Art History Quiz 3 – Flashcards

6th Century CE. 540 CE. Ravenna Italy Ravenna was a stronghold of the Byzantine Empire in Italy during Justinian's rule. San Vitale represents a Byzantine building of a type derived mainly from Constantinople. The octagonal plan with a circular core ringed by an ambulatory is a descendant of the Santa Costanza in Rome. San Vitale is larger and richer in spatial effect than Santa Costanza. The movement around the center space is enlivened so that the decorated spaces are energetic. The aisle itself has a second story, the galleries. The circle oozes out to the aisle, adding a complexity to the building. San Vitale is decorated with lavish mosaics, and there is an ethereal feel to it.

540 CE San Vitale Ravenna, Italy This shows Justinian about to enter the church, as if San Vitale was a palace chapel. The figures are tall and slim, and seem only capable of making ceremonial gestures while wearing magnificent costumes. There is no hint of movement. The union of political and spiritual authority expressed in these mosaics reflect the divine kingship of Justinian. It shows that the emperor derives his power from the church and the military. Justinian holds bread, which refers to the Eucharist. Justinian is with 12 figures, referring to the 12 apostles. The shield on the military men is the chi rho iota, which is Christ's monogram. Furthermore, Justinian is wearing purple against a golden background, suggesting his imperial stance.

540 CE San Vitale Ravenna, Italy Similar to Justinian's mosaic. The figures are tall and slim, and seem only capable of making ceremonial gestures while wearing magnificent costumes. There is no hint of movement. The union of political and spiritual authority expressed in these mosaics reflect the divine kingship of Justinian. It shows that the emperor derives his power from the church and the military. Theodora is holding a chalice, suggesting that she is part of the church. She wears purple with a golden background, suggesting Byzantine imperial standing.

by Anthemius of Tralles and Isidorus of Miletus Istanbul, Turkey 530 CE, 6th Century. This is constructed under Justinian's rule in Constantinople. Initially built as a Christian church, it became a mosque in 1453. Hagia Sofia has the longitudinal axis of an Early Christian basilica, but the central figure of the nave is a vast square place crowned by a dome. There are 2 points of focus, the dome and the apse. Similar to San Vitale, there are open arcades (series of arches) on semicircular apses attached to the half-domes. Hagia Sofia uses a new technique of a dome on pendentives. Dome on pendentives later become a basic feature of Byzantine architecture. Light plays a key role. The dome seems to float with the light, making the structure look ethereal. The light represents God. The capitals are carved to look light and delicate, but by the power of god they can hold up the structure.

525-550 CE Musee du Louvre, Paris Early Byzantine sculptures consist mainly of reliefs. Justinian as Conqueror shows a little amount of Classic influence. Victory appears twice, on Justinian's side and as a statuette on the left. On the bottom, figures represent land conquered by Justinian. However, there is a reference to God above Justinian, suggesting that his success is a result of God's help. Meanwhile, a person holding Justinian's foot symbolizes his power of ruling over the world.

6th Century CE British Museum, London This is another Byzantine ivory relief sculpture. There are evidence of Classicism in this sculpture, because all 3D space is gone. He does not occupy an earthly space. He seems to hover, rather than stand. From the ankles down, he seems to be situated between the columns, but his wings are outside the columns. This shows that the Archangel is of an ambiguous space. This connects to products of Justinian's rule because there is an ephemeral feel to it.

6th Century CE from the Vienna Genesis Osterreichische Nationalbibliothek, Vienna Illustrated books of the early Byzantine period contains echoes of Graeco-Roman style adapted to religious narrative. The book was written on purple vellum, suggesting imperial use. This page shows the story of Jacob, and the picture shows a whole sequence. The scene takes place along a U-shaped path, so the progression in space is also progression in time. This method is continuous narration.

from the Khludov Psalter, after 840 CE State Historical Museum, Moscow After the time of Justinian, the development of Byzantine art was disrupted with the Iconoclast Controversy. Religious images were banned by Iconoclasts (led by the emperor) because their use led to idolatry. They wanted to restrict religious art to abstract symbols and plant or animal forms. Their opponents were the Iconophiles. The conflict dealt Byzantine religious art a fatal blow. This Psalter accompanies a verse from Psalm, and the illustrations not only make the case for why images should be permitted, but also compare the iconoclasts with the crucifiers of Christ.

from the Paris Psalter 950 CE Bibliotheque Nationale, Paris The Middle Byzantine Art lasted from late 9th century to 11th century. There a revival of Byzantine art traditions following the Iconoclast Controversy. On this psalter, there is a landscape that recalls Roman murals and figures that recall Roman models. David looks Roman, an his companions are allegorical figures that aren't Biblical. There is no 3D space, with everything piled onto one another. This is a style of middle Byzantine art. David here is similar to the drawings of Matthew.

