create art

Saturday, November 21, 2015

chapters 9,10,11,12 pics

What: Fig 9-2 pg. 259 Archangel Michael, right
leaf of a diptych
When: Early sixth centuryWho: Byzantine Art
How: Ivory
Where: Byzantine
Which: The Archangel Michael was a winged Victory

What: Fig 9-34 pg. 281 Christ as savior of souls. 3' 1/4"x 2 1/2".
How: The major issue in Byzantine history that accounts for the loss of art is Iconoclasm. Tempera, linen, and silver on wood
Where: Saint Clement, Ohrid, Macedonia,
When: Early 14th century. Which: In place of images, the iconoclasts used only symbolic forms, such as the cross. Why: These forms where already familiar in early Christian art.

What: Fig 9-13A pg. 266 Throne of Maximianus ca. 546-556
How: Ivory and wood. 4'11" x 1' 11 1/2"

What: Fig 9-24 pg 274 Christ as
Pantokrater. How: Dome mosaic
Where: In the church of the Dormition
Daphni, Greece. When: ca. 1090-1100
Why: The image of Christ as Pantokrater
refers to his role as the last Judge of humankind.

What: Fig 10-20A Folio from the
Blue Koran with 15 lines of
surah 2, from Kairouan, Tunisia.
When: 19th to mid -10th century.
How: Ink, gold, and silver on
blue- dyed vellum,
11 5/16" x 1' 2 13/16".
Where: Arthur M. Sackler Museum,
Harvard University, Cambridge.

What: Dome of the Rock. Where: Jerusalem, looking east. When: 687-692. Who; Abd al-Malik. Why: Erected to mark the triumph of Islam in Jerusalem, on a site sacred to Muslims, Christians, and Jews. The shrine takes the form of an octagon with a towering dome. It was here that Muhammad began his miraculous journey to heaven.

What: fig 10-22 pg. 298
Muqarnas dome, Hall of the
Abencerrajes, Palace of the
Lions, Alhambra
Where: Granada, Spain
When: 1354-1391
How: The structure of this
dome is on an octagonal drum
that is difficult to discern
because of the intricately
carved stucco muqarnas.

What: fig 10-6A pg. 290, plan, Umayyad palace
Where: Mashatta
When: ca.740-750

What: fig 10-25A pg. 301 Tughra of Suleyman the Magnificent
When: ca. 1555-1560

what: fig 10-28 pg. 303 Mihrab,
from the Madrasa Imami
Where: Isfahan, Iran
When: ca. 1354
How: Iranian ceramic glazed tile work.
Each piece cut to fit its specific place
In the design. Exemplifies the perfect
Union of Islamic calligraphy and ornamentation.

What: fig 10-10 pg. 292 Mausoleum of the Samanids ( looking west)
Where: Bukhara, Uzbekistan
When: early 10th century one of the oldest funerary architecture.
How: Dome - on - cube, baked bricks, slightly sloped sides.
Skilled builders shaped the bricks to create vivid and varied surface patterns, some form engaged columns (half- round, attached columns). Blind arcade (arches in relief with blocked openings). Inside dome rests on arcuated brick squinches framed by engaged colonettes ( thin columns).

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What: fig 11-7 pg. 317cross- inscribed carpet page, folio 26verso of the Lindisfarne Gospels
Where: Northumbria,England

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What: Anthemius of Tralles and Isidorus of Miletus, aerial view of Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537

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Sunday, November 8, 2015

Chapter 8

What: Santa Costanza
Where: Rome, Italy

What: Christian Community House
Where: Dura- Euopus, Syria

What: Woman
sacrificing at alter
How: Ivory Diptych
(one of two hinged tablets)

What: Sarcophagus
of Junius Bassus

What: Wood Timber-Roof
With Corinthian cloumns

What: Miracle of the
Loaves and Fishes Mosaic

Where: Ravenna
Orthodox Baptistery

Which Church: Santa Sabina

How: Mosaic

Which Book: Vatican Vergil
How:Codex (wooden writing tablet)

Monday, November 2, 2015

Roman Empire fig. 7-9A, 20, 25, 28, 31, 46, 53, 60, 65, 70, 73, 8-11

What: Veristic or bust of Pompey the Great. Likened himself to Alexander the Great, and placed his own likeness on a coin in 44 BCE. 7-9A pg.184
When: ca. 55-50 BCE
Who: Roman sculptor
Where: Rome, Italy
Why: The Romans believed that the head or bust alone was enough to constitute a portrait. The Greeks, in contrast, believed that head and body were inseparable parts of an integral whole.
How: the verism are sculpted as close to the real features of the person (mostly men) then any other type of sculpting.

