ART APPRECIATION (ARTA111)

Coverage: − Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man (1492) Pen and
o Principles of design Ink drawing (13 ½” x 9 ¾”).
o Art in early civilization (prehistoric period) − To understand balance in a two dimensional composition, we must use our
o Greek to Roman art imaginations to carry this three dimensional analogy forward to the flat surface.
o Middle ages to Realism art − Balance in a three dimensional object is easy to understand; if balance isn't
o Naturalism to Futurism art achieved, the object tips over.
Kinds of Balance
PRINCIPLES OF DESIGN 1.Formal balance
− can be described as having equal "weight" on equal sides of a centrally placed
• refer to the visual strategies used by artists, in conjunction with the elements of arts
fulcrum. It may also be referred to as formal balance.
– for expressive purposes (Fichner-Rathus, 2008)
− refers to the exact mirroring of objects across an axis
• draw and hold the viewer’s eye on certain parts of a work
− It is also called symmetrical balance.
• bring visual stability
− the type of balance in which the elements of a work are balanced by similarity of
• add visual interest to a composition
form or arrangement on either side of a dividing line or plane, or to
• convey a sense of orderly progression
correspondence of parts, as in size, shape, or position.
They include:
− When the elements are arranged equally on either side of a central axis, the
1. Harmony
result is Bilateral symmetry. This axis may be horizontal or vertical. It is also
2. Balance
possible to build formal balance by arranging elements equally around a central
3. Emphasis
point, resulting in radial symmetry.
4. Proportion
2. Asymmetrical balance
5. Unity
− It is also called occult balance.
6. Simplicity
7. Clarity − the type of balance in which there are more than slight differences between the
8. Contrast divided areas of a work, yet there is an overall sense of balance.
9. Variety EMPHASIS
− All emphasis is no emphasis
HARMONY − Extension of these first two principles: it is when contrast, placement, size, color,
− visual design means all parts of the visual image relate to and complement each or other features are used to highlight one object, area, or other elements of the
other. artwork.
− Harmony is the use of related elements. − Focal point – an area where the eye tends to center. This is used to draw
− This might be similar colors, shapes, sizes of objects, etc. It’s about repetition and attention – or accentuate a feature.
a relationship between elements. This creates a sense of connection between the − Directional lines - Lines that lead the eye to a focal point.
objects, creating a sense of flow. Ways of create emphasis
− Harmony is one of the most important aspects when it comes to principles of art 1. Emphasis by Isolation
RHYTHM − If most of the elements in a work of art are grouped closely together, an object
− is organized movement, a beat, a repetition. by itself stands out as a focal point.
− is created by repetition, and repetitive patterns convey a sense of movement. − Picasso’s emphasis on the woman’s aloneness draws us to her along the edge
− In the visual arts, the viewer perceives rhythm by grouping elements such as color, of the canvas (Fichner-Rathus,2008).
line and shape. − Ex: “Family of Saltimbanques” (1905) – Pablo Picasso
− Rhythm is often the use of regular, evenly distributed elements – they could occur UNITY
in slow, fast, smooth or jerky intervals, and this tells you something about the − a powerful concept.
feelings invoked. − In art, unity implies harmony. It suggests that the parts of a composition are there
− This can also be thought of as a kind of relationship between patterned objects. by happenstance; rather, they fit together to form a meaningful whole (Fichner-
− Like listening to an upbeat pop song versus a slow ballad, the arrangement of notes Rathus, 2008).
creates a kind of pattern you naturally respond to. The important part is recognizing − Not to be confused with harmony, unity is the overall cohesion of the work.
the relationship between the objects. − You might achieve this through any kind of grouping of objects.
− Rhythmical patterns help the eye to move easily from one part of the room to − Any kind of similarity will help to strengthen the sense of unity you feel when
another or from one part of a design to another (Sanchez, et al., 2009). looking at a series of objects.
Kinds of Rhythm VARIETY
1. Regular Rhythm
− Unity is powerful, but, as the British writer Aphra Behn said, “Variety is the soul of
− Occurs when the intervals between the elements, and often the elements
pleasure.” Without variety, life would comprise a bland sameness, a cookie-cutter
themselves, are similar in size or length.
existence from which we all shrink. Variety in art, as in life, is seductive. It
− The easiest and most precise way to create rhythm. demands our attention, turns the predictable on edge (Fichner-Rathus, 2008).
− Regular repetition was a core property of Minimalist artists, of which Flavin was
− a sense of the difference between elements of an artwork – the opposite of unity,
one.
or harmony.
− Dan Flavin. Untitled (to Jan and Ron Greenberg), installation view at the Dan
− adds a sense of chaos to a work, and this is often used to highlight certain
Flavin Art Institute, Bridgehampton, NY. (1972–73) Fluorescent light (96”x96”).
powerful emotions. Salvador Dali is one of the artists who have experimented with
− Donald Judd’s sculpture in particular was based on the repetition of simple chaos and variety in his paintings, yet achieved a great sense of perfection.
geometric shapes mounted on walls or set on the floor in a steady, evenly spaced
− When unity is used instead, it immediately calms – though this can also lead to
pattern.
being boring!
− Minimalism – An abstract art movement begun in the 1960s that emphasizes
PROPORTION
the use of pure and simple shapes and materials.
2. Alternating Rhythm − refers to the relative size and scale of the various elements in a design.
− which different elements in a work repeat themselves in predictable order. − The issue is the relationship between objects, or parts, of a whole.
3. Progressive Rhythm − This means that it is necessary to discuss proportion in terms of the context or
− Minor variations in rhythm can add interest to a composition. standard used to determine proportions.
− Such variations are seen in progressive rhythm, in which the rhythm of elements − size of objects in relation to each other, or within a larger whole.
of a work of art such as shape, texture, or color change slightly as they move, or − This could be natural (e.g. a nose which fits onto a face the way you would expect
progress toward a defined point in the composition. it), exaggerated (e.g. a nose that is vastly over or undersized), and idealized, in
which parts have the kind of perfect proportion that you just don’t see occurring
BALANCE
naturally.
− the concept of visual equilibrium, and relates to our physical sense of balance. It is
CONTRAST
a reconciliation of opposing forces in a composition that results in visual stability.
− It’s a sense of stability you might feel from elements in alignment. − Contrast is the disparity between the elements that figure into the composition.
One object may be made stronger compared to other objects (hence, emphasis).
− Most successful compositions achieve balance in one of two ways: symmetrically,
This can be done in many ways using the elements of art. For instance,
asymmetrically
specifically, the use of negative and positive space, is an example of contrast.
− refers to the weight of objects and their placement in relation to each other.
Another example is the use complementary colors in a work art.
− In architectural works like the United States Capitol – the house in which the laws
MOVEMENT
of the land are created – repetition and symmetry can imply rationality and
decorum, tying the structure of the building to a certain symbolic ideal. − This indicates the direction your eye takes as you view the work

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 ART APPRECIATION (ARTA111)

− If the emphasis is used, this often means you start with this element first and • Another theory suggests that the images communicate narratives (stories).
travel away from it.
− The movement inherent in the image is important, as it tells you a story through Venus of Willendorf
the use of lines (whether they are literal or implied). − Willendorf, Austria
SCALE − 28,000 – 25,000 BCE
− It might sound similar to proportion, but they differ slightly: scale is about the size − Limestone; 4 ¼ in high
of objects but in relation to what you’d expect them to be in reality. − No eyes, nose, ears, or mouth remain visible. Instead, our attention is drawn to
− If an object occurs in a natural scale, then the object is the size we would expect seven horizontal bands that wrap in concentric circles from the crown of her head.
to find it. − 11.1 cm/ 4-3/8 inches
− Diminutive refers to an object being smaller than expected, and monumental is − This figure is a highly abstracted woman from highlighted body parts associated
when the object is much larger. with fertility.
REPETITION − The representation may show the importance of taking care of these body parts for
− This is the pattern itself. procreation and consequently the survival of species.
− A combination of shapes, colors, or other elements recurring across the Neolithic Architecture: 10,000 BC – 3001 BC
composition. Stonehenge
− Objects might be repeated such that they slowly get smaller, or slowly change − Salisury Plain, Wiltshire, England
color − 2,650 - 1,600 B.C.E.
− Patterns usually evoke feelings of security and calm. − Sarsen and bluestone
− The purpose of this fascinating edifice remains a mystery up to this day age.
− Some regard it as a temple while others see it as complex calendar the tracked
the movements of both the Sun and Moon.
ART IN EARLY CIVILIZATION (PREHISTORIC PERIOD)
− Others ascribe some magical element to it by associating it with Merlin the
Prehistoric
Magician from King Arthurs's story.
The Stone Age has witnessed how humans were able to lead more stable lives
Egyptian art
and eventually come up with permanent shelters and tools for survival. To
− The Egyptian civilization can be divided into three periods: Old, Middle, and New
complement this stability and sense of Permanence, early humans also turned Kingdom.
to the Creation of paintings and sculptures that depict humans, animals, and − Looking at the three periods, it can be noticed that for the Egyptians, art should be
their natural habitats. something religious and spiritual.
− There may have been differences in the techniques used and style emphasized,
− Written language did not yet exist but there are common denominators among the artworks created during their
− Stone artifacts present a special problem since we are interested in the date that respective time periods.
the stone was carved, not the date of the material itself. Narmer Palette
Stone age − It was a palette that utilized and applied dark colors around
− a term used to describe a period of history when stones were used to make tools King Narmer's eyes.
for survival. − The palette was also a symbol that commemorates the
− The term “conjures an image of men and women dressed in skin, huddling unification of Upper and Lower Egypt. The unification was
before a fire in a cave.” significant because it makes the beginning of the
− Stone roughly span the 14,000 – 2,000 BCE civilization.
Three period of Stone Age: − Cosmetic palettes found in Egypt
1. Paleolithic – the late years of the old stone age. − At the back of the palette, King Narmer can be seen
2. Mesolithic - middle stone age wearing the crown of Upper Egypt looking victorious over
3. Neolithic – new stone age a slain enemy. Two more dead warriors can be seen beneath him. To his right is
a falcon, the god Horus perched on papyrus stalks, which is a symbol of Lower
In unearthing of archeological artifacts and remains provides modern society a Egypt.
glimpse of the beliefs, practices, and activities of early civilization. The motives − The top is sculpted with bull-shaped heads with human features that is a
and reasons behind the creation of ancient materials such as sculptures, representation of Hathor. This god symbolizes love and joy. What is very
painting, and architectural structures may not be clearly defined. Nevertheless, prominent is the king’s size in comparison with the objects in the palette. Narmer,
the early people produced such material that reflect their attitudes and belief being the subject, is evidently larger than the people around him. This is a clear
system on spiritual, social, political, and economic matters. indication and assertion of his royal status.
− The front palette, shows lion-like figures with intertwined necks bound on lashes
As the early humans started to transition from being nomads to permanent and tamed by two men. King Narmer is still present at the front side and he is
settlers, their everyday activities also had some changes, which is evident shown reviewing the captured enemies. In this portrait, he is seen wearing the
through the materials and even the works of art they have created. Despite crown of Lower Egypt and holding some objects that denote power.
changes as a result of adapting to their environment, there are central themes − The Narmer Palette is one of the artifacts that emphasizes the king’s supreme
in their artworks. Most ancient artworks depict religious symbols, a and absolute authority. The king is not just an authority figure but can be depicted
and revered as a deity. This common in dimension and proportions and made out
wide array of organisms from nature and activities of everyday life
of hard materials. The choice of materials is deliberate since they want the
sculptures to endure and withstand any condition. Permanence was important
Paleolithic Art
because these sculptures would serve as the house of the ka or soul once the
− A product of climate change.
remains of the mummy disintegrate. sculptures is that regardless of the age of
− As the climate got colder, part of the early humans’ instinct is to look for shelters death, the ka figures highlight the prime life of the deceased.
that would provide them will warmth. Thutmose Nefertiti
− Caves became protective havens for the early humans and these caves paved the − Tell el-Amarna, Egypt
way for the birth of their first attempt to create art.
− 1,353 – 1,335 BCE
Halls of bulls
− Painted limestone
− Found in a cave in Lascaux, France
− 20 in high
− Discovered by four boys in 1940.
− “the beautiful woman has come.”
− Caves are filled with pictographs and petroglyphs of hundreds of animals.
− Queen Nefertiti
− There are almost 600 pictures of animals, mostly horses.
− There is emphasis to life-like features of the face like an
− Other animals painted are stags, bulls, bison and ibex.
elongate jaw and thick-lidded eyes.
− Only one man is painted.
− Most artists created artworks that are natural and
seemingly real, highlighting the features of their subjects.
• Breuil believed that the images played a role in "hunting magic."
− Naturalism was not only used to depict the pharaoh but also was used for
• The theory suggests that the prehistoric people who used the cave may have members of the royal family.
believed that a way to overpower their prey involved creating images of it during
− The bust of Queen Nefertiti has a long and sensuous neck.
rituals designed to ensure a successful hunt.
• This seems plausible when we remember that survival was entirely dependent on
successful foraging and hunting though it is also important to remember how little we
actually know about these people.

