Art History @emilymrkvicka - Tumblr Blog

Goals!

The goals that I outlined at the beginning of the semester were as follows:

1. Stay on top of reading for art history (and other classes).

2. Balance homework for this class with all of my other homework and first-semester-of-college anxieties.

As far as staying on top of my reading, I probably could have been much more efficient than I was. As a college freshman, I had a bit of sensory overload this semester and as a result was not very motivated to keep up with the art history text book. Keeping up on reading is something I will definitely need to work on in the future.

However, I did manage to balance all of the major assignments for this class with assignments for other classes. I also feel that I was able to improve the quality of my art history papers over time, which was encouraging.

My larger goals for the future are as follows:

1. Get enough sleep during my first year of college.

2. Actually stick with my major throughout all four years.

So far, I feel like both of these goals are going pretty well. I haven't suffered from any extreme sleep deprivation (although my 19 credit schedule for next semester might change that). Additionally, this first semester has taught me a lot about my desired major (engineering) and has actually encouraged me to become more involved in engineering related activities and clubs as well as to pursue a degree in optical sciences and engineering. So that's pretty exciting.

While my major is very math and science related, I have greatly enjoyed taking an art history class. It has given me a great opportunity to take breaks from math and logic in order to think a bit more artistically.

Thank you John-Michael!

On the left is the Cathedral of St. James Santiago de Compostela, while the right photograph is of the Chartres Cathedral. The Cathedral of St. James Santiago de Compostela is an example of Romanesque style, as shown through the consistent use of rounded Roman arches and blocky architecture. Meanwhile, the Chartres Cathedral is an example of the Gothic style. The Gothic style is different from the Romanesque in its use of pointed arches and flying buttresses.

In Response to Chapter 16

Above is the Cathedral of St. James de Compostela. It is a key example of Romanesque architecture. Some of the crucial characteristics of Romanesque architecture include blockiness, the grouping of large geometric masses, compartmentalization, an exterior that reflects the interior, experimentation with vaulting, the predominance of the rounded arch, and an increased vertical emphasis.

In Response to Chapter 15

The Woman Clothed with the Sun from The Morgan Beatus is an example of Christian artwork that portrays the Apocalypse. It is a slightly abstracted depiction of the Apocalypse, as the meaning is conveyed through many symbols rather than literal representation. A seven headed red dragon threatens the "woman clothed with the sun", who stands on the moon.

Pictured above is the Page With the Beginning of the Text of Matthew's Gospel. It is an example of a richly decorated page from a medieval Gospel book. This particular page includes the actual text of the gospel surrounded with borders. The text itself is richly decorated.

On the left is Fernando Gallego's The Last Judgment, a key piece from the collection The Altarpiece from Ciudad Rodrigo. The central theme of the superiority of Jesus Christ is carried out through several techniques I discussed in my exhibition analysis. For example, the relative size of Jesus as compared to the rest of the figures indicates his importance. Additionally, the lack of depth and the solid colored background helps to make the scene seem more celestial and less earthly. The angels that surround Jesus only further promote his significance. These are just a few of the pieces of The Last Judgment that I attempted to convey in the "museum poster" that accompanied my paper.

In Response to Chapter 9

Although mosques across the Islamic world share many similarities, they are also unique in several ways. One way in which mosques vary is in the type of arch used throughout the design.

The Great Mosque of Cordoba, for example, makes use of horseshoe arches in the bottom tier of the double arches seen here. Horseshoe arches pinch inward slightly above the capital, and are mostly associated with Islamic architecture in the West.

Meanwhile, the mihrab of the Sultan Hasan Madrasa-Mausoleum-Mosque Complex makes use of the pointed arch. The pointed arch was introduced after the beginning of Islam. It has four center points that generate overlapping circles. It appears similar to a classic Roman arch, but pointed slightly at the pinnacle.

The Mosque of Sultan Selim makes use of massive semicircular arches. These arches are best known for being developed and used by the Romans and Byzantines. The original Roman arch was a clever development that helped to distribute the weight of massive domes atop mosques and cathedrals.

Above is an image of the Garden Carpet, an example of the Islamic style of art including complex geometric designs that sometimes include animals and forestry. Religious works of art do not contain any human figures due to the profit Muhammad's dedication to removing pagan idols from the Kaaba. Although no figures are present in Islamic art, it is often highly complex. Rich colors, patterns, organic forms, and calligraphy are key characteristics of Islamic art.

The Qur'an Frontispiece is an example of a religious Islamic artwork. Again, there are no human figures pictured in the work. Instead, stylized patterns and flowers are used as embellishments around holy text.

