DOCSLIB.ORG

AP Art History Organized to Include Course Content Material from the Ancient World AP Art History Covers Approximately 30,000 Years of Art Through the 21St Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AP Art History Organized to Include Course Content Material from the Ancient World AP Art History Covers Approximately 30,000 Years of Art Through the 21St Century C1 – The syllabus is AP Art History organized to include course content material from the ancient world AP Art History covers approximately 30,000 years of art through the 21st century. creation, from the Prehistoric and Neolithic periods to 20th Century, Postmodern and current art trends. Though a brief survey of Asian, African and other Eastern Art is studied, the bulk of this year-long class covers mainly Europe and the rest of the Western World. The course studies historical transition of art periods, as well as how culture, religion, government and history reflect the personal and sociological art trends throughout the existence of humans. [C1] Texts Primary Text: . Marilyn Stokstad‟s Art: A Brief History. Prentice-Hall, 3rd Edition. Weekly Readings Supplemental Texts: related to art . Helen Gardner‟s Art Through the Ages. De la Croix and history and Tansey, 12th Edition. careers. Written summaries upon each . Carol Strickland‟s The Annotated Mona Lisa: A Crash reading completion. Course in Art History from Prehistoric to Post-Modern. Peer teaching from Andrews and McMeel, 1992. text. My plans for reviewing content before the exam: Review of major concepts and historical periods learned throughout the school year. Teaching Strategies: Throughout the year, each section or chapter will begin with a student reading assignment (usually a whole chapter, or half depending on the subject. Classroom discussions and lectures are based on PowerPoint presentations. Normally the day or two before test is spent reviewing these pieces of Art from the PowerPoints. Assessments: Topics Taught Include: First Semester: Introduction to Art and Prehistoric to High Renaissance. Second Semester: Baroque and Rococo to Present. Most tests for this class are based on three parts: . Slide identification: Identify fifteen to twenty pieces including the name, artist (if applicable), approximate year and period. Multiple Choice: The format for this section runs parallel to the AP Test, where several of the questions are based on works shown directly on the test. Approximately 30-40 multiple choice questions make up a test. Written Response: Short-essay questions often compare and contrast two periods, artworks or cultures. Non-Western art is included as part of the essay when applicable. This essay accounts for about fifteen to twenty percent of the test. C2 – The course teaches Week I and II: Introduction and students to understand Prehistoric Art [C1] works of art within their historical context by examining issues such as During this section, students will learn basic aesthetic politics, religion, terminology (such as the principles or Art), and discuss the patronage, gender, function and ethnicity. The philosophies of what makes good art. Students will explore course also teaches events or cultural conditions that can affect the way art is made, students visual analysis of such as technology, war, government, politics and religion. works of art. The course [C2] teaches students to understand works of art through both contextual To begin exploring art history, students will study the and visual analysis. Prehistoric and Neolithic periods, and discuss the purpose of creating such items like cave paintings, the Woman of Willendorf or Stonehenge. Reading: Introduction and Chapter 1 of the primary text. Week III: Ancient Near Eastern Art Students will see the birth of civilizations and how the conquering of lands affected the change in the art of those regions. A good mneumonic used in class is, “Some Apples, Bananas And Peaches” to remember the five basic periods from this section: Sumerian, Akkadian, Babylonian, Assyrian and Persian (Neo-Sumerian and Neo-Babylonian are included in this C3 – Roughly 20 percent section.) Influences of geography, politics (hieratic scale) and of this course is devoted to art beyond the European religion are heavily discussed in this week. [C3] tradition. Reading: Excerpts from Epic of Gilgamesh and Hammurabi’s Code, and the first half of Chapter 2 (pgs. 37-47). Test: Prehistoric and Ancient Near East. Week IV: Egyptian Art This section will see the merging of Upper and Lower Egypt into an Empire, comparing and contrasting its religion and politics to those studied from the Near East. Examples of both sculpture and architecture from Old, Middle and New Kingdom are presented, with emphasis on the stylistic changes during Akhenaton‟s Amarna Period. Styles of full figure sculpture are also highlighted. Reading: Second half of Chapter 2 (pgs. 48-61) Test: Old, Middle and New Kingdom Egyptian Art Week V: Aegean & Greek Art Emphasis is placed on Cycladic, Minoan and Mycenaean cultures. With the development of major palaces, fortresses and tombs, students will be able to explain how geography and location of a culture (be it inland, coastal or island) affects its art and