Crucifix commissioned by Archbishop Gero
Gero Crucifix 970 C.E.
Cologne Cathedral
Cologne, Germany
Painted wood
Ottoniam sculptor
large scale
Thursday, November 19, 2015
Column-Saint Michael's
Column-Saint Michael's
Hildesheim, Germany
1015-1022 C.E.
bronze
commissioned by Bishop Bernward
Saint Michael's abbey church
Top: longitudinal section
Bottom: plan
abbey church of Saint Michael's
Hildesheim, Germany
1001-1031 C.E.
Ottonian basilica design: 2 apses, 2 transepts, side entrance
inspired by tunnel-like horizontal Early Christian basilicas
Palatine Chapel of Charlemagne
Interior of the Palatine Chapel of Charlemagne
Aachen, Germany 792-805 C.E.
1st vaulted medieval structure of the Alps
San Vitale was inspration
massive geometric form
Saint Matthew
Saint Matthew
Ebbo Gospels folio 18 verso
abbey of Saint Peter
Hautvillers, France
816-835 C.E.
ink & tempera on vellum
classical illusionism w/ Northern European liner
Charlemagne
Equestrian portrait of Charlemagne
A.K.A. Charles the Bald
Metz, France 9th Century
bronze
Carolingian Empire 814 C.E.
Carolingian Empire @ the death of Charlemagne 814 C.E.
consolidated the Frankish Kingdom
defeated the Lombards in Italy
claimed Roman Empire
Carolus Magnus (Latin)
High Cross of Muredach
High Cross of Muredach
Monaster, Ireland 923 C.E.
early medieval Irish
reliefs- Crucifixion & Last Judgment
Christian burial
sandstone
Cross-inscribed Carpet Page
Cross-inscribed carpet page
Lindisfarne Gospels folio 26 verso
Norhumbria, England 698-721 C.E.
tempera on vellum
Hiberno-Saxon mixed Christian imagery & animal-&-interlace style of early medieval warlords
Book of Durrow-man
Man (symbol of Saint Matthew)
Book of Durrow folio 21 verso
660-680 C.E.
?from Iona, Scotland?
ink & tempera on parchment
Malwiya Minaret
Malwiya Minaret
Great Mosque
Samarra, Iraq 848-852 C.E.
too tall to call Muslims to prayer
?symbol of the triumph of Islam in Tigris valley?
Prayer hall of the Great Mosque
Prayer hall of the Great Mosque
Cordoda, Spain
8th-10th centuries
hypostyle prayer hall w/ Horseshoe-shaped arches adapted from Visigoths
Muqarnas Dome
Muqarnas Dome
Hall of the Two Sisters
Alhambra Palace
Granada, Spain 1354-1391 CE
carved to reflect sunlight & form abstract patterns
Aerial view of the Great Mosque
Aerial view of the Great Mosque
Kairouen, Tunisia 836-875 CE
all mosque are oriented toward mecca
Mausoleum
Mausoleum of the Samanids
Bukhara, Uzbekistan
early 10th century
built using a squinch (square)
Mihrab-mosaic
Mihrab from the Madrasa Imami
Isfahan, Iran 1354 CE
glazed mosaic tile work
verses of Koran appear throughout
Signature
Tughra of Suleymar the Magnificent
1550-1560 CE
Turkish (Ottoman) calligraphic monogram
A.K.A.--signature
Plan-Umayyad Place
Plan- Umayyad Palace
Syria, Spain 740-750 CE
Included: elaborate baths influenced by Rome
Dome of the Rock
Dome of the Rock
Jerusalem 687-692 CE
believed to be where Muhammad began miraculous journey to heaven
Koran
Koran
9th or early 10th century
the design of Islamic Korans has parallels in medieval manuscripts of Britain & Ireland
Christ as Pantokrator
Christ as Pantokrator
Daphni, Greece 1090-1100 CE
gigantic icon
image- as last judgement on mankind
Christ as savior of souls
Christ as Savior of Souls icon
Late Byzantine
tempera, linen, & silver on wood
Christ before Pilate
Christ before Pilate
Rossano Gospels
early 6th century Gospel books
Vienna Genesis
Justinian, Bishop Maximianus....