Meanwhile, Sultan Muhammad's The Court of Gayumars is a secular political piece of Islamic artwork. It depicts the idyllic reign of the first Shah Gayumars. Unlike religious artwork, secular artwork does show human figures, as well as landscapes. Rather than being an abstracted and complex combination of geometrical shapes, The Court of Gayumars actually depicts a scene.

As discussed earlier, the Mosque of Sultan Selim has many borrowed aspects from ancient Roman art. Specifically, the Roman arches themselves help to suspend a giant dome above the mosque. The dome is inspired by Byzantine architecture, specifically the Hagia Sophia cathedral. Windows surrounding the dome make the dome appear as if it is actually suspended in air, adding to the spiritual feel of the mosque.

In Response to Chapter 8

Byzantine art was a departure from the classical in many ways. However, some aspects of the classical are still present in Byzantine works. Above is an example of early Byzantine art, the mosaic Emperor Justinian and His Attendants, North Wall of the Apse at the Church of San Vitale in Ravenna. Although it is clear that the figures are flatter and the representation more stylized than the classical, the classical still has subtle influences here. For example, the representation of the elite is still the same in that the royal figures are clothed in long and flowing cloth. An example of "middle" Byzantine art is shown below:

David Composing the Psalms is a painting that is part of a manuscript. The middle Byzantine period takes place during the same time as the Macedonian renaissance, in which the classical is revived. In this particular piece, the classical can be seen in which the figures are represented in three-dimensional space. Not only do the figures have shape and form themselves, but they are placed in a specific setting with a foreground and a background. David Composing the Psalms can be contrasted with Emperor Justinian and His Attendants by noting the difference in the flatness of the figures and the existence of a background.

Above is another mosaic from the Church of San Vitale, Empress Theodora and Her Attendants, South Wall of the Apse, as well as a tenth century ivory plaque, Christ Crowning Emperor Romanos II and Empress Eudokia. The two Byzantine works can be compared to one another to analyze how royal figures are represented in religious contexts. When discussing the mosaics of Justinian and Theodora at the Church of San Vitale, it should be noted that the mosaics are located in the apse, which is one of the most sacred areas of the church. This indicates that royal figures have religious importance. The same idea is indicated by the second work, in which Christ himself is seen "crowning" a different Byzantine emperor and empress. However, in both art works, it should also be noted that while the royal figures are key, the religious figures are even more significant. For example, the apse of the Church of San Vitale depicts Christ front and center, rather than on the side walls that Justinian and Theodora occupy. Similarly, the figure of Christ in the ivory plaque is more defined by the folds of his robes while the figures of the emperor and empress remain flattened and therefore less significant. (An photograph of Christ Enthroned, Flanked by Angels, St. Vitalis, and Bishop Ecclesius at the front of the apse at the Church of San Vitale is shown below)

The work above is an "icon"; an icon is an image of a religious figure, such as Mary, Jesus, or the saints, that is used by Christians in worship. Christians would pray to Christ, Mary, and the saints while looking at these icons. However, Byzantium experienced a time of turmoil in which icons were disputed in a movement called "iconoclasm" (literally, "image breaking"). Some believed that the use of icons in worship was actually distracting from spiritual activity. Others believed that the hard times Byzantium experienced were a direct result of God's discontent with the icons. The iconoclasm movement resulted in the destruction of many icons and a clash between iconoclasts and iconophiles (literally "lovers of images"). Eventually, iconophiles triumphed and icons were free to display throughout Byzantium.

The artwork above is The Infant Virgin Mary Caressed By Her Parents Joachim and Anna from the Chora Church in Constantinople. Byzantine art is also known for representing religious figures (such as the virgin Mary) with real human emotion. The mosaic pictured above depicts Mary as an infant being loved by her parents as real human parents would do today. The artist's purpose behind this kind of representation is to allow viewers to connect with the figures in the art because these religious figures feel similar emotions.

In Response to Chapter 7

Early Christian sculpture was introduced in the midst of the Roman tradition of lifelike representation. Roman sculpture is known for the individual representation of elite figures, especially with certain symbols that indicate status. Many aspects of classical Roman sculpture are seen in Early Christian sculpture. For example, the Sarcophagus of Junius Bassus depicts figures of the Christian religion with the same symbols as a Roman elite would be represented. Jesus in particular is portrayed as a Roman emperor, as indicated by his robes.

Early Jewish and Christian art makes use of both the iconic and the narrative. Above is a photograph of the Sarcophagus of Constantina, which provides an example of iconic Christian art. The sarcophagus does not display any specific scene, but contains several common images from Christian symbolism. For example, the peacocks on each bottom corner of the sarcophagus are meant to symbolize eternal life while the lone lamb is meant to symbolize Constantina as a follower (lamb) of Christ.