architecture. It is also noteworthy to contrast the differences between the Minoan and Mycenaean civilizations. The second half of this unit shows the development from Archaic and Geometric Greek products to the establishment of a mature Early, High and Late Classical Greek environment. The unit will begin to explain Greek philosophy and how it influences sculpture and figure vases. The unit will conclude with discussing the relationship between a city-state plan and how landscape affects the placement of buildings. Reading: Chapter 4 of the primary text, and “What is Art”, written by Plato. C2 – The course teaches Week VI: The Spread of Greek Culture students to understand works of art within their Week Six not only shows the development of an emotional historical context by Hellenistic style, but explores how the styles of the Greek examining issues such as politics, religion, culture spread across other Mediterranean and Near East patronage, gender, Cultures. [C2] function and ethnicity. The course also teaches students visual analysis of Reading: Chapter 5 in the primary text. works of art. The course teaches students to Test: Aegean, Archaic, Classical and Hellenistic Greek Art. understand works of art through both contextual and visual analysis. Week VII: Roman Art Teaching Roman Art deals with several important aspects: How political propaganda is used through art; How structure and organization led to the development of a Roman Empire; and How the conquering of the Greeks led to an insatiable appetite for Classical Greek imitation. The students will compare and contrast the relationship of Roman architecture to that of the Greeks. What elements did the Romans add to an already scientific set of architectural and sculptural rules? [C2] The class will discuss the development of Etruscan Art and how its style changed the perception of house and sarcophagus design. Reading: Chapter 6 in the primary text. Test: Roman and Etruscan Art Week VIII: Early Christian, Jewish and Byzantine Art This section begins around the birth of Christ (featuring Jewish prayer houses) to the Edict of Milan by Constantine, allowing religious freedom and legalizing Christianity. This chapter shows the movement of mosaics from Roman C3 – Roughly 20 percent houses and civic centers to use as religious illustrations, such as of this course is devoted to the Good Shepherd. It begins identifying specific figures in art beyond the European tradition. mosaics, and explain how the Church and State were merged together as one entity. It is also important to note the change of the Roman basilica as a government building to a house of worship. The students should explain the differences between a basilica plan such as Santa Sabina to a central plan like Hagia Sophia. [C3] Discuss how the Iconoclasm creates a „Dark Age‟ for art and culture. Reading: Chapter 7 of the primary text. Test: Early Christian, Jewish and Byzantine Art C3 – Roughly 20 percent Week IX: Early Medieval Art in of this course is devoted to Europe art beyond the European tradition. This chapter gives a deeper look into how religion and the rituals that follow influence the architectural design of Christian Churches and Islamic Mosques. For example, the students explore the differences in the Hagia Sophia before and after the invasion of the Ottoman Turks in 1453. [C3] Students will see the development of manuscript illumination, as well as the inclusion of Hiberno- and Anglo-Saxon tribal work, such as understanding how uncovering burial ships full of art validate literary works like Beowulf. This chapter also explains how the Carolingian and Ottonian Empires affected the layout of the Christian Church, and the reemergence of sculptural works with the Church, such as Bishop Bernward‟s doors. Reading: First half of Chapter 10 of the primary text (up to pg. 256), and excerpts from Beowulf. Week X: Romanesque Art As technology increases to make for better roads and travel, pilgrimages greatly affect the planning and layout of Christian Churches (such as ambulatories), as well the position of the Medieval Church and royalty. Students should be able to explain how the decorative tympanum (such as Gislebertus‟ Last Judgment) is considered „sculptural religious propaganda‟, and describe the terms associated with a three-story elevation of a Romanesque church: nave, gallery, clerestory. Reading: Second half of Chapter 10 (pgs. 256-271). Test: Early Medieval and Romanesque Art. Week XI: Gothic Art The development of both French style and a more „spiritual design‟ led to the rise of the University, Scholasticism and Gothic Architecture. Students will examine how the spirituality and academia of the French differ or compare to that of the Greeks. It is imperative that students see the very different styles between that of Romanesque and Gothic. This chapter will focus on building styles of Early, High and Late Gothic, as well as to distinguish between French and English Gothic. (It is also helpful to distinguish between English Decorated and English Perpendicular Gothic.) Students should see the relationship between Gothic cathedrals and sculpture (such as the Royal Portal). Video: History Channel‟s Modern Marvels: Gothic Cathedrals.
