Art 6H Study Guide – Exam 2 – the Era of Faith

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Art 6H Study Guide – Exam 2 – The Era of Faith Be sure to know each item thoroughly – Terms: know the image(s), history, meaning, etc. Icon(s) Iconoclasm Early Christianity Pantocrator Theotokos - Synagogue, Dura Europos pendentive - Christian community house, Dura Visigoths/Ostrogoths Europos - Sarcophagus with philosopher, orant, Old & New Testament scenes Medieval Europe - Old St. Peter’s, Rome - Mosaic in the ambulatory of Sta. - Monte Cassino, Italy Constanza - Man (symbol of Saint Matthew), Book of - Christ as the Good Shepherd, Mausoleum Durrow, Scotland of Galla Placidia - Chi-rho-iota (XPI) page, folio 34 recto of - Christ before Pilate, Rossano Gospels the Book of Kells, Scotland - Rabbula Gospels - Saint James, Santiago de Compostela, - Woman sacrificing at an altar, diptych of Spain the Nicomachi & the Symmachi - Saint-Sernin, Toulouse, France Terms: - St.Denis Orant - Chartres Cathedral cubicula - Saints Martin, Jerome, and Gregory, (jamb statues) Porch of the Confessors, Chartres Cathedral Byzantium - Notre-Dame , Paris - Virgin with the Dead Christ (Röttgen - Hagia Sophia, Constantinople Pietà), from the Rhineland, Germany (architects: Anthemius of Tralles & Terms: Isidorus of Miletus) Scriptorium - Justinian, Bishop Maximianus, and St. Benedict attendants, mosaic, San Vitale, Ravenna Zoomorphism - Theodora & attendants, mosaic, San Nave Vitale, Ravenna Radiating Chapel - Barberini Ivory Tympanum - Ascension of Christ, Rabbula Gospels Reliquary - Virgin (Theotokos) & Child between Sts. Aisle Theodore and George, icon Apse - Virgin (Theotokos) and Child enthroned, Trumeau mosaic, Hagia Sophia Ambulatory - Christ as Pantocrator, Church of the Flying Buttress Dormition, Daphni Rose Window - Interior of the Katholikon, Hosios Loukas, Abbot Suger Greece Pilgrimage - St. Mark’s Basilica, Venice Art 6H Study Guide – Exam 2 – The Era of Faith Renaissance - CIMABUE, Madonna Enthroned - GIOTTO, Madonna Enthroned - GIOTTO, Arena Chapel, Padua - DUCCIO, Virgin & Child Enthroned with Saints (Maesta) - Florence Cathedral (Duomo) - DONATELLO, David - MICHELANGELO, David -TITIAN, Venus of Urbino - JAN VAN EYCK, Arnolfini Wedding Portrait - DURER, Adam and Eve - PONTORMO, The Deposition Terms: Humanism Guild Mannerism Baroque BERNINI, Ecstasy of St. Teresa BERINI, DAVID CARAVAGGIO, The Cardsharps CARAVAGGIO, The Conversion of St. Paul GENTILESCHI, Judith beheading Holofernes PIETRO DA CORTONA, Triumph of Divine Providence VELSAQUEZ, Las Meninas PETER PAUL RUBENS, Susanna and the Elders REMBRANDT, A Scholar VERMEER, A Lady Drinking with a Gentleman FRAGONARD, Happy Accidents of the Swing POUSSIN, Holy Family on the Steps Versailles Voltaire Rousseau .

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Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
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Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh.