The image above is a detail of a wall painting from a house-synagogue in Dura-Europos: The Crossing of the Red Sea. While the Sarcophagus of Constantina simply displays symbols of the Christian faith, this wall painting is a narrative of an actual scene from the Jewish religious texts. The scene depicts Moses leading the Hebrews down the path created by God's miraculous parting of the waters of the Red Sea. Both narrative and iconic art styles are significant to the tradition of Jewish and Christian art.

Dura-Europos (modern day Syria) was constantly threatened by Parthian attacks from the east. In order to protect from these attacks, the inhabitants of Dura-Europos built an earthwork perimeter around the entirety of the settlement. The construction of the perimeter resulted in the burial of Jewish and Christian places of worship. The rooms were well hidden until the 1930s, but the decorations on the walls of the rooms were well preserved. The decorations on the walls of the rooms were related to the rituals that occurred inside (i.e., baptism).

Multiple types of churches also developed during the early era of Christian art. The first form of church is called a basilica, or a longitudinal-plan church. An example of this type is Old St. Peter's basilica in Rome. The diagram above displays all of the components of a longitudinal-plan church, including the forecourt, atrium, entrance porch, narthex, and nave. Longitudinal plan churches also occasionally include a transept, which intersects the church and makes it a cross shape.

The above photograph is of the Church of Santa Costanza in Rome, which is an example of the second type of Roman church: central-plan. Central-plan churches were first used as tombs by Christians. The more modern function of the central-plan church doubles as both a church and a baptistery. Central-plan churches are generally topped with a dome, symbolically meant to represent the "vault of heaven".

In Response to Chapter 6

Houses of the wealthy in ancient Rome often had walls that were covered in murals. Art historian August Mau categorized the murals into four styles: First Style, Second Style, Third Style, and Fourth Style. First Style murals included illusionistic paintings of marble and architectural moldings, making the wall seem much more complicated than in reality. Second Style murals extended the space of the wall with landscapes, cityscapes, or figures on a shallow platform. The Cityscape, House of Publius Fannius Synistor, is an example of a Second Style mural and is shown below:

Third Style includes solid planes of color overlapped with delicate architectural and floral designs. Fourth Style is a sort of complex combination of all three of the previous styles. The Wall Painting in the Ixion Room, House of the Vettii is an example of the Fourth Style of mural, and is shown below:

Another aspect of ancient Roman art that was significant to Roman culture is the Roman portrait. The idea of the Roman portrait grew out of the tradition of creating funeral masks for the dead in order to preserve the memory of specific ancestors. It became common for Roman sculpture to depict a specific individual rather than the idealized and generalized human depicted in most Greek sculpture. A non-idealized individualistic Portrait Head of an Elder from Scoppito is shown below:

Roman art was greatly inspired by the predecessor of Roman culture: Etruscan culture. Etruscan tradition was greatly influenced by the belief in a life after death. Tombs were decorated with images of people in acts of leisure (dancing, swimming, socializing, etc.). The depiction of people abandoning the burdens of daily life on the walls of a tomb suggests the belief in an afterlife. The idea of preparing the dead for the next life is not new; the Etruscan funerary practices can be connected to the practices of the ancient Egyptians. Egyptians also believed in a life after death for which it was important to prepare loved ones. The Etruscan tomb frieze Dancers and Diners, Tomb of the Triclinium is shown below:

The ancient Romans are well known for their developed architectural and mechanical ability. Structural advances made by Roman builders include the use of concrete on a massive scale as well as the Roman arch. Both of these advances can be seen in the Flavian Amphitheater, also known as the Roman Coliseum:

The Roman arch is an ingenious technique because it allows weight to be distributed down the sides of the arch with the use of a keystone at the top. The use of concrete to create a large functional space is also a characteristic of Roman architecture. Both key aspects of Roman structures are seen here.

In Response to "Icons of Power" by Bruce Cole

In chapter 7, Cole discusses the mosaics of the Church of San Vitale. The art of the Church of San Vitale is significant because it clearly demonstrates the new Byzantine style that is a great departure from the style of classical Greek and Roman art. To exhibit the difference between the previous style and the new Byzantine style, Cole compares the mosaics in the Church of San Vitale to the 100 BC mosaic the Battle of Issus. The Battle of Issus is shown below. The attempt to show humans and animals with lifelike representation is visible in this mosaic.

When the Battle of Issus is compared to one of the mosaics from the Church of San Vitale (i.e. The Empress Theodora and Her Court), the departure from realistic representation is visible.