Load more

Recommended publications
  • Catalonia 1400 the International Gothic Style
    Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords.
    [Show full text]
  • The Romantic Movement on European Arts: a Brief Tutorial Review
    SCIENTIFIC CULTURE, Vol. 1, No 2, (2015), pp. 39-46 Copyright © 2015 SC Open Access. Printed in Greece. All Rights Reserved. The Romantic Movement on European arts: a brief tutorial review Anna Lazarou Academy of Athens, 84 Solonos Str., Athens 10680, Greece ([email protected]; [email protected]) Received: 10/01/2015 Accepted: 25/02/2015 ABSTRACT The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works. KEYWORDS: art, architecture, music, romance, artistic movement, neoclassicism. 40 Anna Lazarou 1. INTRODUCTION his vision was a European empire with its capital The period from the second half of the 18th century Paris. The economic downturn that led to wars and until the first half of the 19th century in western social changes created by the Industrial Revolution, Europe was of a multidimensional character both in made Europeans to feel trapped by events that ex- art and in other fields of intellectual life, expressed ceeded the control, which could not be explained by by the romance, the first great movement of ideas of rational perception. Even Napoleon's career was for that era e.g. architecture, music, literature (Blayney many a supernatural power and his defeat, a divine judgment (Fig.1).
    [Show full text]
  • EARLY NETHERLANDISH PAINTING Part One
    EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him.
    [Show full text]
  • Dana Jenei, Gothic in Transylvania. the Painting (C
    Book Reviews / Buchrezensionen Dana Jenei, Gothic in Transylvania. The Painting (c. 1300-1500), Oscar Print Publishing House, București, 2016, 240 p., 156 il., with a foreword by Răzvan Theodorescu Adrian Stoia* As the author has already accustomed us with her previous works, this new volume is printed in exquisite graphical conditions. The book presents two centuries of Western painting created in Tran- sylvania, an area situated at the border of Western European culture. More precisely, it refers to the flourishing period of the Gothic art, stimulated by the development of urban and rural communities invited here by the Hun- garian crown, until the political and religious changes caused by the fall of the Hungarian Kingdom under the Turks and the dawn of the Reformation, when numerous works of the Catholic art were destroyed. As the author states, the book presents the research “started in faculty and first materialized in the PhD thesis”, defended in 2005 at the National University of Arts in Bucharest, with the scientific information updated to 2016, and “presented in the spirit of the «new manner of writing history» of the French School of Les Annales” (pp. 10-11). The volume opens with a brief analysis of the state of research in the field (pp. 11-13), continued by the chapterTransylvania in late Middle Ages (pp. 14-26), divided into four parts: Historical sketch, The crisis of „the security symbols”, New religious sensitivity and Care for life after death. Here are men- tioned the anxieties of the Transylvanian society – the war, the famine and the plague”– the permanent Ottoman menace, the economic, medical and climate problems that Medieval Europe has faced.