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Titian (Tiziano Vecellio)
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Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida
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The Allure of Artifice: Titian's Half-Lengths and the Courtesan As
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MARIA JOÃO DURÃO 106 Pigments and Techniques As Agents of the Sketch for Transformation
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Giorgione's Sleeping Venus
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licentious and corrupt ways, and Cardinal kind of perverse tribute to its enduring Alessandro (or Titian) found it prudent beauty, the painting was looted by German to transform the all-too-contemporary troops on behalf of Field Marshal Hermann courtesan into a mythological figure Göring during the Second World War and whose nudity was sanctioned by classical was discovered afterward in the Austrian salt precedent. Accordingly, the little dog and mine at Alt Aussee. The canvas was brought the maidservants seen in the background in to the Munich Central Collecting Point by the x-radiograph were replaced by the god the so-called Monuments Men in #($% and of love. The comfortably furnished interior returned to the Italian government two in the first version became the tower in years later. Its presentation in Washington which Danaë, according to legend, had been Fig. " After Michelangelo, Leda and the Swan, marks its second appearance at the National confined by her father, the king of Argos, after '#!(, oil on canvas, National Gallery, London, Gallery of Art, where the Danaë was to foil a prophecy that he would be killed Presented by the Duke of Northumberland, '%!% exhibited in the Titian retrospective of by any son of hers. (Perseus, Danaë’s son by #(() – #((#. Since that time the painting has Jupiter, did eventually kill the king.) created masterpiece in the painter’s studio been cleaned and restored to splendid e!ect. In handling erotic subject matter, in the Vatican. As reported in a famous discretion was required, so not only the passage in Giorgio Vasari’s Lives of the composition but also the subject of the Artists (#%&'), the great Florentine painter, Photography Credits Danaë (full and details), figs.
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Giulio Romano's Louers: a Reflection on Its Visual Sources and Literary Associations Michiaki KOSHIKAWA in the Life of Giulio Romeno, Giorgio Vasari Described
Aspecls of Problems in Western Art History, vol.4, 2003 View metadata, citation and similar papers at core.ac.uk brought to you by CORE Giulio Romano's Louers: A Reflection on its Visual these lovers, and the intrusion of the procuress-like old Sources and Literary Associations woman to the right of the composition sharply conflicts Michiaki KOSHIKAWA with pictorial conventions of an elevated world of mythology. On the other hand, scholars have attempted in the past to give these lovers some specific names of mythological or historical characters: "Mars and Venus," or In the Life of Giulio Romeno, Giorgio Vasari described the "Alexander and Roxana." 0) As is shown in the present-day large erotic painting now in the Hermitage Museum, The title given to the picture, these denominations failed to Louers (fig. 1),1) as follows: "a youth and a girl embracing convince modern scholarship, while we still are somewhat in bed and caressing each other, while an old woman hesitant to consider the scene as being no more than an behind a door is peeping at them. These figures are slightly erotic genre representation.T) This situation itself is typical less than natural size and very graceful."2) Vasari saw this of the recent discussions of the erotic imagery of the rather lascivious work at an uncertain date in the house of Renaissance, with quite contrasting interpretative attempts Vespasiano Gonzaga, and stated explicitly that it had been which are summarized as, to quote Mary Pardo's terms, presented by Duke Federico Gonzaga of Mantua to "allegorist" and "literalist" attitudes.8) In short, we might be Vespasiano together with a small //atrar4r, also by Giulio's endlessly ptzzled about, as two poles apart, whether the hand.
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Framing Women in Art Will Relate Works of Art to the Continuing Debate Concerning Women’S Roles, Expectations, and Capabilities
ATH 321.601/701–Writing Intensive Dr. Barbara Wisch Spring 2011 Wednesdays 6–8:30 pm Dowd Fine Arts 206 Office Hours: TR 1:10–2:40 pm and 4:10–4:40 pm; W 5–6 pm and by appointment Dowd Fine Arts Center 220, 753–4100 Email: [email protected] Framing W0MEN in ART “Did women have a Renaissance?” asked historian Joan Kelly in 1977. She questioned whether within the traditional periodization of history, the concept of “the Renaissance” had any meaning for the history of women. Kelly noted that in the fifteenth and sixteenth centuries, the material position of women weakened considerably despite their literary idealization. Moreover, scholarly understanding of the period was both focused and constructed upon the high culture of élite males. This seminar will explore answers to Kelly’s query from diverse perspectives and methodologies derived from art history, social history, women’s history, and gender studies. We will examine certain supposedly “natural” conditions and try to unravel their cultural constructions. We will look more broadly across history, from ancient Greece and Rome to the pre-Enlightenment. The course will study a broad range of images—both famous and lesser known—from the ancient world through the early modern period as well as consider ramifications for the twenty-first century. We will also analyze the historical contexts that formed an integral part of the experience of these images. From birth to marriage to death, works of art as gifts and as memorials celebrated the most important passages through a woman’s life. We will enter the female sickroom, examining women’s disease—the so-called “uterine furies”—and contrast images of male melancholia, the disease of genius.
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