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 ART APPRECIATION (ARTA111)

− This figure was enhanced by applying paint to the limestone. − The Egyptians also ensured that the insides of the pyramids would celebrate
King Tutankhamen (TUT) the life of their pharaoh by lavishly decorating the. However, it posed as a
− One of the greatest discoveries from the problem since thieves usually plundered the valuable objects used to
Egyptian civilization was the tomb of decorate the inside of the pyramids.
Tutankhamen Differences of Pyramid and Mastaba:
− He became king at a very young age and 1. A mastaba is an ancient Egyptian tomb which is made of mud bricks or
died at the age of eighteen. stones while a pyramid is also an ancient Egyptian tomb which is made of
− He became king when he was 9 years old; stones or bricks.
he was very weak boy. 2. A mastaba is rectangular in shape while a pyramid is triangular in shape.
− Howard Carter discovered his tomb in 1922. 3. Both were used as tombs for Egypt's elite. While the mastabas were later
They were astonished to find gold artworks used for the common people, the pyramids were exclusively for the
and that the coffin was made out of solid Pharaohs and Egypt's rulers.
gold. 4. Mastabas have flat roofs while pyramids have pointed roofs.
− The body of the young king was covered in 5. Because of the materials used, more pyramids than mastabas survived.
linen and a gold mask covered his face. Summary:
− Carter's patron, Lord Carnarvon, died four months after first entering the tomb, − During the prehistoric period, the early humans had transitioned from a nomadic
leading journalists to popularize a "Curse of the Pharaohs," claiming that lifestyle to that of more permanent one, which led to early civilizations. Some of
hieroglyphs on the tomb walls promised swift death to those who disturbed King the works discovered from this period would give modern society a glimpse of
Tut. More than a dozen deaths have been attributed to the curse, but studies what was life like during that period.
have shown that those who entered the tomb on average lived just as long as − One of the early civilizations where art flourished was the Egyptian civilization.
their peers who didn't enter. Throughout the three kingdoms all the way to the Amarna Revolution, art has
Canopic Jar been directly used particularly in religious and spiritual activities. Through these
− Thebes, Egypy unearthed and discovered artworks, the modern world could have a better
− ca. 1,349-1,336 B.C.E. understanding of the past and how it can affect the present
− alabaster with stone and glass inlay 20 l /2 in. high
− The heart was left inside the body because the Egyptians believed that in the
Additional Information:
afterlife it would be weighed to see whether the person had led a good life.
Prehistoric art
− The Canopic Jars were decorated with the heads of the four sons of Horus.
− It is possible that earlier peoples might have decorated their bodies and clothes
Each canopic jar guarded a different organ.
or marked trees or features in the landscape but, if they did, evidence of their art
Four jars:
has not survived.
− lmsety had a human head and carried and protected the liver.
− Recognizable art dates from at least 38.000BC in Europe, Africa, and Australia.
− Qebehsenuf had a falcon's head and carried and protected the intestines.
− There are controversial claims for rock art of similar age in South America.
− Hapy had the head of a baboon and carried and protected the lungs.
Works of this early period are not simple.
− Duamatef had the head of a jackal and carried and protected the stomach.
− They do not show development in the manner of a child's drawing, that is,
Egyptian Architecture (4000-2280 BC):
gaining competence and accuracy in realistic representation before perhaps
Mastaba
achieving a more mature confidence for abstraction.
− Egyptian art continued unchanged despite influences from Assyria, Persia,
− Oldest known works of art, including paintings, sculptures, and engravings,
Greece and Rome.
seem to show all these qualities at once.
− Egyptian architecture is associated with religion
− In Europe and Africa, early works of art depict animals and humans and include
− Pyramids and temples
symbols. The former may be drawn or sculpted realistically or represented by
− Sphinxes, the mythical monster the clever emphasis of a distinctive characteristic, such as the tusks of the
− Egyptian architecture maintained its traditions mammoth or the horn of a rhinoceros.
− Impressive solemnity and gloom and solidity − Paintings, low relief sculptures, and engravings adorned areas of caves and
− A type of ancient Egyptian tomb in the form of a flat-roofed, rectangular rock shelters where hunter-foragers lived.
structure with outward sloping sides that marked the burial site of many − People began to settle in villages, and territories were defined. Drawings like
eminent Egyptians of Egypt’s ancient period maps and landscapes appeared, along with domesticated animals and more
− Were constructed out of mud-bricks or stone. human figures.
The Great Pyramid of Giza − Changing styles of decorated pottery became the designer labels of successive
generations of prehistoric peoples.
− Of all the known prehistoric works of art, some 70 percent may be attributed to
hunter-foragers, 13 percent to herders and stock raisers, and 17 percent to
people with an organized economy (farmers, livestock breeders, and the like).
− The cave art of all social groups consists of five principal motifs: human figures,
animals, tools and weapons, rudimentary local maps, and symbols or
ideograms. These motifs occur on portable objects (engraved, sculpted or clay
modelled) and immovable surfaces (rock paintings and engravings).
Decorated vase
− During the old Kingdom, one of the architectural wonders was also − Vase decoration is a typically Neolithic art form.
constructed. − seventh to sixth millennium BC
− The pyramids in Giza served as tombs since their main purpose was to o The first, fairly simple buff-colored terracotta vases date from tile Peiligang
provide a resting place for the pharaohs. culture of China.
− These pyramids are massive in size and were constructed using roughly more − Fifth to fourth millennium BC
than two million milestone blocks. o Later findings from the Yang-Shao culture include vases decorated with
− The stones used for the pyramids were quarried from a nearby plateau. fish and other animals and tripodal vessels shaped like owls.
− The construction of the pyramids highlighted the ingenuity and advancement − Third millennium BC
of the Egyptians for their time. o variety of form and ornamentation of pottery was already well developed.
− Workers painstakingly moved the stones from the plateau going to the o Goblets, bowls, and covered dishes had now come into existence.
construction site using wooden rollers. − In the Near and Middle East (sixth millennium DC)
− Stonecutters on the site carved the blocks in a fine way before stacking them. o Simple, rough, burnished or reddish-colored wares were made, the mouths
The stacking process also showed the advancement of the Egyptians since of which formed holes.
they already used a system of ropes and pulleys. They finished it off by o They were decorated with impressed or rolled shells and geometrical and
applying the surface with limestone for a more refined and flawless finish. figurative motifs.
− The construction of the pyramids did not only show the brilliance of the early − In Africa
Egyptians but it also highlighted the reverence of the people to their pharaoh o the oldest known pottery has been found in Egypt at Merimda and then
at the expense of the citizens. A lot of the workers died or punished for not Faiyum (fifth millennium DC), whereas in southern Europe, it dates from
reaching the quota in the process of constructing these massive architectural the seventh millennium BC.
structures. However, they did not stop ensuring the excellent quality of the − Sixth millennium BC
outsides.

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 ART APPRECIATION (ARTA111)

o banded pottery known as Bandkeramic had appeared across Central − In Australia,