945 CE Bibliotheque Nationale, Paris In Byzantine art, large-scale statues died out and small scale relief sculptures survived. The authority of the two haloed figures is confirmed by their divine election as emperor and empress. There is some stylistic opposition: the body revealing draper of Christ contrasts with the stiff, patterned garments of imperial figures. The space surrounding Christ contrasts with the ambiguous space between the two figures. There is a message of a relationship between pious emperor and his god.

Daphni, Greece 11th Century CE Byzantine architecture never reached the scale of Hagia Sofia after it. Churches built after the Iconoclast Controversy were modest in scale and monastic. The monastic Church of the Dormition follows the usual Middle Byzantine plan of a Greek cross contained within a square. The central feature is a dome on a cylinder. The dome is similar to the Hagia Sofia dome.

Daphni, Greece 11th Century CE There is no attempt to create a realistic spatial setting, but the composition has a balance and clarity. The two figures are compared to the stiff poses in the Justinian and Theodora mosaics. There is a new interest in depicting the crucified Christ, which is more emotional than physical. The expressions are restrained and noble suffering.

11th Century CE The largest and most lavishly decorated church of the period. The church employed 5 domes in place of Daphni's single dome. The Greek cross plan is emphasized. The domes are not raised on drums. The domes appear taller and more visible. The spacious interior shows that St. Mark's was meant for the people of a large city rather than a small monastic community at Daphni.

9th Century from Bettystown, Ireland National Museum of Ireland, Dublin Many of the decorative pieces in Anglo-Saxon metalwork were later used by Irish metalworkers. The brooch has an incredible amount of decoration.

7th Century CE The British Museum, London The artistic tradition of Germanic peoples is referred to as animal style because of its heavy use of stylized animal-like forms, merged with intricate ornamental metalwork of the Celts. It produced a unique combination of abstract and organic shapes. This purse cover was found at Sutton Hoo, where the leather that supposedly held the purse had decomposed. Each of four pairs of symmetrical motifs has its own distinctive character, suggesting that they were made by different artists. Very obviously of animal style. The Sutton Hoo purse cover is significant because it illustrates a transmission of motifs and techniques through the migration of various peoples.

from the Book of Durrow 680 CE Trinity College, Dublin Early Middle Ages, Irish came to be spiritual and cultural leaders of western Europe. Irish Christians preferred to follow isolation and solitude, and therefore Irish monasteries were established in isolated places. Irish monasteries spent energy copying literary and religious texts, and each monastery's scriptorium became an artistic center. Irish monks dedicated great efforts to decorative embellishment. The Hiberno Saxon style is a style combining Christian with Celtic and Germanic elements that flourished in Irish monasteries. To spread the message of God, the Irish monasteries produced large numbers of copies of the Bible and other Christian books by hand. Every manuscript copy had to reflect the importance of its contents. The four books of Gospel were prefaced by a representation of the book's author or his symbol. St. Matthew here shows how ornamental pattern can animate a figure even while accentuating its surface decoration. Active and elaborate patterns are employed to demonstrate that St. Matthew's message is precious, like metalwork.

700 CE The British Library, London The miniaturist who created this cross page poured into the geometric frame animal interlace so dense yet very full of movement. To achieve this effect, the artist had to work within a severe discipline. The smallest motifs and patterns were thought out in advance. With animals, every line had to turn out to be part of an animal's body. There are rules that applied to symmetry, mirror-image effects, and repetitions of shapes and colors.

700 CE The British Library, London The development of the hiberno-saxon style is brought on by the isolation of the Irish, the sophistication of their scriptoria, and the desire to spread Christianity. Later Hiberno-Saxon style reflected new influences with Rome. Matthew here studies his text intently, and there is a sense of space from the way Matthew turns his body. The Lindisfarne Matthew wears clothes marked by folds, while The Book of Durrow Matthew wears a costume of flat patterns. This sharp difference between the 2 matthews is because of the Irish's increased contact with Rome. Compared to Ezra, this Matthew is more decorated with geometric decorations and flat planes of colors. This is more dramatic and more striking.

from the Codex Amiatinus 8th century CE Biblioteca Medicea Laurenziana, Florence This is made at Jarrow, near Lindisfarne. The artists at Jarrow used illuminations from Rome as models. This is undoubtedly an adaptation of Roman illuminations available at the monastery. The artist is similar to the one in the St. Lawrence lunette from Galla Placidia. There is a sense of depth, with the objects receding. The artist also used color blending to show how Ezra's cushion seems to be depressed. Perhaps the Lindisfarne Matthew is also faithful to the same illumination from which Ezra is copied.