Justinian, Bishop Maximianus & attendants
early Byzantine mosaic
San Vitale
Ravenna, Italy
features people in which they appear to be flat; not solid in nature
Annunciation 2-sided icon
Annunciation
reverse 2-sided icon
Church of the Virgin Perbleptos
Ohrid, Macedonia
early 14th century
tempera & linen on wood
Saint Apollinaris amid sheep
Saint Apollinaris amid sheep
San't Apollinare in Classe
Ravenna, Italy 533-549 CE
apse mosaic
Archangel Michael icon
Archangel Michael icon
Venice, Italy 1100 CE
brought to Saint Mark's from Constantinople
Virgin (Theotokos) & Child
Virgin (Theotokos) and Child between
Saint Theodore and George
6th/early 7th century icon
encaustic on wood
Kathohkon, Monastery of Hosios Loukas
Kathohkon, Monastery of Hosios Loukas
Distomo, Greece
1st quarter of 11th century
Byzantine church
exterior wall-decorative patterns
Pendentives & Squinches
Left: pendentives- permits the placing of a circular dome over a square room. Triangular segments of a sphere, taper to points @ the bottom & gives continuous circular base.
Right: Squinches- bridges corners of the square to form a octagonal base
Plans & Cutaway of Hagia Sophia
Left: plans of Hagia Sophia
Right: cutaaway of Hagia Sophia
structure is supported by pendetives
Hagia Sophia
Athemius of Tralles and Isidorus of Miletus
aerial view of Hagia Sophia
Constantinople, Turkey 532-537
Justinian's reign
architects: mathematician & physicist
Wednesday, November 18, 2015
Essay---Romanesque manuscripts
Essay---Compare and contrast the development of Romanesque manuscripts. How did regional styles affect this development? Use examples of regional architectural styles of church architecture. pgs 340-347
The scribes of Romanesque manuscripts were monks and nuns. During the 12th century it was common practice for them to sign their work. These scribes did not intend for the manuscripts to become fine art but to bring glory to God. The manuscripts were typically painted on vellum using tempera and ink but each region had its own unique style.
The Codex Colbertinus, folio 10 recto of the abbey of Saint-Pierre, Moissac, France (C.E. 1100) was influenced by relief sculpture located on a pier in the cloister. The folio of Matthew and the relief of Abbot Durandus (C.E. 1100-1115) are generic images; not true portraits. Each holds an item with their left hand and issues a blessing with their right hand. Both are depicted as robed men in a rigid frontal view positioned between columns with dangling feet. The French monks also used enlarged letters to symbolize ideas: "L" for Liber (book) used in the folio of Matthew. The letter was stylized with imaginary creatures found throughout the cloisters of Saint-Pierre.
The Rupertsberger Scivias by Hildegard of Bingen, from Trier or Bingen, Germany (C.E. 1150-1179) is a true portrait of this influential nun. It is a lost folio from the abbey of Saint Hildegard; recording her visions from God. Long tongues of fire symbolize these divine visions. The image of Hildegard as a scholar is an echo of the evangelist found in the Coronation Gospels and the Ebbo Gospels.
The Bury Bible, Moses Expounding the Law, folio 94 recto, from Bury Saint Edmunds, England signed by Master Hugo in 1135 followed Hiberno-Saxon book production. The scenes derive from the Old Testament book of Deuteronomy. Hugo used rich, vibrant colors and slow, gentle movements to integrate figures within the symmetrical frame leaf motifs. He also paints Moses with horns which may have derived from Saints Jerome's literal translation of the Vulgate version of Exodus.
The scribes of Romanesque manuscripts were monks and nuns. During the 12th century it was common practice for them to sign their work. These scribes did not intend for the manuscripts to become fine art but to bring glory to God. The manuscripts were typically painted on vellum using tempera and ink but each region had its own unique style.
The Codex Colbertinus, folio 10 recto of the abbey of Saint-Pierre, Moissac, France (C.E. 1100) was influenced by relief sculpture located on a pier in the cloister. The folio of Matthew and the relief of Abbot Durandus (C.E. 1100-1115) are generic images; not true portraits. Each holds an item with their left hand and issues a blessing with their right hand. Both are depicted as robed men in a rigid frontal view positioned between columns with dangling feet. The French monks also used enlarged letters to symbolize ideas: "L" for Liber (book) used in the folio of Matthew. The letter was stylized with imaginary creatures found throughout the cloisters of Saint-Pierre.
The Rupertsberger Scivias by Hildegard of Bingen, from Trier or Bingen, Germany (C.E. 1150-1179) is a true portrait of this influential nun. It is a lost folio from the abbey of Saint Hildegard; recording her visions from God. Long tongues of fire symbolize these divine visions. The image of Hildegard as a scholar is an echo of the evangelist found in the Coronation Gospels and the Ebbo Gospels.