Europe from France to the Ukraine. o Murray culture (20,000 - 8,000 BC) and Panaramitee culture (10,000 -
o It was decorated witti incised parallel lines, often infilled with dots or cross- 3,000 BC) produced notable ideographic engravings.
hatching. − In Patagonia (the southernmost region of South America)
European Cave and Rock Art o "Toldense" people covered their caves and shelters with handprints.
− The cave and rock art of the later Old Stone Age or Upper Paleolithic (which − After about 12,000 BC, a new style derived from Africa and depicting
ended in about 10,000 BC) is especially famous and has certain particular numerous humans and smaller animals appears in the Spanish Levant and
characteristics. Italy. This coincides with a phase known in Europe as the Mesolithic, a period
− In these oldersites, large pictures of animals are only rarely associated with sometimes regarded as transitional between Paleolithic hunting and foraging
human figures, whereas in more numerous. and the earliest phases of farming referred to as Neolithic.
− Animal associations vary but compositions including particular pairs of − Scandanavian pictures of this period and the Neolithic include depictions of
animals, such as bison and horses in Europe or elephants and giraffes in boats and skis.
Africa, are known. On both continents mythical beasts including half animal, − In North Africa (12,000-б,000 BC)
half human creatures are occasionally depicted. Portraits of people are rare o sees the introduction of branches, fruit, and leaves into paintings with
and landscapes, plants, fruit, and flowers are unknown. people and animals.
− In Africa, south of the Sahara, and in present-day Tanzania (Kondoa and − South of the Sahara between 5,000 and 1,000 BC
Singida in the Rift Valley) o representations became more naturalistic and identifiable.
o ancient hunters left black and yellow paintings and graffiti in granite caves − As a part of an unbroken artistic tradition, rock art in sub-Saharan Africa
and sandstone galleries. continued into comparatively recent times. The tradition has also persisted in
− Later polychrome works are also found here, including ideograms, paintings, Australia where it still fulfills important social and spiritual functions.
handprints and rare human figures, together with the traditional association of − Prehistoric art, can be seen as the representation of a symbolic system that is
elephants and giraffes. an integral part of the culture that creates it. The symbols often appear
− In North Africa ambiguous, and it is likely that they have also changed in meaning within the
o art is found on rock walls at the root of mountain massifs such as Tibesti same culture that originally produced them.
and Tassili, now surrounded by vast deserts. Handprints
− In Europe − Hands arc frequently encountered in Upper Paleolithic cave art.
o some 200 caves and rock shelters are known to contain art. The majority − Prints were obtained either "in positive", by pressing the hands, smeared with
Occur in France and Spain, and a few in Italy, Portugal. Romania, and red, white, or black, over the wall surface; "in negative", by outlining the hands
Russia. in color; or in "pseudo-positive", by outlining the hands in one color and
− Aurignacian period (36,000 - 30,000 BC) pressing them against the wall, which was painted with a different color.
o The oldest sites are attributed. − They are almost always left hands (the right hand was used for painting) and
o It is notable that paintings and figurines of this phase often depict often female (Ex: at Patagonia), with the fingers sometimes appearing
dangerous animals (lions, bears, hyaenas, and woolly rhinoceroses, mutilated (Laussel and Gargas in France, El Castillo in Spain) or confined to
humans, horses, and other food animals.) the nails at the end of a long arm (Ex: Santian in Spain).
− The colors used were produced from ochre (reds and yellows), manganese − At times, the hands are of children (Ex: at Gargas, Les Combarelles, and Le
dioxide (violet and black) and charcoal (black). These minerals were Postel in France and Altamira in Spain) or of babies (Lascaux in France).
pulverized on stone palettes and mixed with animal fat to moisten them before − Interpretations vary: they may be symbols of possession or marks of rituals
they were applied with the fingers, bone spatulae or brushes. and ceremonies. Handprints dating from the early Neolithic have been found
− Stone engraving tools known as burins were used to engrave and carve at Catal Huyuk in Turkey.
portable works. Abstract symbols
− In the later European periods of the Solutrean-Magdalenian (24,000-12,000 − In all cave art, from the Aurignacian onwards, abstract motifs are found
BC) alongside human and animal figures, and are given equal prominence.
o large low relief sculpture, engravings, clay modelling, and big compositions − Abstraction arose from the need to represent, in a sign, an idea with a meaning
including many animals are characteristic at sites such as Roc-de Sers, unknown to outsiders, and it was achieved either simply or symbolically.
Lascaux, and Niaux in France. − Paleolithic people practised abstraction in the form of repetitive symbols, which
− In Altamira in Spain represented primitive logical constants that were widely shared and diffused.
o cave art, wooden scaffolding must have been used to paint the remarkable Includes schematic figures of animals, signs of vulvas and phalluses,
friezes on high walls and ceilings. handprints, series of dots and notches, which possibly had a numerical
− In the Near and Middle East significance, and the occasional stylized anthropomorphic symbol.
o Paleolithic art made its first appearance prior to 12,000 BC. − These take various forms: pictograms, mythograms, schematic figures or barely
− Archaic hunter-foragers of central Arabia left art in the form of shallow to deep indicated figures of humans and animals, ideograms, abstract repetitive signs -
engravings such as arrows, sticks, tree shapes, discs, crosses and "V" shapes, parallel
− In India lines, series of dots - and psychograms, signs that have no obvious reference to
o some of the rock paintings of the Vindihya Hills may date from about objects or symbols.
14,000 BC. Portable Art
o many of the earliest depictions drawn in yellow have been over-painted − The oldest portable art from Russia and central and western Europe includes
with scenes in red dating from the Bronze Age and white historical carvings of animals such as bears, lions, mammoth, and remarkable human
pictures. The red paint was obtained from plant stems and leaves. figures, including one with a lion's head from Hohlensteinstadel, Germany.
Animal images − Spearthrowers were the most effective hunting devices before the development
− Animals are to be found everywhere in prehistoric art. Being the favorite of the bow, and carved and decorated
subjects of hunters, herdsmen, and breeders. − The period between 30,000 and 20,000 BC is most noted for images of women.
− We can recognize species and breeds that still exist today. These pictures also Generally characterized by large breasts, stomachs, buttocks, and thighs and
furnish us with precious contemporary documents of animals now extinct from exaggerated pudenda, these figures represent women in all of the stages of
the region of the paintings, such as the cave lion, bear, sabre-toothed tiger, their lives: pubescence, pregnancy, childbirth, and the obesity of later life.
mammoth, Ilomoicerus (large-horned buffalo), and giant deer. − Brassempouy "Venus", found in France, although they often show individual
− There are elaborate paintings of animals in the cave "sanctuaries'' of France and touches in their hairstyles and jewellery.
Spain and in open-air shelters all over the world. − "Venuses", as archaeologists have called the more detailed female sculptures,
− In Europe are more common outside France, especially across Russia, and some
o Animals most often depicted (horses, bison, mammoth, reindeer, aurochs, particularly fine examples have also been found in Germany and Italy.
wild boar, fish, eels, birds, and animals valued for food and raw materials − Later portable art is noted for its more naturalistic representations of animals on
such as fur, leather, antlers, and ivory.) items of everyday equipment and personal ornaments.
− In Tassili and Tibesti in Africa Egyptian art
o teeming fauna of rivers and lakes (hippopotami, crocodiles, fish, and birds) − The Fertile Ribbon starts from the banks of the Nile River, which flows north to
o plains (cattle, goats, and sheep), Africa and ventures into the Mediterranean. It is in this very ribbon where early
o savannah (elephants, giraffes, and rhinoceros) is brought to life on rock walls. Egyptians recognized the integral role of the Nile River to their daily lives.
o Among the most prized animal images are those at Altamira, near Santander − Belief that the Nile is to be worshipped as a god.
in nothern Spain. There are life-size images of bison, as well as naturalistic − The Egyptian civilization can be divided into three periods: Old, Middle, and New
portrayals of stags, wild boar, and wild horses. Kingdom.
The Motifs of Rock Art − Egyptian art should be something religious and spiritual.

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 ART APPRECIATION (ARTA111)

Old Kingdom A shared language, religion, and culture

− bound to the afterlife. - Ancient Greece can feel strangely familiar. From the exploits of Achilles (a
− Erection of tombs. they served as a shelter for the next journey, which is the hero in the ancient epic poem by Homer, The Iliad), about the Trojan War
afterlife. and Odysseus (the hero in Homer's The Odyssey), to the treatises of
− They decorated the tombs with everyday objects that would reflect day-to-day Aristotle, from the exacting measurements of the Parthenon (above) to the
activities as if the afterlife is a mere continuation of what transpired on earth. rhythmic chaos of the Laocoön (below), ancient Greek culture has shaped
− The human figures seen in the tombs were represented in such a way that the our world.
profile of the head was evident, while the pelvis, legs, and upper torso were - Thanks largely to notable archaeological sites, well-known literary
prominent and the eyes are in frontal view. sources, and the impact of Hollywood (Clash of the Titans, for example),
− Inside the tombs, the walls were also the use of color was evident but may this civilization is embedded in our collective consciousness—prompting
have not been widely utilized because of its relative impermanence. visions of epic battles, erudite philosophers, gleaming white temples, and
Middle Kingdom limbless.
− One of the key features of the Middle Kingdom is a shift in the political - Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoön and his
hierarchy. Sons, early first century C.E., marble, 7’10-1/2″ high (Vatican Museums)
− There is an emergence of powerful groups of landlords that threatened the are example of this
authority and rule of the pharaoh. - Dispersed around the Mediterranean and divided into self-governing units
− This happened during the rule of King Mentuhotep when Egypt eventually got called poleis or city-states, the ancient Greeks were united by a shared
back on track. language, religion, and culture. Strengthening these bonds further were
the so-called “Panhellenic” sanctuaries and festivals that embraced “all
− Art during the Middle Kingdom had some references from the Old Kingdom,
Greeks” and encouraged interaction, competition, and exchange (for
however, there were some experimentation in terms of style that transpired
example the Olympics, which were held at the Panhellenic sanctuary at
during this period.
Olympia). Although popular modern understanding of the ancient Greek
− Portrait sculptures and fresco paintings that were freely drawn are some of
world is based on the classical art of fifth century B.C.E. Athens, it is
the styles that emerged during this period. To solve the problem of thieves
important to recognize that Greek civilization was vast and did not develop
that plunder the tombs, the Egyptians made rock-cut tombs by carving out a
overnight.
living rock.
− The insides of the tombs were still filled with chamber and the hallways were
1. Geometric period / The Dark Ages (c. 1100 – c. 800 B.C.E.) to the
lavishly decorated to celebrate the life of the deceased.
Orientalizing Period (c. 700 – 600 B.C.E.)
− Egypt was not immune from foreign invaders and eventually felt into the
− is so called because of the predominance of geometric shapes and patterns in
hands of the Hyksos. This Asiatic Tribe introduced Bronze Age weapons and
works of art.
horses to the Egyptians.
− Time when Greece starting to get back from the onslaught of what seemed to
New Kingdom
be their Dark Ages.
− When these foreign invaders were overthrown, the Egyptians formed the New
− A period when geometric shapes and patterns have taken spotlight in most of
Kingdom. It was a time of expansionism through territorial acquisition.
the artworks.
Consequently, with the expansion came an increase in wealth leading not
− Following the collapse of the Mycenaean citadels of the late Bronze Age, the
only to economic but also political stability.
Greek mainland was traditionally thought to enter a “Dark Age” that lasted from
− The art of the New Kingdom had references from both of the preceding
c. 1100 until c. 800 B.C.E. Not only did the complex socio-cultural system of
kingdom. Monuments and sculptures were still linked with death and
the Mycenaeans disappear, but also its numerous achievements (i.e.,
reverence for the deceased.
metalworking, large-scale construction, writing). The discovery and continuous
− During the previous kingdoms, tombs were just used for worshipping the dead
excavation of a site known as Lefkandi, however, drastically alters this
but with the New Kingdom, they started having mortuary temples. These
impression. Located just north of Athens, Lefkandi has yielded an immense
temples, which were carved out of living rocks, served not only a sanctuary
apsidal structure (almost fifty meters long), a massive network of graves, and
for the dead but also a place of worship for the living.
two heroic burials replete with gold objects and valuable horse sacrifices.
− During this period, Egypt has established itself as a more advanced and
− Centaur, c. 900 B.C.E. (Proto-Geometric period), terracotta, 14 inches high,
powerful civilization. With this newly found strength and power comes an
the head was found in tomb 1 and the body was found in tomb 3 in the
inflated ego. Their high regard for their people can be seen through their
cemetery of Toumba, Lefkandi, Greece (detail of head photo: Dan Diffendale
sculptures built on massive and monumental scales.
CC BY-NC-SA 2)
− After the New Kingdom, Egypt witnessed the Amarna Revolution led by King
− Similar in its adoption of narrative elements is a vase-painting likely from
Akhenaton and Queen Nefertiti.
Thebes dating to c. 730 B.C.E. Fully ensconced in the Geometric Period (c.
− During his reign, King Amenhotep wanted to revolutionize the arts and 800-700 B.C.E.), the imagery on the vase reflects other eighth-century
religion. He later on changed his name to Akhenaton, which came from Aton artifacts, such as the Dipylon Amphora, with its geometric patterning and
who is the sun god. This changing of names also signified the shift in religion. silhouetted human forms. Though simplistic, the overall scene on this vase
− During this period, the only god to be revered was Aton. Egypt became seems to record a story.
monotheistic and Akhenaton ordered all to tear down all monuments of other − Late Geometric Attic spouted krater (vessel for mixing water and wine),
gods. He then fervently ordered the creation and erection of new monuments possibly from Thebes, c. 730 B.C.E., 30.5 cm high (The British Museum,
in reverence to Aton. London), photo: Egisto Sani CC BY-NC-SA 2.0
− This figure was enhanced by applying paint to the limestone. − In the Orientalizing Period (700-600 B.C.E.), alongside Near Eastern motifs
− The use of naturalism in artworks was rather short-lived. When King and animal processions, craftsmen produced more nuanced figural forms and
Akhenaton died, his successors returned to the more rigid and conventional intelligible illustrations. For example, terracotta painted plaques from the
styles they employed during the period of the Kingdoms. They also destroyed Temple of Apollo at Thermon (c. 625 B.C.E.) are some of the earliest
images and figures of Aton and subscribed to monotheism. evidences for architectural decoration in Iron Age Greece.
− Fragment showing Perseus with the head of Medusa likely from a metope from
GREEK AND ROMAN ART the Temple of Apollo at Thermon, c. 630 B.C.E., painted terracotta, 87.8 cm
− All the way to the modern times art has been use to communicate ideologist high (National Archaeological Museum, Athens).
and belief systems prevalent within there context Greek and Romans Dipylon Vase
Civilizations where also known as Classical World because both cultures − a large krater used as a grave marker and found in the Dipylon cemetery in
aimed to embody, the highest possible standard of quality in all aspects of their Athens, Greece.
societies. − is an early example of the Geometric style.
Greek Period 2. Archaic Period (c. 600-480/479 B.C.E.)
− They valued: Poetry, Drama, Philosophy − Male – kouros (youth); Female - kore (maiden)
− Man: The center of society and how they trained their minds could be the very − The period placed importance on human figure.
foundation of how they lived their lives. − This was primarily a result of Greece’s trading activities with other civilizations
− Nature: Greeks were notably passionate about natural phenomenon and − There was a growing emphasis on the human figure, which replaced
believed that nature should be in perfect order. Geometric motifs.
− Political Ideals: The framework for the democratic form of government in − As in Egyptian sculptures, the arms lie close to the body, the fists are
modern times. clenched, and one leg advances slightly.
− Art Involved: Painting, Sculpture, Architecture (one is required to have certain − Kouroi were found in cemeteries, where they replaced large vases as grave
skill sets and body of knowledge) markers.
− While Greek artisans continued to develop their individual crafts, storytelling
Greek Art ability, and more realistic portrayals of human figures throughout the Archaic