The lack of realism in the mosaic above from the Church of San Vitale is in part because of the larger and irregularly shaped tesserae used in the mosaic. The poses of the figures in the mosaic are also stiff and rigid, something very different than how figures were represented in classical Greek and Roman art. Additionally, the figures are represented in a specific way due to their location in a church. There is little to no architecture depicted around the figures, making it seem as though they are floating. This aspect of the depiction adds to the highly spiritual atmosphere of the Church of San Vitale.

In Response to "A Home for the Gods" by Bruce Cole

As a complete and total math nerd, the Pantheon is one of the coolest examples of architecture we have studied thus far. The dome of the Pantheon is a perfect half sphere, as demonstrated by the picture above. Such architecture is incredible, especially for a culture that didn't even have the number zero at the time. Roman numerals don't include the number zero! Architecture like this involves some serious math, and it just really makes me wonder how they actually created something like this. It's also fascinating how the Pantheon relates to classicism. It was not only inpsired by the temples before it, but it also inspired a great deal of architecture that came after it:

Above we can see the transition from the Parthenon to the Pantheon to the US National Capitol. There are certain similarities between the three that are clear indicators that they have inspired one another. The front section of the Pantheon has many of the same geometric rectangle and triangle features as the Parthenon. Meanwhile, the modern Capitol building shares the iconic dome of the Pantheon.

In Response to "Art in the Service of Power" by Bruce Cole

In the chapter "Art in the Service of Power", Bruce Cole discusses the Augustus of Prima Porta as an example of art commissioned by a powerful ruler. While art does tell us a great deal about a society and culture, we also have to remember that much of art is actually propaganda that is commissioned by the rich and powerful. Great historical rulers like Julius Caesar (or Augustus) were great patrons of the art for somewhat selfish reasons. Augustus didn't support the arts just because he thought it would help cultivate culture in Rome; he also did it because he wanted to leave a Roman legacy with his name all over it. Pieces like Augustus of Prima Porta were specifically designed to display the power and prestige of Augustus as a ruler. Even the pose he is in in the sculpture is designed specifically to impose thoughts of leadership. The sculpture does not even capture Augustus as he really looked at the time (he was not that young); the sculpture captures Augustus as he would look if he were idealized (like he wants the public to see him). We can compare the Augustus of Prima Porta to more modern propaganda:

Political posters like the one above (depicting Mao Zedong of China) are commissioned to place a certain idea about a leader into the minds of the public. Mao Zedong is seen as almost a fatherly figure over the people of China; he is depicted as an idealized leader. The idea was the same for art of ancient Rome. Augustus wanted the Roman public to look to him as their ultimate leader.

Before we move from Greek to Roman art, I just want to point out that my fish's name is Aphrodite and she has Ionic order columns in her bowl.

In Response to "Form and Function", Bruce Cole

Bruce Cole uses the Euphronios Crater to point out the relationship between form and function in certain artworks, especially in Greek craters (also kraters). Sometimes, things that are highly ornamented or decorated lose some of their practicality in their original purpose. Take, for example, this hamburger vehicle (motorcycle? tricycle? I'm not really sure):

Sure, this thing is pretty cool, and we can definitely admire the artistic intent that went into its creation. But how practical is it as an actual vehicle to get from point A to point B? This is not the case with Greek craters. Cole calls these works a result of a "marriage of form and function," in which the design and the thing itself work together to create something that is beautiful AND practical. The Euprhonios Crater, for example, was a large vessel that was probably used to mix wine and water for large celebratory feasts. While it is extremely useful for its purpose, it also displays high quality artistic technique in the red-figure painting on the sides. The painting is a depiction of the death of Sarpedon during the Trojan War. Sarpedon's body is being carried away by personified twin brothers Death and Sleep (isn't it creepy to think of Death and Sleep as brothers?), directed by the god Hermes. So, not only does the crater demonstrate a practical purpose and high quality artwork, it also exhibits the cultural and religious values of ancient Greece through the depiction of deities. We can even think of this crater as a perfect demonstration of the classical Western values of logic and beauty, as well as a celebration of enlightenment. There is even a science to how the crater was shaped: "the large mouth would not only facilitate mixing but would also allow the wine to aerate quickly." Meanwhile, the flat patterning of the design emphasize the crater's "shape, solidity, and mass." This Greek crater, along with many others (as they are an artistic convention of ancient Greece) is a perfect example of how form and function can compliment each other.