    [Show full text]
  • ART-102 History of Art and Visual Culture to 1400
    Bergen Community College Division of Arts and Humanities Department of Arts & Communication Course Syllabus Art 102 History of Art and Visual Culture to 1400 Three Credits - Three Hours I. Catalogue Description: History of Art and Visual Culture to 1400 is a chronological survey of art and visual culture, western and non-western, from the Mesopotamian period through the Middle Ages. In a lecture and discussion format, selected works of sculpture, architecture, and painting as well as decorative utilitarian objects made by peoples in Europe, the Middle East, India, Asia and Africa are studied both for their styles and materials and their relation to politics, religion and patronage. II. Student Learning Objectives: As a result of meeting the requirements of this course, students will be able to A. Identify major periods of art history, and exemplary works of art and visual culture, from ca. 3500 bce to ca. 1400, in western and non-western societies B. Define and use vocabulary of visual analysis in speech and writing C. Describe the materials used and the techniques employed to make works of art in a variety of media in these periods and cultures D. Describe how political, religious and economic situations influence the creation of works of art and their meaning and significance E. Analyze the difference between perceiving a work of art viewed on the internet and the same work experienced directly within a museum context. III. Course Content: A. Course Orientation 1. Procedures and requirements 2. Structure of course 3. Explanation of special features: museum visits 4. Evaluation methods B. Ancient Art 1.
    [Show full text]
  • European Romantic Perception of the Middle Ages: Nationalism and the Picturesque
    EUROPEAN ROMANTIC PERCEPTION OF THE MIDDLE AGES: NATIONALISM AND THE PICTURESQUE NÚRIA PERPINYÀ UNIVERSITAT DE LLEIDA SpaIN Date of receipt: 7th of July, 2012 Final date of acceptance: 12th of December, 2012 ABSTRACT The aims of this study1 are theoretical and comparative. It contains a theoretical section describing the 18th and 19th centuries visions of the Middle Ages (admirable, critical and indifferent). Then, the relationships with the European romantics, including the Catalans, are studied. The folkloric and nationalism are presented as bridges between the two epochs. The history of the 17th and 18th centuries Picturesque is reviewed and a new view of it is presented. Instead of conceiving it as a minor aesthetic, I propose it as a precedent for the avant-garde given its defence of the irregular and the badly done. Furthermore, the 19th century idea of paradise lost was conceptualised around four axes (past, infancy, nature and art) and I propose a fifth (ethnicity)2 for the 21st century. KEY WORDS Picturesque, Nationalist, Romantic Medievalism, Paradise Lost, Catalan. CAPITALIA VERBA Mirifice describere, Nationis ratio, Romanticum Medium Aevum, Paradisus Amissus, Catalaunienses. 1. This article is developed within the framework of the research project “Identity, Memory and Ideology in the Middle Ages” (HAR 2009-08598/HIST) 2. Although the concept of “ethnicity” is anti-scientific and outdated, I mention it because it was a relevant concept in the 19th century that, unfortunately, continues to be used in the 21st, as I explain below. IMAGO TEMPORIS. MEDIUM AEVUM, VI (2012): 23-47. ISSN 1888-3931 23 24 NÚRIA PERPINYÀ 1.
    [Show full text]
  • Vincent Caranchini Student Portfolio
    Vincent Caranchini Ancient Egyptian Temple- Justin Keller Student Portfolio 1 2 History of Interiors: Justin Keller, Deqi Qin & Katie Eastman 3 4 Ancient Egypt began to take form as a country around 3100 B.C.E. and was located along the Nile River. The Egyptians are known for their monumental struc- tures and buildings such as the great Pyramids of Giza and numerous other temples. These massive structures were made of stone and bricks that they Egyptians gathered or made. The important structures (those for the gods and pharaohs) were adorned with gold, painted with bright colors, and covered with patterns and drawings. The interior was decorated just as heavily. Intricate patterns were used on the walls and in other Egyptian artwork. Pottery(1) was a popular form of art in this time. Their pots were used for storage and also decoration. The columns(2) were adorned with patterns that were taken from nature and simplified. The columns themselves also showed the rhythm of nature in their flower capitals. These forms were taken directly from original method of tying reeds together to make a column. The Sphinx(3) was an important part of Egyptian culture. A sphinx consists of the body of a lion and the head of another animal. The chairs(4) and benches(5) were intricately carved and covered with gold and fabric. These objects were common for the interior of an Egyptian temple. 5 Baroque (Rococo) Perspective Deqi Kin Louis XV Gilt and Grey Marble Top Console from the S. of France PLACE OF ORIGIN: France DATE OF MANUFACTURE: Mid 18th C.