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 ART APPRECIATION (ARTA111)

Period, the city of Athens witnessed the rise and fall of tyrants and the − figure of Hermes does, the Apoxyomenos seems to spiral around a vertical
introduction of democracy by the statesman Kleisthenes in the years 508 and axis
507 B.C.E. − The followers of Dionysus―god of fertility – started the Greek theater. People
− Visually, the period is known for large-scale marble kouros (male youth) and who were devoted to Dionysus would dance during ceremonies while giving
kore (female youth) sculptures. their offerings to their god. eventually, the Dionysians devised a more
− Left: Anavysos (Kroisos) Kouros, c. 530 B.C.E., marble, 6′ 4″ (National structured form of drama involving dances and choral songs, which depicted
Archaeological Museum, Athens), photo: Steven Zucker Right: Aristion of Greek mythologies. Eventually the Greeks organized theatrical contests where
Paros, Phrasikleia Kore, c. 550 – 540 B.C.E. Parian marble with traces of the performance were held in front of large citizens.
pigment, 211 cm high (National Archaeological Museum, Athens) (photo: Asaf 6. Hellenistic Period and Beyond (323 B.C.E. – 31 B.C.E.)
Braverman, CC BY-NC-SA 2.0). − Following the death of Alexander the Great in 323 B.C.E. (one of the most
Kore by Aristion (550 – 540 BC) successful conquerors in history—his empire stretched from Greece and Egypt
Contrapposto to the Indus valley and Afghanistan)., the Greeks and their influence stretched
− It is an Italian term that means "counterpoise". as far east as modern India.
− It is used in the visual arts to describe a human figure standing with most of its − While some pieces intentionally mimicked the Classical style of the previous
weight on one foot, so that its shoulders and arms twist off-axis from the hips period such as Eutychides’ Tyche of Antioche (Louvre), other artists were more
and legs in the axial plane. interested in capturing motion and emotion.
3. The Classical Period (480/479-323 B.C.E.) − Athena defeats Alkyoneus (detail), The Pergamon Altar, c. 200-150 B.C.E.
− Though experimentation in realistic movement began before the end of the (Hellenistic Period), 35.64 x 33.4 meters, marble (Pergamon Museum, Berlin)
Archaic Period, it was not until the Classical Period that two- and three- − Architecturally, the scale of structures vastly increased, as can be seen with
dimensional forms achieved proportions and postures that were naturalistic. the Temple of Apollo at Didyma, and some complexes even terraced their
− The “Early Classical Period” (480/479 – 450 B.C.E.) was a period of transition surrounding landscape in order to create spectacular vistas as can be seem at
when some sculptural work displayed archaizing holdovers alongside the so- the Sanctuary of Asklepios on Kos.
called “Severe Style.” As can be seen in the Kritios Boy, c. 480 B.C.E., the − Upon the defeat of Cleopatra at the Battle of Actium in 31 B.C.E., the
“Severe Style” features realistic anatomy, serious expressions, pouty lips, and Ptolemaic dynasty that ruled Egypt and, simultaneously, the Hellenistic Period
thick eyelids. For painters, the development of perspective and multiple ground came to a close.
lines enriched compositions, as can be seen on the Niobid Painter’s vase in − With the Roman admiration of and predilection for Greek art and culture,
the Louvre. however, Classical aesthetics and teachings continued to endure from
− Niobid Painter, Niobid Krater, Attic red-figure calyx-krater, c. 460-50 B.C.E., 54 antiquity to the modern era
x 56 cm (Musée du Louvre, Paris) − Roman civilization came from this age
− During the “High Classical Period” (450-400 B.C.E.), there was great artistic − under the reign of Alexander the Great.
success: from the innovative structures on the Acropolis to Polykleitos’ visual − Hellenistic art is characterized by excessive, almost theatrical emotion and the
and cerebral manifestation of idealization in his sculpture of a young man use of illusionistic effects to heighten realism.
holding a spear, the Doryphoros or “Canon” (image below). − Hellenistic artists were often drawn to dramatic subjects.
− Concurrently, however, Athens, Sparta, and their mutual allies were embroiled − The Dying Gaul illustrates the Hellenistic artist's preoccupation with high drama
in the Peloponnesian War, a bitter conflict that lasted for several decades and and unleashed passion.
ended in 404 B.C.E. Despite continued military activity throughout the “Late − He has lost his battle and is now about to lose his life.
Classical Period” (400-323 B.C.E.), artistic production and development − Art was primarily focused on showcasing emotions and depicting reality
continued apace. Nike Samothrace
− In addition to a new figural aesthetic in the fourth century known for its longer − From Samothrace, Greece
torsos and limbs, and smaller heads (for example, the Apoxyomenos), the first − Ca. 190 BCE
female nude was produced. Known as the Aphrodite of Knidos, c. 350 B.C.E.
− Marble, 97 in high
− Polykleitos, Doryphoros (Spear-Bearer) or The Canon, c. 450-40 B.C.E., Sleeping Satyr (Barberini Faun)
ancient Roman marble copy found in Pompeii of the lost bronze original, 211
− Ca 230 – 200BCE
cm (Museo Archeologico Nazionale di Napoli)
− Marble, 85 in high
4. Early Classical (480/479 – 450 B.C.E.)
Laocoon and his sons
− The change from the Archaic to the Classical period coincided with the Greek
− C. 175 – 150 BC
victory over the Persians at Salamis in 480 BCE.
− Vatican Museum
− The peak of Greek sculpture and architecture
− Laocoon, a Trojan priest, and his sons being strangled by serpents. Their
− The time when the Greeks found themselves rebuilding their temples and
position was a result of locoon’s because he felt that the wooden horse offered
focusing creating artworks
by the Greeks as a gift to Athena was a trick.
− The Greek mood was elevated after this feat, and a new sense of unity among
− Poseidon, the Greek God of the sea was enlarged by such action which led
the city-states prevailed, propelling the country into its "Golden Age."
him to send serpents to strangle Laocoon and his sons.
− The most significant development in Early Classical art was the introduction of
implied movement in figurative sculpture. Greek Architecture (1100 – 100 BC)
− Diskobolos or Discus Thrower, by Myron. The life-size statue depicts an − characterized by low building of post-and-lintel construction.
event from the Olympic Games - the discus throw. − Two upright pieces or posts are surmounted by a horizontal piece - the lintel,
− Olympic games start at the Greeks because they love sports. long enough to reach from one to the other.
− Motto: “Mens sana in corpore sano” – a healthy mind in a healthy body. Examples:
Doryphoros or Spear Bearer Lintel of Temple
− Polykleitos's most famous sculpture − Prinias, Greece
− The artist has "idealized" the athletic figure-that is, made it more perfect and − ca. 625 BCE
more beautiful by imposing on it a set of laws relating part to part − limestone, approximately 2ft. 9 in high
− (for example, the entire body is equal in height to eight heads) Three columns types of Greek Architecture:
5. Late Classical Period
− brought a more humanistic and naturalistic style, with emphasis on the
expression of emotion.
− The Hermes and Dionysus of Praxiteles interestingly, is the only undisputed
original work we have by the Greek masters of the Classical era.
− Hermes' facial expression as he teases the child is one of pride and
amusement.
− Dionysus exhibits typical infant behavior-he is all hands and reaching
impatiently for something to eat.
− All of the sculptures that we have seen so far have had a two-dimensional
perspective. That is, the whole of the work can be viewed from a single point of
view, standing in front of the sculpture.
− This is not the case in works such as the Apoxyomenos by Lysippos.
1. Doric Order
− This stance forces the viewer to walk around the sculpture to appreciate its
− Has no base; classical period
details. Rather than adhere to a single plane, as even the S-curve
− The bottom of the column rests on the top step
− It can be identified by the cushion-like shape of part of its capital

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 ART APPRECIATION (ARTA111)