The Bury Bible, Moses Expounding the Law, folio 94 recto, from Bury Saint Edmunds, England signed by Master Hugo in 1135 followed Hiberno-Saxon book production. The scenes derive from the Old Testament book of Deuteronomy. Hugo used rich, vibrant colors and slow, gentle movements to integrate figures within the symmetrical frame leaf motifs. He also paints Moses with horns which may have derived from Saints Jerome's literal translation of the Vulgate version of Exodus.
Tuesday, November 17, 2015
Essay---Architectures in the Carolingian period
Essay---Evaluate the development of architecture during the Carolingian period. What changes occurred? How were they initiated, and what outside influences impact these changes? Use examples to support. pgs. 324-328
Emperor Charlemagne fused Roman and Byzantine architecture techniques to construct a "royal chapel". A prime example is the Palatine Chapel of Charlemagne, Aachen, Germany built 792-805. He found inspiration in San Vital church which is located in Ravenna, Italy. The Palatine Chapel was the first vaulted structure north of the Alps. The architects of San Vital applied apse-like extensions that was omitted and simplified to create a more defined geometric form to satisfy Charlemagne's plans. He incorporated two cylindrical towers with spiral staircases located on each side of the chapel entrance. The interior was supplied with gifts Charlemagne bestowed on the church. These gifts included: gold, silver, brass, porphyry (purple marble) imported from Ravenna, precious stones, and robes for the monks with the intent to beautify and enrich. The Palatine Chapel implemented a personal gallery above the portal modeled from the imperial gallery at Hagia Sophia in Constantinople. The Emperor would appear from the large second-story window to gaze upon the alter and acknowledge those gathered in the atrium. Charlemagne sat on a marble throne behind the framing arch giving him a privileged position. Many of Charlemagne's techniques made appearances in 11th and 12th centuries referred to as Romanesque style.
During the 9th century, a monk by the name of Benedict wrote the standard for monasteries which was supported by Charlemagne. Benedict believed clergy corruption stemmed from disorganization and laziness. Saint Gall in Switzerland exhibited the ideal monastery. Only the monks has access to the oratory (monastic church) with the cloister (colonnaded courtyard) that was set apart from the main portal. This provided everything a monk needed to conduct day-to-day life without leaving the safety of the monastery: mill, bakery, infirmary, garden, dormitory, kitchen, storage rooms, brewery, the refectory. Christian basilicas are reflected in Saint Gall with modifications to accommodate complex forms. The mathematical planning found in Greek and Roman was applied to the Carolingine Empire. Some examples: the transept and nave form a square, a square becomes a form of measurement to indicate placement for the apse. The concept of the centula, towers that frame the end of the church, stand apart from the main facade. The Carolingian Empire mashed Greek, Roman, and Byzantine architecture to create a style all its own.
Emperor Charlemagne fused Roman and Byzantine architecture techniques to construct a "royal chapel". A prime example is the Palatine Chapel of Charlemagne, Aachen, Germany built 792-805. He found inspiration in San Vital church which is located in Ravenna, Italy. The Palatine Chapel was the first vaulted structure north of the Alps. The architects of San Vital applied apse-like extensions that was omitted and simplified to create a more defined geometric form to satisfy Charlemagne's plans. He incorporated two cylindrical towers with spiral staircases located on each side of the chapel entrance. The interior was supplied with gifts Charlemagne bestowed on the church. These gifts included: gold, silver, brass, porphyry (purple marble) imported from Ravenna, precious stones, and robes for the monks with the intent to beautify and enrich. The Palatine Chapel implemented a personal gallery above the portal modeled from the imperial gallery at Hagia Sophia in Constantinople. The Emperor would appear from the large second-story window to gaze upon the alter and acknowledge those gathered in the atrium. Charlemagne sat on a marble throne behind the framing arch giving him a privileged position. Many of Charlemagne's techniques made appearances in 11th and 12th centuries referred to as Romanesque style.
During the 9th century, a monk by the name of Benedict wrote the standard for monasteries which was supported by Charlemagne. Benedict believed clergy corruption stemmed from disorganization and laziness. Saint Gall in Switzerland exhibited the ideal monastery. Only the monks has access to the oratory (monastic church) with the cloister (colonnaded courtyard) that was set apart from the main portal. This provided everything a monk needed to conduct day-to-day life without leaving the safety of the monastery: mill, bakery, infirmary, garden, dormitory, kitchen, storage rooms, brewery, the refectory. Christian basilicas are reflected in Saint Gall with modifications to accommodate complex forms. The mathematical planning found in Greek and Roman was applied to the Carolingine Empire. Some examples: the transept and nave form a square, a square becomes a form of measurement to indicate placement for the apse. The concept of the centula, towers that frame the end of the church, stand apart from the main facade. The Carolingian Empire mashed Greek, Roman, and Byzantine architecture to create a style all its own.