800 CE Trinity College Library, Dublin The Hiberno-Saxon manuscript style reached a climax in the Book of Kells. The Chi Rho Iota page has much the same swirling design as the Cross page from the Lindisfarne Gospels, and there are parallels to contemporary jewelry like the Tara Brooch. There is more relaxation here compared to the Lindisfarne cross page, and there are images of humans incorporated for the first time. There is also an introduction of the natural world, which performed a symbolic function. It is very compelling, and forces viewers to enter its realm.

9th Century CE Musee du Louvre, Paris Carolingian Art is art of Charlemagne's rule. Charlemagne united western Europe and was crowned Holy Roman Emperor. Carolingan art is to restore ancient Roman art, and Charlemagne modeled his rule after Constantine and Justinian. His art is a renewal of imperial Rome and his artists sought to emulate Rome. Carolingian art is defined by combining Roman antiquity style with northern european features. This statue is thought of as Charles the Bald (Charlemagne's grandson), and he is shown wearing imperial robes and sitting as if on a throne. His orb signifies his domination of the world. This is like a copy of the Marcus Aurelius equestrian statue, with the bronze and the horse's raised leg. But its miniature size suggests Carolingian art.

800CE Kunsthistorisches Museum, Vienna Charlemagne had an interest in learning and culture, which produced large numbers of books by his scriptoria. He encouraged copying of many ancient roman works. If it weren't for the halo, this could easily be mistaken for a roman portrait in the naturalness and solidity. The artist shows full adaptation of Roman tradition of painting, from the modeling of the forms to the shading, and the body-revealing drapery. Matthew here looked Roman because it is Carolingian, but the northern tradition of flat art is shown here. There are issues with dimensional space and the landscape doesn't recede.

820 CE Biblotheque Municipale, Epernay, France The pose here is similar to that from Charlemagne's gospel book, but this picture is more energetic and vibrant. Everything is in motion. The drapery swirls about the figure, and it seems to suggest a man seized with a frenzy of divine inspiration. The way the artist employs his brush is like the interlaced movement of the Hiberno-Saxon style. This again looks rather Roman, but the tilted space suggests Northern art, once again of Carolingian art.

820-30 CE University Library, Utrecht, Netherlands This is from the same imperial scriptorium that made the Ebbo Gospel book. There is remarkable energetic forms. The artist followed a much older model as shown by the settings of the scenes, which recall Trajan's column. Another indication of copying Roman scripts is Roman capital lettering. Also, there are Roman stock images in the background. But the rhythm gives these sketches an expressive unity. The artist represented the Psalms by taking each phrase literally and visualizing it. This manuscript is designed to be read, so one must read to interpret the scenes represented. This is very different from the Book of Kells. The Book of Kells seemed to mystify, as if its power is unrelated to its legibility. Comparison of the 2 manuscripts shows how Western Europe had been transformed from an oral to a written culture by Charlemagne.

870 CE The Pierpont Morgan Library, New York The Reims style is evident here. The Carolingian tradition of embellishing and preserving the written word is shown here. There are 8 figures lamenting Jesus' death, and it is once again Carolingian blending of Roman + northern art.

Odo of Metz Aachen, Germany 800 CE Charlemagne's architects sought to revive the splendor of the Roman Empire by building structures modeled on Rome and Ravenna. Rome was the capital, and Ravenna was a Christian imperial outpost. To signify Charlemagne as a Christian ruler, architects modeled his palace on Constantine's Lateran Palace in Rome. Charlemagne's palace included a basilica linked to the Palace Chapel. The Palace Chapel was inspired by San Vitale. The link to San Vitale is shown in the cross section. Charlemagne's chapel is a vigorous reinterpretation of San Vitale, and is bigger than San Vitale but less fluid. The columns are unnecessary, but there is a sense of Roman details. San Vitale was designed to be ambiguous, ethereal, and soft, but Aachen is sturdier and sober. San Vitale's soft arcades are replaced in Aachen with clear cut piers. San Vitale is more complicated, but Aachen is less complex. Charlemagne wanted something less complex but clearly Roman.

