EARLY CHRISTIAN ART

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EARLY CHRISTIAN ART

• subjects disguised Christian(scriptural)
  subjects
• style/forms basically same as the Late Empire
  based on classical forms but progressively less
  naturalistic and more stylized , oriented towards
  the expressed message
• key concepts Christianity illegal until 310 AD
  no models available for the new religion,
  therefore adoption of the existing forms for
  different use (meaning) even in the time when
  Christianity was legal

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LATE EMPIRE

• Arch of Constantine SPOGLIA (reused works of
  art) and details of the new relief decoration,
  change of style from Neo-Attic toward simple more
  direct message and meaning more important than
  the look (Head of Constantine)
• CATACOMB painting
• Orpheus/Christ with Animals (catacombs of
  Domitilla) cf. Good Shepherd
• Christ and 12 Apostles (catacombs of Domitilla)

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Early Christian Sculpture

• Good Shepherd
• crypto-Christian imagery (imagery with a hidden
  meaning)
• Sarcophagi SARCOPHAGUS Passion Sarcophagus
  CHI-RHO Sarcophagus of Junius Bassus c.359
  AD

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Church architecture

• Old St.Peters Basilica NARTHEX, CROSSING,
  TRANSEPT, NAVE, AISLE cf. Basilica Ulpia,
  and Egyptian temple
• Sta. Maria Maggiore (nave), relationship of
  architecture and image

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BYZANTINE ART

• subject progressive officialization of
  Christianity, merging of the concepts of Christ
  and Ruler
• style/forms Byzantine Painting mixing of the
  abstract (line) with lingering classicism
  (organic quality), but overall un-illusionistic
  and flat architecture spiritualized (centrally
  planned and structurally surprising), light as
  a symbol, vertical emphasis
• key concept strengthening position of
  Christianity as the official religion

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Early Christian Byzantine Architecture

• Hagia Sophia (Holy Wisdom), Anthemius of Tralles
  Isidorus of Miletus, Constantinople (Istambul),
  Turkey, 532-37 AD PENDENTIVES, combination of
  basilica and central plan
• San Vitale, Ravena, 526-47
• Hosios Loukas, Katholikon, 10th c. SQUINCHES

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BYZANTINE ART (mosaics)

• Christ as a Shepherd, Galla Placidia, Ravena,
  mid 5th c. cf. Catacoms
• San Vitale, chancel vault, apse
  mosaic Transfiguration of Christ, MANDORLA cf.
  Christ and 12 Apostles (from catacombs)
• mixing of the abstract (line) with lingering
  classicism (organic quality), but overall
  un-illusionistic and flat

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BYZANTINE ART (mosaics)

• San Vitale Theodora and Her Attendants
• Justinian (Justinian and His Attendants)
• Christ as Pantocrator, Monreale
• panel painting and fresco
• Virgin and Child Enthroned (Mellon Madonna) ICON
  unchanging, un-naturalistic, otherworldly image

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ISLAMIC ART 622-present

• subject related to religion
• style/forms non-figurative ornate decoration,
  focus on the word of Quaran (Koran) -
  calligraphy architecture - influenced by
  Byzantine forms, more ornate
• key concepts complete focus on religious
  practices

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Islamic Architecture

• Dome of the Rock
• Great Mosque MOSQUE, QIBLA wall,
• Mihrab, MIHRAB
• Court of Lions, Alhambra
• Taj-MahalCALLIGRAPHY (KUFIC SCRIPT), ARABESQUES
  
• Text of the Koran

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MEDIEVAL ART 800-1400

• Migration/Hibberno-Saxon Art 600-800
• Carolingian Art 800-950
• Ottonian Art 950-1050
• Romanesque Art 1000-1150
• Gothic Art 1150-1400
• regardless of the period, Medieval art focuses
  largely on the otherworldly, stressing the
  religion and spirituality small stylistic
  differences are driven by the changing views on
  the relationship between humans and the God as
  well as by changing political circumstances.