− The frieze is divided into triglyphs and metopes Perseus and Medusa
Example: − Just like the Greeks, the romans valued their gods and this was evident with
Parthenon their sculptures and artworks
− A temple; top of the hill that located in the acropolis, Athens. Cultural Inferiority Complex
− The subsequent history of the Parthenon is interesting and shocking. − Roman architecture and engineering was never less than bold, but its painting
− It was used as a Byzantine church, a Roman Catholic church, and a mosque. and sculpture was based on Greek traditions and also on art forms developed
− The Parthenon survived more or less intact, although altered by these in its vassal states like Egypt and Ancient Persia.
successive functions, until the seventeenth century, when the Turks used it as − To put it another way, despite their spectacular military triumphs, the Romans
an ammunition dump in their war against the Venetians. had an inferiority complex in the face of Greek artistic achievement. Their ultra-
− Venetian rockets hit the bull's-eye, and the center portion of the temple was pragmatic response was to recycle Greek sculpture at every opportunity.
blown out in the explosion − Greek poses, reworked with Roman clothes and accessories, were pressed
− The Goddess of wisdom: Athena Parthenos (438 BCE; 38 ft. tall) into service to reinforce Roman power. Heroic Greek statues were even
2. Ionic Order supplied headless, to enable the buyer to fit his own portrait head.
− Taller and slenderer than the Doric; classical period − An example is the equestrian bronze statue of Emperor Marcus Aurelius (c.175
− It has a base, and the capital is ornamented with scrolls on each side CE), whose stance is reworked from the Greek statue "Doryphorus" (440
− The frieze is continuous instead of being divided BCE).
− Below the frieze is stepped which is divided into three parts. − The reason for Rome's cultural inferiority complex remains unclear. Some
Example: Classical scholars have pointed to the pragmatic Roman temperament; others,
− Temple of Athena Nike (427 BCE) to the overriding Roman need for territorial security against the waves of
− Erechtheion (421 – 405 BCE) marauding tribes from eastern and central Europe and the consequent low
3. Corinthian Order priority accorded to art and culture.
− Base and shaft resemble the Ionic; Hellenistic period − To which we might add that - judging by the narrowness of Celtic art (c.500
BCE - 100 CE) - Roman artists weren't doing too badly. Moreover, we should
− Tend to become slender
note that cities in Ancient Rome were less provincial and far more powerful
− The capital is much deeper than the Ionic; acanthus leaves
than Greek city-states, so that its art invariably played a more functional role -
− Have the same entablature like the Ionic
not least because Roman culture was actually a melange of different beliefs
− Leafy but not as popular and customs, all of which had to be accomodated.since most Romans
− named after the city of Corinth, where sculptor Callimachus supposedly recognized the intrinsic value of Greek artistry, buyers wanted Greek-style
invented it by at the end of the 5th century B.C. after he spotted a goblet works.
surrounded by leaves. Realist Propaganda
− similar to the Ionic order in its base, column, and entablature, but its capital is − Like the Romans themselves, early Roman art (c.510 BCE to 27 BCE) tended
far more ornate, carved with two tiers of curly acanthus leaves. to be realistic and direct.
− The oldest known Corinthian column stands inside the 5th-century temple of − Portraits, both two-dimensional and three-dimensional, were typically detailed
Apollo Epicurius at Bassae. and unidealized, although later during the age of Hellenistic-Roman art (c.27
Example: BCE - 200 CE), the Romans became aware of the propaganda value of busts
− The Temple of Zeus and Athens (2nd c BC) and statuary, and sought to convey political messages through poses and
− National museum accessories.
− Supreme Court − The same PR value was accorded to relief sculpture and to history painting.
− Department of Tourism − This realistic down-to-earth Roman style is in vivid contrast to Hellenistic art
which illustrated military achievements with mythological imagery.
Roman Period − Paradoxically, one reason for the ultimate fall of Rome was because it became
− Fusion Greek and Roman cultures can be seen in most Roman artworks too attached to the propagandist value of its art, and squandered huge
− Master Builders – Colosseum resources on grandiose building projects purely to impress the people.
− Emperor Vespasian - Amphitheater was planned and constructed during his Construction of the Baths of Diocletian (298-306), for instance, monopolised
reign the entire brick industry of Rome, for several years.
− Platus and Terence - Writers of comedy have patterned their works to those
of Greek works Roman Architecture (Arch)
− 500 BCE - The Roman Republic was established (Western Europe’s mightiest − Rome’s greatest contribution lay in architecture, although the most significant
empire) buildings, monuments and civic structures were constructed during the Empire
Roman Art period.
− Look Stem, harsh, and strong − Adopted the columnar and trabeated style of the Greeks
− Invoke the principles of realism − Developed the arch and vault made by the Etruscans
− Highlighting the features of human being − Combined the use of column, beam and arch
− It was fashionable for Romans to own-or at the very least, have copies of- − They also built the flat round dome that covers an entire building, the Pantheon
Greek works of art. − Rome's greatest contribution to the history of art is undoubtedly to be found in
− This tendency gave the Romans a reputation as mere imitators of Greek art, a the field of architectural design.
simplistic view laid waste by scholars of Roman art history. − Roman architecture during the age of the Republic (knowledge of which
− It was believed that art should be created in the service of the state derives largely from the 1st-century Roman architect Vitruvius) discovered the
− Although Rome was founded as far back as 750 BCE, it led a precarious round temple and the curved arch but, after the turn of the Millennium, Roman
existence for several centuries. architects and engineers developed techniques for urban building on a
− Initially, it was ruled by Etruscan kings who commissioned a variety of massive scale.
Etruscan art (murals, sculptures and metalwork) for their tombs as well as their − The erection of monumental structures like the Pantheon and the Colosseum,
palaces, and to celebrate their military victories. would have been impossible without Rome's development of the arch and the
− After the founding of the Roman Republic in 500 BCE, Etruscan influence dome, as well as its mastery of strong and low-cost materials like concrete and
waned and, from 300 BCE, as the Romans started coming into contact with the bricks.
flourishing Greek cities of southern Italy and the eastern Mediterranean, they − The Romans didn't invent the arch - it was known but not much used in Greek
fell under the influence of Greek art - a process known as Hellenization. Soon architecture - but they were the first to master the use of multiple arches, or
many Greek works of art were being taken to Rome as booty, and many Greek vaults. From this, they invented the Roman groin vault - two barrel vaults set at
artists followed to pursue their careers under Roman patronage. right-angles - which represented a revolutionary improvement on the old Greek
− However, the arts were still not a priority for Roman leaders who were more post-and-lintel method, as it enabled architects to support far heavier loads
concerned about survival and military affairs. It wasn't until about 200 BCE and to span much wider openings.
after it won the first Punic War against Hannibal and the Carthaginians, that − The Romans also made frequent use of the semicircular arch, typically without
Rome felt secure enough to develop its culture. Even then, the absence of an resorting to mortar: relying instead on the precision of their stonework.
independent cultural tradition of its own meant that most ancient art of Rome − Arches and vaults played a critical role in the erection of buildings like the
imitated Greek works. Baths of Diocletian and the Baths of Caracalla, the Basilica of Maxentius and
− Rome was unique among the powers of the ancient world in developing only a the Colosseum. The arch was also an essential component in the building of
limited artistic language of its own. bridges, exemplified by the Pont du Gard and the bridge at Merida, and
aqueducts, exemplified by the one at Segovia, and also the Aqua Claudia and
Anio Novus in Rome itself.

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− A further architectural development was the dome (vaulted ceiling), which − Combines the simple geometric elements of a circle and a rectangle.
made possible the construction and roofing of large open areas inside − The entrance consists of a rectangular portico, complete with Corinthian
buildings, like Hadrian's Pantheon, the Basilica of Constantine, as well as columns and pediment.
numerous other temples and basilicas, since far fewer columns were needed − The main body of the building, to which the portico is attached is circular.
to support the weight of the domed roof. The use of domes went hand in hand − Built by Marcus Agrippa as a temple dedicated to the seven gods of Ancient
with the extensive use of concrete - a combination sometimes referred to as Rome, and rebuilt by Hadrian in 126 CE, the Pantheon is a daring early
the "Roman Architectural Revolution". But flagship buildings with domes were instance of concrete construction. The interior space is based on a perfect
far from being the only architectural masterpieces built by Ancient Rome. Just sphere, and its coffered ceiling remains the largest non-reinforced concrete
as important was the five-storey apartment building known as an insula, which dome in the world. In the middle of its dome an oculus lets in a beam of light.
accomodated thousands of citizens. Oculus
− It was during the age of Emperor Trajan (98-117 CE) and Emperor Hadrian − The sole source of light in the Pantheon
(117-138 CE) that Rome reached the zenith of its architectural glory, attained − a circular opening in the top of the dome, 30 feet in diameter.
through numerous building programs of monuments, baths, aqueducts, − The interior was lavishly decorated with marble slabs and granite columns that
palaces, temples and mausoleums. glistened in the spotlight of the sun as it filtered through the opening, moving
− Many of the buildings from this era and later, served as models for architects of its focus at different times of the day.
the Italian Renaissance, such as Filippo Brunelleschi (1377-1446) designer of Sculpture: Types and Characteristics
the iconic dome of the cathedral in Florence, and both Donato Bramante − Roman sculpture may be divided into four main categories: historical reliefs;
(1444-1514) and Michelangelo (1475-1564), designers of St Peter's Basilica. portrait busts and statues, including equestrian statues; funerary reliefs,
The time of Constantine (306-337 CE) witnessed the last great building sarcophagi or tomb sculpture; and copies of ancient Greek works.
programs in the city of Rome, including the completion of the Baths of − Like architecture, a good deal of Roman sculpture was created to serve a
Diocletian and the erection of the Basilica of Maxentius and the Arch of purpose: namely, to impress the public - be they Roman citizens or 'barbarians'
Constantine. - and communicate the power and majesty of Rome.
Famous Roman Buildings − In its important works, at least, there was a constant expression of
Circus Maximus (6th century BCE - 4th century CE) seriousness, with none of the Greek conceptualism or introspection.
− Dating back to Etruscan times, and located in the valley between the Aventine − As Rome grew more confident from the reign of Augustus (31 BCE - 14 CE),
and Palatine hills, this was the main Roman chariot racing venue in Rome, its leaders might appear in more magnanimous poses, but gravitas and an
underlying sense of Roman greatness was never far from the surface.
Italy. Measuring roughly 2,000 feet in length (610 metres) and 400 feet in width
− Another important characteristic of Rome's plastic art was its realism. The
(120 metres), it was rebuilt in the age of Julius Caesar to seat an estimated
highly detailed reliefs on Trajan's Column and the Column of Marcus Aurelius,
150,000 spectators, and again during the reign of Constantine to seat about for instance, are perfect illustrations of this focus on accurate representation,
250,000. It is now a park. and have been important sources of information for scholars on many aspects
The Arch of Titus (c.81 CE) of the Roman Legion, its equipment and battle tactics.
− The oldest surviving Roman triumphal arch, it was built after the young − Nonetheless, as we have seen, Roman sculptors borrowed heavily from the
Emperor's death to celebrate his suppression of the Jewish uprising in Judea, sculpture of Ancient Greece, and - aside frsaom the sheer numbers of portrait
in 70 CE. Standing on the Via Sacra, south-east of the Roman Forum, the Arch busts, and the quality of its historical reliefs - Roman sculpture was dominated
of Titus was the model for Napoleon's Arc de Triomphe in Paris (1806-36). by High Classical Greek sculpture as well as by Hellenistic Greek sculpture.
Baths of Trajan (104-9 CE) What's more, with the expansion of Rome's empire and the huge rise in
− A huge bathing and leisure complex on the south side of the Oppian Hill, demand for statuary, sculptors churned out endless copies of Greek statues.\
designed by Apollodorus of Damascus, it continued to be used up until the Historical Reliefs
early fifth century, or possibly later, until the destruction of the Roman − Rome didn't invent relief sculpture - Stone Age man did. Nor was there any
aqueducts compelled its abandonment. particular genius in the skill of its carvers and stone masons: both the reliefs of
the Parthenon (447-422 BCE) and the frieze of the Pergamon Altar of Zeus
Baths of Caracalla (212-16 CE)
(c.166-154 BCE) outshone anything created in Italy.
− Capable of holding up to 16,000 people, the building was roofed by a series of − What Rome did was to inject the genre with a new set of aesthetics, a new
groin vaults and included shops, two gymnasiums (palaestras) and two public purpose: namely, to make history. After all, if an event or campaign is "carved
libraries. The baths proper consisted of a central 185 x 80 feet cold room in stone", it must be true, right? The Greeks adopted the more "cultured"
(frigidarium) a room of medium temperature (tepidarium) with two pools, and a approach of recording their history more obliquely, using scenes from
115-foot diameter hot room (caldarium), as well as two palaestras. The entire mythology.
structure was built on a 20-foot high base containing storage areas and − The Romans were far more down to earth: they sculpted their history as it
furnaces. The baths were supplied with water from the Marcian Aqueduct. happened, warts and all.
Baths of Diocletian (298-306) Trajan's Column (106-113 CE)
− These baths (thermae) were probably the most grandiose of all Rome's public − The greatest relief sculpture of Ancient Rome, Trajan's Column is a 125-foot
baths. Standing on high ground on the northeast part of the Viminal, the Doric-style monument, designed by the architect Apollodorus of Damascus.
smallest of the Seven hills of Rome, the baths occupied an area well in excess − It has a spiral frieze that winds 23 times around its shaft, commemorating the
of 1 million square feet and was supposedly capable of holding up to 3,000 Dacian triumphs of Emperor Trajan (98-117 CE).
people at one time. The complex used water supplied by the Aqua Marcia and − Sculpted in the cool, balanced style of the 2nd century, its composition and
extraordinarily meticulous detail makes it one of the finest reliefs in the history
Aqua Antoniniana aqueducts.
of sculpture.
Basilica of Maxentius (308-12 CE)
− A full-size cast of Trajan's Column is on show at the Victoria and Albert
− The largest building in the Roman Forum, it featured a full complement of Museum, London, and the National History Museum of Romania, Bucharest.
arches and barrel vaults and a folded roof. It had a central nave overlooked by Marcus Aurelius' Column (c.180-193 CE)
three groin vaults suspended 120 feet above the floor on four piers. There was − Second only to Trajan's monument, this 100-foot Doric column in the Piazza
a massive open space in the central nave, but unlike other basilicas it didn't Colonna also features a winding ribbon of marble sculpture carved in low relief,
need the usual complement of columns to support the ceiling, because the which illustrates the story of the Emperor's Danubian or Marcomannic wars,
entire building was supported on arches. Moreover, its folded roof reduced the waged by him during the period 166-180 CE.
total weight of the structure thus minimizing the horizontal force on the outer − It includes the controversial "rain miracle", in which a colossal thunderstorm
arches. saves the Roman army from death at the hands of the barbarian Quadi tribes.
Colosseum (72-80 CE) − The sculptural style of the column differs significantly from that of Trajan's
− Built in the center of Rome by Vespasian to appease the masses, this elliptical Column, as it introduces the more expressive style of the 3rd century, seen
amphitheatre was named after a colossal statue of Nero that stood nearby. also in the triumphal arch of Septimius Severus (199-203 CE) by the foot of the
− Built to seat some 50,000 spectators, its intricate design, along with its model Capitoline Hill.
system of tiered seating and spacious passageways, makes it one of the − The heads of the Marcus Aurelius figures are larger than normal, to show off
their facial expressions. A higher relief is used, permitting greater contrast
greatest works of Roman architecture.
between light and shadow.
− The Colosseum was one of the key sights on the Grand Tour of the 18th − Overall, much more dramatic - a style which clearly reflected the uncertain
century. state of the Roman Empire.
− was built for entertainment and festivals, its most notorious events ranged from − Other famous relief works of stone sculpture carved by Roman artists include:
sadistic contests between animals and men and grueling battles to the death the processional marble frieze on the Ara Pacis Augustae (13-9 BCE) in the
between pairs of gladiators. Campus Martius, and the architectural relief sculpture on the Arch of Titus
− If one combatant emerged alive but badly wounded, survival might depend on (c.85-90 CE) and the Arch of Constantine (312-15 CE).
whether the emperor (or the crowd) gave the 'thumbs-up" or the "thumbs-
down."
Pantheon (c.125 CE)
− Pan – many; Theo -God

