century.
Tempera on panel. 32-1⁄8" × 19-3⁄8".
National Gallery of Art, Washington, D.C. Andrew W. Mellon Collection, 1937.1.1.
[Fig. 16-20]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Early Medieval Art
Absorbed influence of nomadic invaders
Based on horse culture, but no written language
Round tray on conical stand
Suggests mysterious narrative
Exceptional technical metalwork skill
Sutton Hoo purse cover
Gold and enamel with motifs

Prebles' Artforms, Eleventh Edition Patrick Frank

Round tray on conical stand. 5th to 3rd century BCE.
Bronze. Height 10-7⁄8".
Central State Museum of the Republic of Kazakhstan, Almaty. Inv. KP8591. [Fig. 16-21]

Prebles' Artforms, Eleventh Edition Patrick Frank

Purse cover. From the Sutton Hoo Ship Burial, Suffolk, England. Before 655.
Gold and enamel. Length 7-1⁄2".
The British Museum © The Trustees. [Fig. 16-22]

Web Resource: Sutton Hoo

Closer Look: Technique: Enamel

Purse cover. From the Sutton Hoo Ship Burial, Suffolk, England. Before 655.
Gold and enamel. Length 7-1⁄2".
The British Museum © The Trustees. [Fig. 16-22]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Early Medieval Art
Meeting of decorative nomadic styles with Christianity
Chi-Rho monogram in the Book of Kells
Illustrated manuscript from Ireland
Richly embellished
Spirals and interlacings among Greek letters X and P

Prebles' Artforms, Eleventh Edition Patrick Frank

Chi-Rho monogram (XP), Page from the Book of Kells. Late 8th century.
Inks and pigments on vellum. 12-3⁄4" × 9-1⁄2".
The Board of Trinity College, Dublin Ms. 58, fol. 34r. [Fig. 16-23]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Romanesque
Distinguished European Christian architecture of the eleventh and twelfth centuries
Developed in times of feudalism and monasticism
Religious pilgrimages
Groups of Christians
Need for larger churches

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Romanesque
Architecture's feel of solid stability
Massive fortress-like walls, round arches, and vaults
Features stone carvings
Christ of the Pentecost
Deviation from standard human proportions give symbolic meaning
Monumental quality

Prebles' Artforms, Eleventh Edition Patrick Frank

Christ of the Pentecost, Church of Saint Madeleine. 1125–1150.
Stone. Height of the tympanum 35-1⁄2'.
Vézelay, France. Hervé Champollion/akg-images. [Fig. 16-24]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Gothic
Round arch superseded by pointed arch
Cathedrals filled with light and upward-reaching
Symbolize joyous spiritual elation
Notre-Dame de Chartres
Center of community life
Built and changed for more than 300 years

Prebles' Artforms, Eleventh Edition Patrick Frank

Notre-Dame de Chartres, view from the southeast.
1145–1513.
Cathedral length 427'; south tower height 344';
north tower height 377'.
Chartres, France. © John Elk, III. [Fig. 16-25a]

Video: Chartres Cathedral

Notre-Dame de Chartres, view from the southeast. 1145–1513.
Cathedral length 427'; south tower height 344'; north tower height 377'.
Chartres, France. © John Elk, III. [Fig. 16-25a]

Prebles' Artforms, Eleventh Edition Patrick Frank

Notre-Dame de Chartres, west façade. 1145–1513.
Cathedral length 427'; south tower height 344'; north tower height 377'.
Chartres, France. Photograph: Duane Preble. [Fig. 16-25b]

Prebles' Artforms, Eleventh Edition Patrick Frank

The Middle Ages in Europe

Gothic
Notre-Dame de Chartres
Flamboyant late Gothic style curves on north tower
Stained glass windows in transcendent function
"Rose de France" window
Progressive walkways
Impressive statues of Old Testament at west entrance

Prebles' Artforms, Eleventh Edition Patrick Frank

"Rose de France" window. c.1233.
Notre-Dame de Chartres. Chartres, France. Photograph: Duane Preble. [Fig. 16-25c]

Prebles' Artforms, Eleventh Edition Patrick Frank

Notre-Dame de Chartres, plan based on Latin cross.
Cathedral length 427'; south tower height 344'; north tower height 377'.
Chartres, France. [Fig. 16-25d]

Prebles' Artforms, Eleventh Edition Patrick Frank

Old Testament prophet, kings, and queen. c.1145–1170.
Doorjamb statues from west (or royal) portal.
Notre-Dame de Chartres. Chartres, France. Photograph: Duane Preble. [Fig. 16-25e]

Architectural Panorama: Chartres Cathedral

Old Testament prophet, kings, and queen. c.1145–1170.
Doorjamb statues from west (or royal) portal.
Notre-Dame de Chartres. Chartres, France. Photograph: Duane Preble. [Fig. 16-25e]

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Worship and Ritual

Approaching the Sacred
Sheikh Lutfallah Mosque in Iran
Built early 17th century
Dark interior lighted with a circle of grille windows
Ceramic tiles with tasteful color choices and dazzling patterns
Clear compositional elements
Underlying order and rhythm lead to awareness of God (Allah)

Prebles' Artforms, Eleventh Edition Patrick Frank

Sheikh Lutfallah Mosque, interior. 1603–1619.
Isfahan, Iran. Photograph: Jonathan Bloom and Sheila Blair. [Fig. 16-26]

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Worship and Ritual

Approaching the Sacred
Ocean Without a Shore, Bill Viola
Installation of a small church in Venice, Italy in 2007
Large marble altars
Plasma screen above each
Figures pass through a sheet of water and recede
Symbolic passage between two realms
Physical and spiritual

Prebles' Artforms, Eleventh Edition Patrick Frank

Bill Viola. Ocean Without a Shore. 2007.
Video/sound installation. Color high-definition video triptych.
Installed at Church of San Gallo, Venice. Photograph: Thierry Bal. [Fig. 16-27]

Prebles' Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Worship and Ritual

Approaching the Sacred
Marassa, ceremonial vodou flag
Invocation of Sacred Twins
Represented by dark vertical lines
Crossroads refers to boundary between living and spiritual world
Unfurling symbolizes invitation to worshippers to join the ritual
December 6 Roman Catholic feast of St. Nicholas

Prebles' Artforms, Eleventh Edition Patrick Frank

Marassa. Ceremonial vodou flag.
Sequins on fabric. 30" × 30-1⁄2".
© Collection of the Figge Art Museum; Gift of the Marcus L. Jarrett Family 1995.1. Image courtesy of the Figge Art Museum, Davenport, Iowa. [Fig. 16-28]