Essay---Hildesheim doors
Essay----Critically evaluate the bronze doors of the abbey church at Hildesheim. How did they revive a monumental sculptural tradition? What religious and philosophical components went into the iconographic program? What outside influences are also reflected in these doors? pg.330-332
Bishop Bernward of Saint Michael's, Hildesheim, Germany was inspired by the carved wooden doors of Santa Sabina. In 1015, Bernward commissioned a pair of bronze doors to be placed in the covered walk of the monastery (cloister) that led to the entrance of the church. The Ottonian metalworkers strayed from Late Antiquity small-scale icons by casting each bronze door (stands more than 15 feet in high) as a single piece. Each one boosts 16 panels that contain relief figures depicting Old and New Testaments. The left door illustrates Adam's and Eve's sin and punishment (original sin); it concludes with Cain murdering his bother, Able. The right puts emphasis on the holy life of Christ, his miraculous resurrection, and ascension to heaven (redemption). The placement of the doors; symbolizes the evil and corruption outside of the church, while the act of passing through them symbolizes forgiveness and absolution given by the church. The concept of expressive strength or personality given to each figure was influenced by the Carolingian manuscript illumination. Each character suggests movement by their posture and facial expressions. This allows the artist to convey emotions like anger, fear, passion and more. All the events portrayed are highlighted against a flat setting.
Bishop Bernward of Saint Michael's, Hildesheim, Germany was inspired by the carved wooden doors of Santa Sabina. In 1015, Bernward commissioned a pair of bronze doors to be placed in the covered walk of the monastery (cloister) that led to the entrance of the church. The Ottonian metalworkers strayed from Late Antiquity small-scale icons by casting each bronze door (stands more than 15 feet in high) as a single piece. Each one boosts 16 panels that contain relief figures depicting Old and New Testaments. The left door illustrates Adam's and Eve's sin and punishment (original sin); it concludes with Cain murdering his bother, Able. The right puts emphasis on the holy life of Christ, his miraculous resurrection, and ascension to heaven (redemption). The placement of the doors; symbolizes the evil and corruption outside of the church, while the act of passing through them symbolizes forgiveness and absolution given by the church. The concept of expressive strength or personality given to each figure was influenced by the Carolingian manuscript illumination. Each character suggests movement by their posture and facial expressions. This allows the artist to convey emotions like anger, fear, passion and more. All the events portrayed are highlighted against a flat setting.
Consolidation of the eastern part of the Carolingian Empire
Know why the eastern part of the Carolingian Empire was consolidated.
The Carolingian Empire was divided into three parts shortly after Charlemagne's death. In 843 C.E., the Frankish lands were broken into: western, central, and eastern areas. This made the kingdoms weak. The eastern part of the Carolingian Empire was continuously under attack by Vikings and Muslims. In the mid-10th century, the eastern portion was consolidated under new rule: the Saxon-German emperors know as the Ottonians.
The Carolingian Empire was divided into three parts shortly after Charlemagne's death. In 843 C.E., the Frankish lands were broken into: western, central, and eastern areas. This made the kingdoms weak. The eastern part of the Carolingian Empire was continuously under attack by Vikings and Muslims. In the mid-10th century, the eastern portion was consolidated under new rule: the Saxon-German emperors know as the Ottonians.
Iconoclasm and its effects during the Byzantine Era
Essay-Discuss Byzantine Iconoclasm and how it changed art.
Due to iconoclasm, the destruction of images, during the Byzantine era, few Christian icons of the Christ, Virgin, and saints survived. Supporters of this movement believed Christians had confused these images with idol worship. Iconoclasts continued to destroy and ban icons for centuries to come. Artists halted creating portrait style images of holy figures and embarked on a symbolic form style. Symbols like the cross became the subject of Christian art.
Due to iconoclasm, the destruction of images, during the Byzantine era, few Christian icons of the Christ, Virgin, and saints survived. Supporters of this movement believed Christians had confused these images with idol worship. Iconoclasts continued to destroy and ban icons for centuries to come. Artists halted creating portrait style images of holy figures and embarked on a symbolic form style. Symbols like the cross became the subject of Christian art.