What: Gardenscape, a mural "picture-window" on the villa walls of Livia, third wife to the emperor Augustus. 7-20 pg. 191
When: ca.30-20 BCE
Where: Primaporta, Italy just north of Rome
How: Second style wall painting (fresco, 6' 7" high). Most believe it is a Roman invention. Painter's wanted to dissolve a room's confining walls and replace them with the illusion of an imaginary three dimensional world, using atmospheric perspective, intentionally blurring the most distant forms.
Why: Interior design of homes.

What: Seated portrait of the Greek poet Menander, "the first to write a New Comedy". An enlarged version of the kind of author that was a standard feature of ancient books. 7-25 pg. 195
When: ca.62-79 CE.
Where: House of the Menander, Pompeii
Who: Roman painter
How: Fourth Style which is a style of illusionism. A crowded and complex multicolor composition a kind of summation of all the previous mural schemes, characteristic of Roman art.

What: Portrait bust of Livia, the emperor Augustus third wife. Her features are derived from Greek goddesses. She sports the latest Roman coiffure, (hair style). 1' 1/2" high. 7-28 pg. 197-98.
When: Early first century CE.
Where: Arsinoe, Egypt

What: Procession of the imperial family, detail of the Ara Pacis Augustae. Depicts recognizable individuals, including children. Augustus promoted marriage and child bearing. 5' 3" high marble. 7-31 pg.198
When: 13-9 BCE
Where: Rome, Italy
Why: The inspiration for these parallel friezes was the Panathenaic procession frieze of the Parthenon. The Ara Pacis depicts a specific event - probably the inaugural ceremony of 13 BCE when work on the alter began -and recognizable historical figures
Which: The portrayal of men with their families on the Alter of Peace served as a moral exemplar. The emperor used relief sculpture as well as portraiture to further his political and social agendas.

What: Apollodorus of Damascus, Markets of Trajan, to house both shops and administrative offices. 7-46 pg. 209
Where: Rome, Italy (looking Northeast).
When: ca. 100-112 CE
How: Brick faced concrete. The basic unit was the taberna, a single - room shop covered by a barrel vault, wide doorway, window above it. Several levels, opening to the street or to a great market hall.
Who: Trajan architect

What: Al- Khazneh ( Treasury) . 130 ft. high, two stories. 7-53 pg. 213
Where: Petra, Jordan
When: Second Century CE.
How: cut- rock tomb facade, Roman "baroque" architecture. The designer used Greek architectural elements in ornamental fashion, and with a studied disregard for classical rules.

What: Mummy portrait of a priest of Serapis. 7-60 pg.217. 1'4 3/4 " x 8 3/4"
Who: Iaia of Cyzicus
How: done with the Art of Encaustic Painting, a technique of mixing colors with hot wax and then applying them to the surface.
Why: In Roman times, Egyptians bury their dead in mummy cases, painted portraits ( encaustic) replaced masks.
When: ca. 140-160 ce.
Where: Hawara ( Faiyum) Egypt

What: Frigidarium, Baths of Diocletian. Groin Vault 7-65. pg.220
When: ca.298-306 remodeled by Michelangelo Buonarroti in 1563
Where: Rome, Italy

What: plans for / Temple of Venus. 7-70, pg. 223.
Where: Baalbek, Lebanon
When: Third century CE From the Roman Republic
How: "Baroque" violates almost every rule of Classical design.

What: Arch of Constanine, a grandiose triple- passageway arch next to the Colosseum to commemorate Constantine's defeat of Maxentius. Largest erected arch in Rome since the end of the Severan dynasty. 7-73. pg.225
When: 312-315 CE.
Where: Rome, Italy
How: Builders took much of the sculptural decoration from monuments of Trajan, Hadrian, and Marcus Aurelius. Heads were re-cut to substitute Constantine's features.

What: Interior of Santa Costanza (church) 8-11. pg. 243
Where: Rome, Italy
When: ca. 337-351.
How: basilican design. The central- plan design., usually round or polygonal domed structures.Has antecedents in the domed temples of the Romans.