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 ART APPRECIATION (ARTA111)

Portrait Busts and Statues produced in their thousands for display in offices and public buildings
− These works of marble and (occasionally) bronze sculpture were another throughout the empire. Unfortunately, almost all painted panels have been lost.
important Roman contribution to the art of Antiquity. − The best surviving example from the art of Classical Antiquity is probably the
− Effigies of Roman leaders had been displayed in public places for centuries, "Severan Tondo" (c.200 CE, Antikensammlung Berlin), a portrait of Roman
but with the onset of Empire in the late 1st-century BCE, marble portrait busts Emperor Septimus Severus with his family, painted in tempera on a circular
and statues of the Emperor - which were copied en masse and sent to all parts wood panel. The best example from the Roman Empire is the astonishing
of the Roman world - served an important function in reminding people of series of Fayum Mummy portraits painted in Egypt during the period 50 BCE to
Rome's reach. 250 CE.
− They also served an important unifying force. Roman administrators had them Triumphal Paintings
placed or erected in squares or public buildings throughout the empire, and − Roman artists were also frequently commissioned to produce pictures
affluent citizens bought them for their reception rooms and gardens to highlighting military successes - a form known as Triumphal Painting.
demonstrate loyalty. − This type of history painting - usually executed as a mural painting in fresco -
− The traditional head-and-shoulders bust was probably borrowed from Etruscan would depict the battle or campaign in meticulous detail, and might incorporate
art, since Greek busts were usually made without shoulders. mixed-media adornments and map designs to inform and impress the public.
− Roman statues and portrait busts are in many of the best art museums around − Since they were quick to produce, many of these triumphal works would have
the world, notably the Louvre (Paris), the Vatican Museums (Rome), the British influenced the composition of historical reliefs like the Column of Marcus
Museum (London), the Metropolitan Museum of Art (New York) the Getty Aurelius.
Museum (Los Angeles). Murals
Famous Portraits of Roman Emperors − Roman murals - executed either "al fresco" with paint being applied to wet
Famous busts and statues of Roman leaders include: plaster, or "al secco" using paint on dry walls - are usually classified into four
− Statue of Augustus (Ruled 27-14 CE) (Livia's Villa, Prima Porta) periods, as set out by the German archaeologist August Mau following his
− Statue of Tiberius in Old Age (14-37) (Capitoline Museum) excavations at Pompeii.
− Bust of Caligula (37-41) (Louvre) The First Style (c.200-80 BCE)
− Statue of Claudius as the God Jupiter (41-54) (Vatican Museum) − Also known as incrustation or masonry style, it derived from Hellenistic palaces
− Head of Nero (54-68) (British Museum) in the Middle East. Useing vivid colours it simulates the appearance of marble.
− Bust of Galba (68-69) (Capitoline Museum) The Second Style (c.80 BCE - 100 CE)
− Statue of Titus (79-81) (Vatican Museum) − This aimed to create the illusion of extra space by painting pictures with
− Bust of Trajan (98-117) (British Museum) significant depth, such as views overlooking a garden or other landscape. In
− Bronze Statue of Hadrian (117-138) (Israel Museum) time, the style developed to cover the entire wall, creating the impression that
one was looking out of a room onto a real scene.
− Bronze Equestrian Statue of Marcus Aurelius (180) (Piazza del Campidoglio)
The Third Style (c.100-200)
− Statue of Commodus as Hercules (180-192) (Capitoline Museum)
− This was more ornamental with less illusion of depth. The wall was divided into
− Bust of Gordian II (238) (Capitoline Museum)
precise zones, using pictures of columns or foliage. Scenes painted in the
− Bust of Pupienus (238) (Capitoline Museum) zones were typically either exotic representations of real or imaginery animals,
− Bust of Balbinus (238) (Capitoline Museum) or merely monochromatic linear drawings.
− Bust of Maxentius (306-312) (Museo Torlonia) The Fourth Style (c.200-400)
− Colossal Head of Constantine (307-337) (Basilica Nova) − This was a mixture of the previous two styles. Depth returned to the mural but
Religious and Funerary Sculpture it was executed more decoratively, with greater use of ornamentation. For
− Religious art was also a popular if less unique form of Roman sculpture. example, the artist might paint several windows which, instead of looking out
− An important feature of a Roman temple was the statue of the deity to whom it onto a landscape or cityscape, showed scenes from Greek myths or other
was dedicated. fantasy scenes, including still lifes.
− Such statues were also erected in public parks and private gardens. Small Art Styles from the Roman Empire
devotional statuettes of varying quality were also popular for personal and − The Roman Empire incorporated a host of different nationalities, religious
family shrines. These smaller works, when commissioned for the wealthier groups and associated styles of art. Chief among them, in addition to earlier
upper classes, might involve ivory carving and chyselephantine works, wood- Etruscan art of the Italian mainland, were forms of Celtic culture - namely the
carving, and terracotta sculpture, sometimes glazed for colour. Iron Age La Tene style (c.450-50 BCE) - which was accommodated within the
− As Rome turned from cremation to burial at the end of the 1st century CE, Empire in an idiom known as Roman-Celtic art, and the hieratic style of
stone coffins, known as sarcophagi, were much in demand: the three most Egyptian art, which was absorbed into the Hellenistic-Roman idiom.
common types being Metropolitan Roman (made in Rome), Attic-style (made Late Roman Art (c.350-500)
in Athens) and Asiatic (made in Dokimeion, Phrygia). All were carved and − During the Christian epoch, the division of the Roman Empire into a weak
usually decorated with sculpture - in this case reliefs. The most expensive Western Roman Empire (based in Ravenna and Rome) and a strong Eastern
sarcophagi were carved from marble, though other stone was also used, as Roman Empire (based in Constantinople), led to changes in Late Roman art.
was wood and even lead. − While wall painting, mosaic art, and funerary sculpture thrived, life-size statues
− In addition to a range of different depictions of the deceased - such as and panel painting dwindled. In Constantinople, Roman art absorbed Eastern
Etruscan-style full-length sculptural portraits of the person reclining on a sofa - influences to produce the Byzantine art of the late empire, and well before
popular motifs used by sculptors included episodes from Roman (or Greek) Rome was overrun by Visigoths under Alaric (410) and sacked by Vandals
mythology, as well as genre and hunting scenes, and garlands of fruit and under Gaiseric, Roman artists, master-craftsmen and artisans moved to the
leaves. Eastern capital to continue their trade.
− Towards the end of the Roman Empire, sarcophagi became an important − The Church of Hagia Sophia in Constantinople, for instance, one of the most
medium for Christian-Roman Art (313 onwards). famous examples of Roman dome architecture, provided employment for
Copies of Ancient Greek Sculpture some 10,000 of these specialists and other workmen. Commissioned by
− Although the wholesale replication of Greek statues indicated a hesitancy and Emperor Justinian (527-565), the Hagia Sophia, together with the shimmering
lack of creativity on the part of Roman artists, the history of art could not be mosaics of Ravenna, represented the final gasp of Roman art.
more grateful to them, for their efforts.
− Indeed, it is fair to say that one of the greatest contributions of Rome to the MIDDLE AGES ART TO REALISM ART
history of art, lies in its replication of original Greek statues, 99 percent of
which have disappeared. Without Roman copies of the originals, Greek art MIDDLE AGES
would never have received the appreciation it deserves, and Renaissance art − As the term denotes, it is the period between the decline of the Roman Empire
(and thus Western Art in general) might have taken a very different course. and the Renaissance.
Painting − Characteristic of the period was that the church was the central figure and
− The greatest innovation of Roman painters was the development of landscape
authority of the period
painting, a genre in which the Greeks showed little interest.
− Since the Church was the most important figure, the most important products of
− Also noteworthy was their development of a very crude form of linear
perspective. In their effort to satisfy the huge demand for paintings throughout the early Middle Ages would have to be copied of the Christian scriptures.
the empire, from officials, senior army officers, householders and the general − The printing press came later after the Middle Ages, so copies of the scriptures
public, Roman artists produced panel paintings (in encaustic and tempera), were done by hand.
large and small-scale murals (in fresco), and mastered all the painting genres, − During this time, great cathedrals were also built. Categorized into two periods:
including their own brand of "triumphal" history painting. romanesque (1050-1200), gothic (1200-1500)
− Most surviving Roman paintings are from Pompeii and Herculanum, as the − Art during the Middle Ages was different based on the location in Europe as well
erruption of Vesuvius in 79 helped to preserve them. Most of them are as the period of time.
decorative murals, featuring seascapes and landscapes, and were painted by − Middle Age art can be divided up into three main periods and styles: Byzantine
skilled 'interior decorators' rather than virtuoso artists - a clue to the function of Art, Romanesque Art, and Gothic Art.
art in Roman society.
− Much of the art in Europe during the Middle Ages was religious art with Catholic
Panel Paintings
− In Rome, as in Greece, the highest form of painting was panel painting. subjects and themes.
Executed using the encaustic or tempera methods, panel paintings were mass-