Classical Greek Art Meets Disney

Classical Greece has always been my favorite historical period to study and "Hercules" has always been one of my favorite movies. So, let's just take a moment to appreciate the ways in which the classical influences the modern through Disney:

#hercules #classical greece

In Response to Chapter 5

Anavysos Kouros is one of the first examples of Greek art that begins to show the cultural emphasis on the athletic male body. This specific sculpture depicts a male with some lifelike features, such as the musculature in the chest and legs. However, much of the body is still stylized, such as the staged facial expression and the stiff pose with balled fists.

The Kritios Boy continues to value the nude male body, but breaks away from Anavysos Kouros in that the features begin to appear more lifelike. The pose the boy figure is depicted in is not rigid; instead, it captures the boy in motion, in the act of walking. The contrapposto pose shows one side of the body tense while the other is relaxed, just as if the figure were actually taking steps. The body of the boy is also much more lifelike in that the forms are softer and the musculature more realistic.

Polykleitos's Spear Bearer or Doryphoros is one of the most well known examples of the Greek depiction of beauty. This work is part of the high classical period, in which the Greeks made a great effort to idealize the human body. Doryphoros is looked to as the Greek example of the ideal male body. The proportions of the sculpture are measured exactly to what was considered the most beautiful to Greeks of the "Golden Age."

The sculpture Hermes and the Infant Dionysus depicts the male form again, this time in the form of a Greek diety. The pose here becomes even more sensual and curved than the sculptures before it. This work also conveys a great deal more emotion than the previous works; it conveys a strong relationship between Hermes and the small child.

Aphrodite of Knidos, a sculpture by Praxiteles, depicted the form of the goddess of love and beauty, Aphrodite. The sculpture captures Aphrodite naked, preparing to bathe. Before this sculpture, only men had been depicted in the nude. It had been considered wrong for women to show their bodies, while the naked male form was considered very beautiful. Aphrodite of Knidos set a new precedent for Greek art that allowed the female form to also be considered for its beauty. It is appropriate that this precedent was set with the form of the goddess of beauty herself.

Above are two examples of "High Classical" art from ancient Greece: the Parthenon and Nike (Victory) Adjusting Her Sandal. The High Classical period is also known as the "Golden Age" of Greece. It is considered the point at which the Greeks produced the highest quality of art, perhaps in part because this era was dominated politically by Pericles, who happened to be a strong patron of the arts. The Parthenon is an example of the architectural values of the High Classical period. It was built with fine white marble and required advanced mathematical and mechanical skills. The attention to proportions is especially significant in the construction of the Parthenon. It was constructed to display what the Greeks considered ideal geometrical beauty. This was also intended to convey political and ideological ideas, such as democracy and the victory of enlightened Greece. Meanwhile Nike Adjusting Her Sandal also depicts the beauty of the High Classical period. Nike, the goddess of victory, is shown bending over gracefully. Her wings keep her stable, while her clothes slip suggestively off of her shoulder. The artist also utilized strong techniques in order to create a realism in the folds of the clothing that fall over Nike's body.

One of the key aspects of Greek art and architecture are the various types of columns. Two of the main types of columns are Doric and Ionic. Doric columns are the simpler of the two. They do not have a base or a capital, just a shaft and drum at the bottom. The Doric order is what is used in the Parthenon, as pictured above Nike Adjusting Her Sandal. Ionic columns have a base a shaft (ornamented with flute and fillet) and a swirling capital. This kind of column is seen in the Erechtheion at the Akropolis in Athens.

A Closer Look at the "Flotilla Fresco"

One of the works discussed in chapter four of the textbook is the "Flotilla Fresco". The "Closer Look" function of the online section of the textbook gives an in-depth analysis of the artistic techniques used in the work as well as its cultural context. The "Flotilla Fresco" demonstrates use of overlapping and vertical perspective to show the complexity of the landscape. Overlapping gives a sense of density and bustle of the town on the land. Vertical perspective shows some things farther away than others by placing them higher up on the fresco. The Fresco was found in Akrotiri, Thera; the rocky landscape is thought to represent the true landscape of bronze age Thera. There is also a depiction of lions chasing deer in the top left corner of the fresco, which may be a representation of political power. It is also thought that the depiction of wildlife in the fresco may just be meant to represent life in Thera during the bronze age. The fresco demonstrates many conventions common of Minoan artwork because Thera was an "outpost" of Minoan culture of the time (rather, Minoan culture diffused to Thera as well as other islands in the Aegean bronze age). Information found in "A Closer Look" also points out that the fresco is not in its original form; it has been restored by archaeologists over time, and some of the original fragments are still missing. The application also points out that ideas about the fresco (whether it was used for rituals, whether it depicts a nautical festival or a military celebration, etc.) vary depending on the historian or archaeologist.

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