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MIGRATION, HIBBERNO-SAXON ART 600-800 AD

• subjects fantastic animals and abstract designs
• style/forms intricate interlocking designs
  (animal interlace), portable (small), manuscripts
  the traditional motifs translated into 2-D
  patterns
• key concepts great migration, non-classical art,
  highly decorative portable art, manuscript
  illumination as a religious discipline
• Scythian Animal
• Sutton Hoo Purse Cover CLOISONNE

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MANUSCRIPTS

• Lindesfarn Gospels, carpet page MANUSCRIPT
  ILLUMINATION, SCRIPTORIUM flat, pattern
  oriented, strong outline without modeling or
  illusionism style also used for figures
• Book of Kells
• The Scribe Ezra Rewriting the Sacred Records,
  Codex Amiatinus

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CAROLINGIAN ART 800-950 AD

• subjects religion and revival of Roman empire
• style/forms conscious formal links created
  between the Roman empire and the new Frankish
  Empire classicizing - but without real
  understanding of the underlying principles
• key concepts conscious attempt to revive,
  recreate the western Roman empire
• MANUSCRIPTS
• St. Matthew, Gospel Book of Charlamagne
• Saint Matthew, Ebbo Gospels, nervous
  aggitated spirited line

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OTTONIAN ART 950-1050

• subjects religious, empire
• style/forms highly expressive art telling
  stories, style derived from (influenced by)
  Byzantine art
• key concepts conscious continuation of the
  Carolingian efforts to recreate Roman empire but
  less classicizing, more obvious links with
  Byzantium

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MANUSCRIPTS and SCULPTURE

• Christ Washing the Feet of St. Peter, Gospel of
  Otto III
• narrative art that clearly tells the story -
  more important than a look ( Annunciation to
  Shepherds) cf. Ebbo Gospels
• Doors of Bishop Bernward, Hildesheim, det.
  Fall of Man

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ROMANESQUE ART 1000-1150 AD

• subjects focused on religion, emphasis on
  repentance, suffering and Last Judgment
• style/forms in architecture, revival of Roman
  forms (rounded arch, barrel vault).
• return of monumental sculpture but only in
  architectural context where it is subservient to
  architecture distorted and abstracted forms
• key concepts millenarianism, rise of MONASTICISM
  and PILGRIMAGES (cult of relics) Sainte Foy
  Reliquary

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Romanesque Architecture Architectural Sculpture

• Abbey Church of Ste.-Foy, Conques, CROSSING
  (with crossing tower), AMBULATORY WITH RADIATING
  CHAPELS
• Pentecost Portal, Church of La Madelaine, Vzalay
  TYMPANUM, TRUMEAU, JAMBS ARCHIVOLTS, LINTEL
• Last Judgment, Tympanum, Ste.-Foy, Conques,
• Last Judgment, Tympanum, St.-Lazar, Autun,

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GOTHIC ART 1150-1400 AD

• subjects less suffering, religion reflected into
  everyday life (revelation of the divine in
  worldly things)
• style/form sculpture - progressively less
  distorted, more elegant and unified,
  progressively freed from the architecture
• architecture - emphasis on verticality and light,
  POINTED ARCH, RIBBED VAULT AND FLYING BUTTRESSES
• key concepts new power of religion, new joy
  mysticism of religion (SCHOLASTICISM), mendicant
  orders (Franciscans)

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Architecture

• Chartres Cathedral (Nôtre-Dame), ROSE WINDOW,
  stress on light architecture - emphasis on
  verticality and light, POINTED ARCH, RIBBED VAULT
  AND FLYING BUTTRESSES, TRIFORIUM (a narrow
  gallery), CLUSTER PIERS architectural goal is to
  allow for the windows
• cf. Romanesque

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Architecture and Sculpture

• Chartres Cathedral (Nôtre-Dame)
• portal - stress on the Virgin instead of the
  Judging Christ (emotionally gentler)
• jambe figures - at first still fitting into
  the columns from which they emerge, later almost
  free-standing
• cf. Romanesque portals
• progressive naturalization of the human form and
  its separation from the architectural setting

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GOTHIC PAINTING

• subjects religious (Catholic)
• style attempt at increased sense of space and
  3-D (in order to make the art more believable for
  the viewers)
• key concept painting re-emerging as an important
  art form in the North manuscripts still dominant
  but 1st large scale altar pieces emerge (need for
  a focal point of the religious ritual)Humanizatio
  n of religion under the influence of St. Francis
  and mendicant orders

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Gothic Painting

• Humanization of religion under the influence of
  St. Francis and mendicant orders results in more
  believable images (easier to relate to)
• Duccio (Siena), Maesta despite the Byzantine
  features, Gothic sensibility for decorative line
• Giotto, Arena Chapel Lamentation cf. Byzantine
  Lamentation volume/mass is created by shading
  (modeling) in light and dark, overlapping creates
  a space. Different scale is used for the figures
  and their setting, no cast shadows

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Late Gothic Painting

• Late Gothic painting continued the trends started
  by Duccio in Sienna, and Giotto in Florence
• International Gothic courtly, rich, sumptuous
  (more influenced by the Duccio)
• Simone Martini Annunciation
• Pietro Lorenzetti, Birth of the Virgin
  follows Giotto in the exploration of
  illusionism (progression cut shot by the Black
  Death)