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− The different types of art included painting, sculpture, metal work, engraving, − Late 13th and Early 14th century
stained glass windows, and manuscripts. − Following the Middle Ages, the Renaissance was a vigorous period of European
− The end of the Middle Ages is often signaled by a great change in art with the cultural, artistic, political, and economic "rebirth."
start of the Renaissance Period. − The Renaissance, often defined as lasting from the 14th to the 17th centuries,
− Example: Mosaic of Jesus Christ in Istanbul, Turkey; Crusader Bible, 1240 A.D. promoted the rediscovery of classical philosophy, literature, and art.
− The influence of humanism shifted the focus of some artworks during the
Byzantine Art Renaissance Period to empower the "individual."
− Characterized by its lack of realism − Most artwork emphasized NATURALISM, which was also an influence of
− The artists did not try to make their paintings realistic, but focused on the humanism since there was a great emphasis on the proportionality of the human
symbolism of their art. body.
− Subjects of the paintings were almost entirely religious with many paintings being − Most artworks remained religious in its focus and themes
of christ and the virgin mary. − During the Renaissance Period, artist valued the “individual” as a subject of arts.
− Example: the virgin and child − Renaissance artist also gave importance to non-religious themes or subject.
Byzantine Architecture − The Renaissance was a seminal period in art history from roughly 1300 to 1600
− Characterized by a great central dome when so much was not only reborn but indeed born.
− Group of small domes and semi-domes round the central dome − Painting took on a radically new look, and innovations in this medium would
− The capital before and became Constantinople, now is Instant gold from turkey. dominate the art form for centuries.
− It is fantastic structure that has served at one time or other in its history as an − Sculpture in three dimensions, harking to the classical model of Greece and
Eastern Orthodox church, an Islamic mosque, and a museum but they change it Rome, made a dramatic break from the medieval styles that had preceded it.
to mosque − Architecture, printmaking, drawing—all these mediums took off during the
− Hagia Sophia Renaissance.
− Taj Mahal at Agra and India - a mausoleum that was built by Shah Jahan in the − art history was born with a text called The Lives of the Most Excellent Painters,
seventeenth century in memory of his wife. Sculptors, and Architects.
Western Architecture − Artists, writers, historians, and intellectuals saw themselves as modern.
− The western styles follow the general type of the Roman Basilica and Cathedral: − Renaissance artists copied the art of Greece and Rome and were committed to a
a long rectangular building divided by pillars into a central nave and aisles keen observation of nature. They were driven by the desire to create the most
− 3 stages of development: Early Christian, Romanesque and Gothic realistic representations of the human figure, devising methods of applying light
− The 3 types developed out of another and shadow (chiaroscuro) to suggest a roundness of form.
Early Christian − The Renaissance witnessed an interest in classical ideas and values (humanism),
− No longer compelled to hide their beliefs and practices-in catacombs or safe as well as subjects (mythological, allegorical, historical).
houses Techniques popularized in this era
− Christians began to build churches, many of which were erected on the land on − Chiaroscuro
top of the catacombs where the martyrs for their faith had been buried − Sfumato
− In terms of design, it is not surprising that they turned to what they already knew – Characteristics of Renaissance art
Roman architecture. − Realism & expression – expulsion from the garden of eden by Masaccio
Romanesque Architecture (1050 - 1200) − Perspective – the trinity by masaccio
− inspired by the old Roman empire − Classicism – the venus de’ medici or medici venus
− Roman life − Emphasis on individualism – Battista Sforza and federici da montefeltre: the duke
− It resembles the Roman style, hence the name ''Romanesque.'' & dutchess of Urbino by Piero della Francesca
− Have very heavy walls with small window openings and heavy stone arch or − Geometrical arrangement of figures – Madonna and child with a pomegranate by
vaulted roof inside. Leonardo da Vinci
− Architecture were characterized by semi-circular arches, thick stone walls, and − Artists as personalities/celebrities – lives of the most excellent painters, sculptors,
durable construction and architects by Giorgio vasari
− Sculptures were also prevalent during this time. Renaissance art is often divided up into two periods:
− Example: Basilica of saint -sernin, Toulouse, France; Gloucester cathedral, united − Early Renaissance (1400-1479) - Artists learned by trying to emulate classical
kingdom artists focusing on symmetry and creating the perfect form. They reject Byzantine
Gothic Architecture (1200 – 1500) style of religious painting and strove to create realism in their depiction of the
− Originated with the rebuilding of the Abbey Church in saint-denis, France human form and space. This era featured such artists as Giotto, Masaccio, and
− Architecture offered revolutionary structural advancements such as ribbed vaults, Donatello.
flying buttresses, and decorative pinnacles all contributing to taller, lighter building − High Renaissance (1475-1525) - A rising interest in perspective and space gave
designs. the art even more realism. Rome had displaced Florence as the principal center
− had a more northern flavor from the Goths-vulgar and barbarian of renaissance art. Great artists such as Michelangelo, Leonardo da Vinci, and
− flourished during the high and late medieval period. Raphael flourished during this period.
− It evolved from Romanesque architecture and was succeeded by Renaissance Salient Characteristics of Renaissance Art
architecture. − Sculpture: realism; classical balance between emotion/movement and
− Its characteristic features include the pointed arch, the ribbed vault and the flying restraint/repose
buttress. − Architecture: symmetry; adaptation of classical elements such as the arch, dome,
− most familiar as the architecture of many of the great cathedrals, abbeys and and columns, as well as characteristic motifs and embellishments
churches of Europe. − Painting:
− Example: Abbey Church in saint-denis, France; Westminster Abbey, London; o naturalism (adherence to the actual appearance of things)
Milan Cathedral/Metropolitan cathedral-basilica, Milan, Lombardy, italy o idealism (emphasis on perfection in proportion, appearance, and behavior)
o classicism (symmetry, order, balance of emotion/movement and
Artists of the Middle Ages restraint/repose)
Donatello o humanism (focus on human traits and the validity of human emotion and
− An Italian sculpture known for his statues of David, Mary Magdalene, and the relationships, as seen in mythological as well as religious subjects)
Madonna. o spatial illusionism (implied three dimensions on a two-dimensional surface
Giotto di Bondone achieved)
− Italian artist from the 13th century best known for his frescoes in Padua's o compositional structure consisting of a central focus and overall symmetry
Scrovegni Chapel. with particular use of the triangle or pyramid as an organizational device.
Benvenuto di Giuseppe Early Renaissance Artist
Sandro Botticelli – Birth of Venus
− Also known as Cimabue, this Florentine artist was well-known for his paintings
Paolo Uccello – The battle of san romano
and mosaics.
Andrea Mantegna – Madonna della Vittoria
Ambrogio Lorenzetti
Cenni di Pepo or Cimabue – Santa trinita maesta
− An Italian painter of the Gothic movement, he is famous for his frescoes, the
Giotto di Bondone (Italian Proto-Renaissance Painter)
Allegory of Good Government and the Allegory of Bad Government.
− Giotto inaugurated a new period in painting by fusing religious antiquity with the
nascent concept of Renaissance Humanism.
RENAISSANCE ART (14TH – 17TH CENTURY) − His figures acquired an emotional intensity hitherto unseen in great art.
− Born in Florence, Italy