Wednesday, November 11, 2015
My take on cylinder seals found around 2600-2400BCE
Cylinder seal made in class.
Purpose: show example of carved cylinder seals made around
2600-2400BCE
It reads: God, Jesus, (the cross)
I choose to carve something that had a profound influence on my life.
The artist that created the seals around 2600-2400BCD also carved important details (trademark of goods...) onto cylinder seals.
Saturday, November 7, 2015
Essay 2
Essay 2: What features did early Christian architects take from Roman builders, and what new techniques did they develop? Discuss specific features from at least 3 buildings.
Early Christian architects used the Roman Basilica which is a large oblong hall or building with double colonnades and semicircular apse as a model. Old St. Peter's (built by Constatine) had a central nave with flanking aisles and a apse at the end to symbolize the Christian cross. Clerestory windows were utilized to provide natural light that accented the candle light. Old St. Peters also had a courtyard and a transept. The builders of Santa Costanza applied a new technique called the central-plan. A central-plan: round dome structures placed adjacent to the main basilica. Santa Costanza has 12 pairs of columns and a vaulted ambulatory (ringlike barrel-vaulted corridor). Most of Santa Sabina survives today with carved wooden doors and the timber-roof that was typical of previous Christian churches. All three churches had plain brick exteriors (different from Roman temples). The interiors consisted of wall paintings (fresco), mosaics, and marble columns.
Early Christian architects used the Roman Basilica which is a large oblong hall or building with double colonnades and semicircular apse as a model. Old St. Peter's (built by Constatine) had a central nave with flanking aisles and a apse at the end to symbolize the Christian cross. Clerestory windows were utilized to provide natural light that accented the candle light. Old St. Peters also had a courtyard and a transept. The builders of Santa Costanza applied a new technique called the central-plan. A central-plan: round dome structures placed adjacent to the main basilica. Santa Costanza has 12 pairs of columns and a vaulted ambulatory (ringlike barrel-vaulted corridor). Most of Santa Sabina survives today with carved wooden doors and the timber-roof that was typical of previous Christian churches. All three churches had plain brick exteriors (different from Roman temples). The interiors consisted of wall paintings (fresco), mosaics, and marble columns.
Thursday, November 5, 2015
Essay 1
Essay 1. Examine the artistic contributions of Constatine to Christianity and the effect that these had.
Art in the Late Antiquity are Roman by design and style but the subject/function is unique. Greco-Roman art depicted athletes, statesmen, war and peace narratives, and more. Christians looked down upon the practice of worshiping statues of Greek/Roman as gods. Therefore, the production of large scale sculptors decreased. The purpose of Christian art is to depict the life of Christ from birth to ascension. Early examples of bible stories can be found painted on the walls of a synagogue (meeting house used by Christians to gather for worship) in tempera. Once Constatine recognized Christianity, Christians were free to build holy churches. Due to the fact, that they did not want to copy pagan temples these churches significantly contrasted to the Greco-Roman temples. It was also essential to build a church that could house a large group within the structure.
Art in the Late Antiquity are Roman by design and style but the subject/function is unique. Greco-Roman art depicted athletes, statesmen, war and peace narratives, and more. Christians looked down upon the practice of worshiping statues of Greek/Roman as gods. Therefore, the production of large scale sculptors decreased. The purpose of Christian art is to depict the life of Christ from birth to ascension. Early examples of bible stories can be found painted on the walls of a synagogue (meeting house used by Christians to gather for worship) in tempera. Once Constatine recognized Christianity, Christians were free to build holy churches. Due to the fact, that they did not want to copy pagan temples these churches significantly contrasted to the Greco-Roman temples. It was also essential to build a church that could house a large group within the structure.
Christ as Sol Invictus
Christ as Sol Invictus mosaic
vault of the Mausoleum of the Julii (tomb M)
Vatican Necropolis
Rome, Italy late 3rd century
Miracle of Loaves & Fishes
Miracle of Loaves & Fishes
Sant'Apollinare Nuovo
Ravenna, Italy 504CE
mosaic
gold; standard background color for medieval
Exterior of Santa Sabina
exterior of Santa Sabina (looking west)
Rome, Italy 422-432CE
plain brick exteriors
Santa Sabina interior
interior of Santa Sabina
Rome, Italy 422-432CE
Christian Basilican churches:
timber-roofed celerestory windows
Old Farmer Codex
Old Farmer of Corycus
folio 7 verso of the Vatican Vergil
400-420CE
tempera on parchment
codex-separate leaves enclosed w/in a cover
bound together "book"
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