Hildesheim, Germany 1000 CE Ottonian Art is the art from the eastern region of the former Carolingian empire, which rules over present Germany. During the Ottonian period from 900 to 1020 CE, Germany was the leading nation of Europe politically and artistically. German achievements began as revivals of Carolingian traditions but soon developed original Ottonian art. Among the most pressing concerns of Ottonian period was the reform of the Church. They fostered monastic reforms. The renewal of impressive building programs effectively revived the architectural ambitions of Carolingian art, while conveying Ottonian aspirations to restore imperial glory of Christian Rome. Hildesheim has 2 choirs and side entrances, recalling St. Riquier and St. Gall. There is much more symmetry at St. Michael's. There are 2 identical transepts, each with a tower where the transept and nave cross. The nave arcade is supported by 2 columns + 1 pier combination. Hildesheim also had a main apse where the abbot prayed. The nave recalls a basilica design.

Hildesheim Cathedral, Germany 1015 CE The idea of the doors came to Bernward from a visit to Rome, where he would've seen bronze doors. The door pieces are the first to be decorated with stories since the Early Christian period. The left is of Old testament, and the right of New testament. The images on the same level conveyed a comparison of the same theme.

from the Doors of Bishop Bernward, Hildesheim, Germany 1015 CE This shows God accusing and judging Adam and Eve. The composition derives from a manuscript illumination, since there are very similar scenes in medieval Bibles. But there is no mere imitation. The story is conveyed with splendid directness and expressive force. The focal point is God's finger. However there is a comical sense to this image.

980 CE Musee du Moyen Age, Paris Later Ottonian ivories blend Carolingian and Byzantine elements into a new style. This is very similar to the Byzantine ivory of Christ crowning Romanos and Eudokia. The composition of both works is identical: a long-haired bearded Christ is flanked by the empress and emperor. In both ivories, the imperial costumes are composed of similar elaborate geometric surface decorations. This suggests that the Otto II ivory is an eastern import, but because Otto's costume is not accurate for a Byzantine ruler's coronation, it was likely that the ivory was produced in Italy on Ottonian land. It demonstrates the interest of the Ottonian court in importing Byzantine style as well as actual objects.

From the Gospel Book of Otto III 997-1000 CE Staatsbibliothek, Munich Produced for Otto III, this gospel book communicates an imperial grandeur equal to that of the coronation ivory of his parents. The emperor displays this imperial regalia (crown, eagle scepter, orb) while his thrown is decorated with imperial lions. Representatives of the two domains that he controls (church and military) is similar to Justinian in San Vitale. The four figures represent land of the Ottonian dynasty. Distinct from Justinian, Otto III is huge in size. There is an abstraction from reality with his supersize.

from the Gospel Book of Otto III 997-1000 CE Staatsbibliothek, Munich This scene contains strong echoes of ancient painting. The architectural frame around Jesus is a late descendant of the kind of architectural perspectives we saw in Roman wall paintings. The gold background reminds us of Byzantine painting and mosaics, which the Ottonian artist put to new use. There is an emphasis on Jesus' arm. The action is spiritually important, as shown by its size compared to his other arm. Jesus and Peter is also bigger than the rest. The other apostles are compressed into a small space and merely watch, and have less substance than the fanlike Early Christian crowd. The blending of Classical and Byzantine element results in a new style of expressive abstraction. This is Ottonian (Carolingian + Byzantine), because there is a Roman flare to it (Roman clothing) but an emphasis on flat surface design (northern element). But having a building is of middle Byzantine art.

Gospel Book of Otto III 997-1000 CE Staatsbibliothek, Munich This is a symbolic image of overwhelming grandeur despite its small size. Unlike depictions of evangelists in Carolingian manuscripts, here St. Luke is not shown writing. Instead, his Gospel lies on his lap. The evangelist seems to be as much a part of the mystical scene as he is its presenter. His symbol (ox) is surrounded by prophets and angels. The lambs drink life-giving water beneath his feat.

970 CE Cologne Cathedral, Germany Large scale and free standing sculpture was rare in the middle ages, because of the fear of idolatry and interest in portable items. During the Ottonian period sculptures increased. The Gero Crucifix is an example with a monumental presence. This shows major transformation that Ottonian sculptors were able to achieve even when dealing with traditional subjects. The Gero Crucifix presents a sculptural image that is new to Western art, since for the first time a dead Christ is represented on the cross. It is compared to the Lindau Gospels page, 100 years preceding the Gero Crucifix. The emphasis is on the bulging body, which emphasizes the physical strain of the body. The pain seems unbearable, but the face is a mask of agony yet noble suffering. The image is filled with deep feeling for Christ's suffering. This is clearly influenced by middle Byzantine art, which had created the compassionate view of Christ on the Cross in other mediums.