    [Show full text]
  • Undergraduate Courses
    20-21 Catalog Undergraduate Courses Art MAJORS, MINORS PROFESSORS: Kathleen D. Nolan, Christina Salowey (classical studies) ASSOCIATE PROFESSORS: Elise Schweitzer ASSISTANT PROFESSOR: Genevieve Hendricks, Mary Zompetti VISITING ASSISTANT PROFESSORS: Andrea Martens FRANCES NIEDERER ARTIST-IN-RESIDENCE: Eleanor Ray, (spring term) VISITING LECTURERS: Josh Manning, Jennifer Shamy (art education) STUDIO ART TECHNICIAN: Hona Knudsen The art department offers majors and minors in art history and studio art. Note: students may not declare both a major and a minor within the art department. Art History The art history major offers students a knowledge of works of art in the context of the social, political, and intellectual cultures of which they are a part. Students learn to think, read, and write critically about art and to be astute interpreters of visual imagery. Art history majors progress through chronologically oriented survey courses into upper-level seminars and research projects. The program stresses individual student research and active leadership roles for students in small seminars. The art history major culminates in the senior seminar, an overview of the critical issues of the discipline, as well as in the writing of a senior paper and the public presentation of each senior’s research. The curriculum is enriched through lectures and seminars by distinguished visiting art historians as well as by the Eleanor D. Wilson Museum program. All majors are encouraged to travel. Art history majors are encouraged to pursue internships in fields such as museum work, art galleries and auction houses, arts administration, architecture, historic preservation, and interior design, fields in which many majors find employment after graduation.
    [Show full text]
  • Distribution of Subject Matter of Art History Courses
    Distribution of Subject Matter of Art History Courses As of fall 2017 Art History has adopted a new numbering system for its courses. Old course numbers appear in brackets in the following list. Introductory Courses 26.02 Renaissance and Baroque Architecture in Rome [12] (FSP course; Consult Art History 1 Bodies & Buildings: Introduction to the History of Department Chair) Art in the Ancient World and the Middle Ages 27.01 The Ideal City [17.17] 2 Introduction to the History of Art II 27.02 Living Stone: Sculpture in Renaissance & 4 Introduction to World Architecture Baroque Italy 5 Introduction to Contemporary Art 28.01 The Global Renaissance [17.15] 28.02 Going for Baroque 28.03 Vision and Reality in the Art of Northern Field Surveys - Pre-Modern th (ancient and medieval art to 1400) Europe in the 15 Century [17.04] 28.04 Reform and Response in Sixteenth-century Northern Europe [16.21] 10.01 The Art of Ancient Egypt and the Ancient 28.05 Art and Society in the Age of the Rococo [48] Near East [20] 28.07 Art Writing and Writers on Art 10.02 Art and Archaeology of Israel [17.11] 28.08 Italian Art from Renaissance to Baroque: 10.03 Art in Egypt Crisis and Invention 11.01 Art in Ancient Greece: Temples Gods, and 28.09 Art on the Move: Renaissance Italy & the Heroes [21] Islamic World 11.02 Alexander to Cleopatra: Art in an Unsettled World [22] 12.01 Roman Art [25] Mid-level - Early Modern Europe 12.02 Roman Architecture 13.01 Early Medieval Art [32] 61.71 Italian Renaissance Architecture 13.02 Italian Medieval Art and Architecture [36]
    [Show full text]
  • Suppositions: the Art of Wim Delvoye
    — isabelle loring wallace — Suppositions: The Art of Wim Delvoye I. In 2012, in conjunction with his solo exhibition together at their broad ends to form a menacing, if at the Musée du Louvre, Wim Delvoye installed a arrested, torpedo. Indeed, a threat is implicit here, large work of art beneath I.M. Pei’s iconic glass pyr- and, if Delvoye’s sculpture served to anticipate amid. Visible from the courtyard and, once again, other gothic works in the show — secular stained upon entry to the museum, the sculpture marked glass windows, lacey metal dump trucks with beds the Louvre’s main entrance, while granting visitors in the shape of a nave, a gothic tower curved in on a preview of the work in Delvoye’s show, much of itself in the shape of a nautilus — this comparative- which used gothic architecture as a subject and ly more abstract sculpture, made of stainless steel medium. If representative, the object in question and perforated by glassless arched windows, also is not easily described, and for all the immediate served as a worrisome foil for Pei’s glass and steel impact of its installation, digestion takes time. One pyramid, which was likewise perceived by some as a notices first its shape and scale, also its reflective threatening intervention in its own right. material, exaggerated at the Louvre by the light that poured down on all sides through Pei’s dia- Commissioned to accommodate the Louvre’s daily mond-shaped windows. Conical and tapered at onslaught of visitors, the pyramid complex, which both ends, the work is eleven meters tall and has opened to the public 1989, appeared futuristic to the contours of a missile or un-husked ear of corn, traditionalists and, at the same time, Pharonic — though the light might initially obscure this fact, as an interloper from a distant, pre-classical past and, well as the debt this form owes to gothic architec- simultaneously, a suite of alien objects, recently ture.
    [Show full text]
  • Introduction to Gothic Architecture and Gargoyles 6Th Grade Late Medieval & Gothic Art Gothic Era 1150/1400
    Introduction to Gothic Architecture and Gargoyles 6th Grade Late Medieval & Gothic Art Gothic Era 1150/1400 about 250 years Gothic Gothic Architecture • Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. • Originating in 12th Century France and lasting into the 16th century, Gothic architecture was known during the period as "the French Style”. • The term Gothic first appeared during the Renaissance. • Its characteristic features include the pointed arch, the ribbed vault and the flying buttress. • Gothic architecture includes many of the great cathedrals, castles, palaces, town halls, universities, abbeys and parish churches of Europe. • A series of Gothic revivals began in mid-18th century England, spread through 19th-century Europe and continued into the 20th century. Ideal Gothic Church Notre Dame Cathedral begun in 1163 Notre Dame Cathedral flying buttresses c. 1175 Chartres Cathedral buttresses Flying Buttress diagram Other Gothic innovations • pointed arch (instead of round arch) • ribbed vault (instead of dome) • stained glass windows WHO CAME UP WITH THESE IDEAS? Abbey Church of Saint Denis ribbed vaulting Chartres V Cathedral E R T I C A L I T Y Chartres Cathedral detail Proportion – heads to bodies? Chartres Cathedral detail 1150 - a Gothic date to remember Gothic style architecture starts and is rapidly falls out of fashion around 1150. A much clearer start & style than Romanesque PLAGUE
    [Show full text]
  • Medieval Art and Architecture
    MEDIEVAL Medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church. These sources were mixed with the vigorous "barbarian" artistic culture of Northern Europe to produce a remarkable artistic legacy. Indeed, the history of medieval art can be seen as the history of the interplay between the elements of classical, early Christian and "barbarian" art. Apart from the formal aspects of classicism, there was a continuous tradition of realistic depiction of objects that survived in Byzantine art throughout the period, while in the West it appears intermittently, combining and sometimes competing with new expressionist possibilities developed in Western Europe and the Northern legacy of energetic decorative elements. The period ended with the self-perceived Renaissance recovery of the skills and values of classical art, and the artistic legacy of the Middle Ages was then disparaged for some centuries. Since a revival of interest and understanding in the 19th century it has been seen as a period of enormous achievement that underlies the development of later Western art. At the start of the medieval period most significant works of art were very rare and costly objects associated with secular elites, monasteries or major churches, and if religious, largely produced by monks. By the end of the Middle Ages works of considerable artistic interest could be found in small villages and significant numbers of bourgeois homes in towns, and their production was in many places an important local industry, with artists from the clergy now the exception. Hagia Sophia ''Holy Wisdom''; is the former Greek Orthodox Christian patriarchal cathedral, later an Ottoman imperial mosque and now a museum in Istanbul, Turkey.
    [Show full text]