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− Giotto is well renowned for his explorations of perspective and pictorial space, o Two preparatory chalk and ink drawings of the drapery by Leonardo are held in
which gave his religious tales a fresh feeling of realism. the British Royal Collection.
Artworks Raphael (Italian Painter, Printmaker, And Architect)
− Isaac Blessing Jacob (1290-1295) − Raphael forged a comet's trail of painting during the height of the Italian High
− Crucifix (1288-1289) Renaissance while only being alive for 37 prolific and passionate years.
− Celebration of Christmas at Greccio (1300) − His genuine enthusiasm for life spilled out onto the canvas, where his mastery at
− Scrovegni Chapel conveying the Renaissance Humanist era's ideas of beauty was astounding.
− Lamentation ( the mourning of christ) − He is considered an equal member of the holy trinity of master artists of his day,
Massacio (Florentine Painter) with Leonardo Da Vinci and Michelangelo.
− Masaccio is considered by many to be the first truly Renaissance painter. Artworks
− He adopted a rational approach that would come to define the Renaissance as a − The Marriage of the Virgin (1504)
whole. − Disputation of the Holy Sacrament (1510)
− Masaccio's life was tragically cut short, but his exceptional achievement impacted − The School of Athens (1509 – 1511)
the trajectory of Western art. Renaissance Architecture
Artworks − Sensitivity towards the ancient past
− San Giovenale Triptych (1422) − Resumption of classical orders
− Madonna and Child with St Anne (1424 - 1425) − Clear articulation of plans and elevation
− Payment of the Tribute Money (1425 - 1427) − Proportion
− Holy trinity − Example: St. Peter’s Basilica, designed by Alberti, Raphael, Bramante,
Donatello (Italian Sculptor) Michelangelo, and Bernini; Tempietto del Bramante by Donato Bramante
− Donatello was one of the most influential Italian artists of the 15th-century and Renaissance Music
forerunner of the Italian Renaissance. He pioneered new aesthetics in response − Music based on modes
to the flourishing Renaissance Humanism movement of the time. − Richer texture in four or more parts
− Donatello's lifelike and intensely emotional works established him as one of Italy's − Blending rather than contrasting strands in the musical texture
most prominent artists. − Harmony with a greater concern with the flow and progression of chords
Artworks − Desprez: Ave maria
− Penitent Magdalene Perspective Of Depth
− Saint John the Evangelist (1408 - 1415) − Provided A Three-Dimensional Perspective
− St. George (1415 - 1417) Revival Of Roman Theatricals Plays
− Bust of Niccolo da Uzzano (1433) − performed during special occasions at the courts of Italian princess
− Madonna and child − done in such a way that showcased grand and lavish entertainment for the
audience
High Renaissance Artist − Aside from the song and dance numbers, they interested in elaborate have
Michelangelo Buonarroti (Italian Painter, Sculptor, Poet, And Architect) greatly influenced their tradition of popular theater.
− Michelangelo is considered to be one of the greatest artists of the Italian
Renaissance period even while acquiring a reputation for being temper driven, MANNERISM
fickle, and difficult. − Mannerism was a period in art history, which was a product of the Renaissance
− He was part of the revival of classical Greek and Roman art, yet his unique Period.
contributions went beyond mere mimicry of antiquity. − During the Renaissance, artist would observe nature and try their best to emulate
− His work was infused with a psychological intensity and emotional realism that it based on their observations.
had never been seen before. − As the Renaissance ended, artist started directly copying subjects from existing
Artworks works of art.
− Bacchus (1496 - 1497) − Most artworks during this period displayed distorted figures, two-dimensional
− David (1501- 1504) spaces, discordant hues and colors, and lack of defined focal point.
− The Creation of Adam (1508 - 1512) − Regarded as a bridge between the high renaissance and the baroque period,
− Pieta which adopted the subset’s ornate aesthetic and adapted it as extravagance.
− The Sistine chapel − Reaction to the harmonious classicism and the idealized naturalism of high
Leonardo Da Vinci (Italian Painter, Designer, Sculptor, Inventor, Scientist, renaissance art
Architect, And Engineer) − The word Mannerism has been derived from the Italian word “Maniera” It
− Throughout the Italian High Renaissance, the ethos of Humanism prevailed, in means style or manner.
which artists were profoundly rooted in the study of the humanities in order to − known as Late Renaissance or Mannerism, and it is a European art style that
continually improve themselves as world citizens. emerged in 1520. It is not an exact definition, and still a subject of debate,
− A person absorbed with the study and accomplishment of such disparate hobbies because this term is used for two things such as literature and music.
would subsequently be dubbed a "Renaissance man." − The artwork of this art style is very fantastic, and shows harmonious ideals such
− Leonardo da Vinci was the term's first prime exemplar. Despite the fact that his as Madonna and Laocoön and His Sons.
extensive personal interests resulted in his mastery of several professions, he is − Historians and artists differ as to whether Mannerism is a movement, a style or a
largely regarded as one of the finest painters of all time. His enduring works are period because this term remains controversial due to its use.
still studied and admired today. − Mannerism was an anti-classical movement which differed greatly from the
Artworks aesthetic ideologies of the renaissance.
− The Vitruvian Man (1485) − Mannerism was initially accepted with positivity based on the writings of Vasari, it
− The Last Supper (1498) was later regarded in a negative light because it solely view as, “an alteration of
− Mona Lisa (1503) natural truth and a trite repetition of natural formulas
− Salvator Mundi (Latin for 'Savior of the World') 1499–1510 − Carl Jacob Christoph Burckhardt was a Swiss historian who popularized this
o Long thought to be a copy of a lost original veiled with overpainting, it was term in the western world. But by the end of the High Renaissance, many artists
rediscovered, restored experienced difficulty in the pertinence of this art style.
o Included in a major exhibition of Leonardo's work at the National Gallery, Characteristics of Mannerism
London, in 2011–2012. − Exaggerated Figures
o Auction house Christie's stated just after selling the work in 2017 that most − Elaborate decoration
leading scholars consider it to be an original work by Leonardo, but this − Ornamentation
attribution has been disputed by other leading specialists, some of whom
− Artificial color
propose that he only contributed certain elements; and others who believe that
Characteristics that Mannerist artists would employ in their artworks.
the extensive damage prevents a definitive attribution.
− Elongation of figures
o The painting depicts Jesus Christ in an anachronistic blue Renaissance dress,
− Distortion of perspective
making the sign of the cross with his right hand, while holding a transparent,
non-refracting crystal orb in his left, signaling his role as Salvator Mundi and − Black backgrounds
representing the 'celestial sphere' of the heavens. − Use of darkness and light
o Thirty copies and variations of the work by pupils and followers of Leonardo − Sculptural forms
have been identified. − Clarity of line
− Composition and space

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 ART APPRECIATION (ARTA111)

− Mannerist movement − it was a period following the Renaissance, it can be said that a lot of artists have
− Painted frames developed styles and techniques different from their Renaissance predecessors.
− Atmospheric effects − Most artists used colorful palettes and ornamentation in their works. This was a
− Mannerist color time when Italy in particular, strengthened not only their religion but also other
aspects like politics and art.
− Expansion was the central theme of this period, which became very much evident
Laocoon and his sons by Agesander, athenodoros, and Polydorus of Rhodes in the artworks produced during this time.
− Mannerism role-model: an ancient sculpture, rediscovered in 1506; now in the − Motion and space were taken into consideration by artists like the use of dramatic
Vatican museums. lighting and the concept of time.
− The artists of mannerism greatly admired this piece of sculpture − Baroque art depicts religious themes; Rococo rooted in secular culture
− MUSIC also flourished during the Baroque Period. This is because people
Artists of Mannerism believed that music could serve as powerful tool to communicate messages that
Parmigianino – Madonna with long neck can evoke certain feelings among its listeners.
Joachim wtewael − Baroque music was able to clearly distinguish loud from soft and solo from
− Perseus and Andromeda ensemble.
− 1616, louvre − Since Baroque composers, through their works, tried to evoke certain emotion
− Composition displaying a vanite of bones and seashells in the foreground and an from their audience, they began to make more complex musical compositions and
elaborate academic nude with a palette borrowing from the forefront for performances. However, it can be noted that initially, this kind of music was
andromeda’s cheeks. The dragon seems of sino-oriental influence. limited only to power institutions like the church and individuals like the patrons.
Boticelli – Primavera (1477 – 1482)
Giuseppe Arcimboldo – Spring (1573)
Giulio Romano – Palazzo te in mantova
Michelangelo – Vestibule of laurentian library
El Greco
− Born: 1 October 1541, Heraklion, Greece
− Died: 7 April 1614, Toledo, Spain
− On view: Museo Nacional del Prado, National Gallery of Art, MORE
− Full name: Doménikos Theotokópoulos
− Nickname: El Greco
− His body of work is powerfully evocative of the Divine and widely recognized for
expressing the spirituality that lies behind all being.
− He became enthralled by the new Mannerism, which rejected mere reproduction
of nature in art in favor of expressing the work's underlying psychological
characteristics beyond mythical or religious themes. Baroque period (1600 – 1750)
Artworks − Stemmed from Italian word for “contorted idea”
− The Holy Trinity (1577 - 1579) − Arose mainly as a means to promote the catholic church during the Protestant
− The Nobleman With his Hand on his Chest (El caballero de la mano en el pecho) Reformation
(1580) − Emphasizes faith in church and power in state
− Christ blessing (The Saviour of the World) (1600) − Dramatic contrasts of lights and darks
Tintoretto − Emotional, often religious depictions
− Born: 1518, Venice, Italy − Feelings of grandeur, awe, movement and tension
− Died: 31 May 1594, Republic of Venice, Venetian school − Various contrasting textures
− Full name: Jacopo Comin − All encompassing works (illusionistic)
− Standing in front of one of Tintoretto's epic works is to be immersed in a whirlwind − Materials: bronzes, gildings, plaster, marble, stucco
of activity, with muscular figures interlaced into rhythmic patterns of emotional − Focal point in architecture: entrance axis, pavilion
anguish and dramatic conflicts. Examples:
− The sceneries hover, threatening to break through the borders between pictorial − The presentation of the portrait of marie de’ medici, c. 1622 – 1625 - Peter Paul
space and the practical world. Rubens
− They were originally created to embellish the enormous interiors of great halls − Venus and Adonis - Peter Paul Rubens
and expansive ceilings. Even his one-of-a-kind self-portraits reveal the artist's − Alon De La Princesse, interior decoration, hotel de soubise, paris
soul rather than simply displaying his style. − Ecstasy of saint Teresa – Bernini, 1647 – 1652, Sculpture, church of maria della
Artworks vittoria, rome
− Self-Portrait (1548) − Church of saint Ignatius of Loyola in rome
− The Miracle of the Slave (1548) − Ballroom ceiling of the ca rezzonico in venice with illusionistic Quadra by Giovanni
− The Origin of the Milky Way (1575) Battista Crosato (1753)
Pontormo − Chest of drawers by Charles Cressent (1730)
− Born: 24 May 1494, Empoli, Italy − Kaiserseal of Wurzburg
− Died: 1 January 1557, Florence, Italy − Residence by Balthazar Neumann (1749 – 1751)
− This artist is known for his commercial illustration.
− Full name: Jacopo da Pontormo Rococo Period (1730 – 18th century)
− Pontormo was one of the most influential Italian painters of the High − A style of baroque architecture and decorative art, from 18th century France,
Renaissance. having elaborate ornamentation
− He rubbed shoulders with some of the greatest artists of the time, including − Rococo or late Baroque
Michelangelo, and found inspiration in northern European engravings and − Described as final expression of the baroque movement
woodcuts. − Rococo style developed first in the decorative arts and interior design, and its
− Pontormo became increasingly reclusive and unhappy in the last decade of his influence later spread to architecture, sculpture, theater design, painting, and
life, refusing even the company of Bronzino. music.
Artworks − Rococo style is characterized ornamentation, by elaborate asymmetrical values,
− Visitation of the Virgin and St. Elizabeth (1514 - 1516) pastel color palette, and curved or serpentine lines.
− Joseph in Egypt (1517 - 1518) − Rococo art works often depict themes of love, classical myths, youth, and
− Madonna with Child and Saints (1518) playfulness.
BAROQUE & ROCOCO (1600-1750) Art
− The term “baroque” is derived from the Portuguese term Barocco which is − The Entombment of Christ, Caravaggio (1603 - 1604)
translated as “irregularly shaped pearl.” a response to Protestantism. − Flickr ca’ rezzonico ceiling
− Rococo derives from the French word 'rocaille' means rock-work, referring − The Swing, Jean-Honoré Fragonard, circa (1767)
to a style of interior decoration that swirls with arrangements of curves and − The Embarkation for Cythera by Jean-Antoine Watteau (1717)
scrolls. − Luncheon with Ham by Nicolas Lancret (1735)
Architecture

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 ART APPRECIATION (ARTA111)

− St. Peter’s Baldachin (1623 – 1634, Vatican City) − His music was key in the development of the modern genres of sonata and
− Church of Saint Ignatius of Loyola, Rome concerto, in establishing the preeminence of the violin, and as the first coalescing
− German Rococo Interior of modern tonality and functional harmony.
Claudio Giovanni Antonio Monteverdi
Baroque Music − The most important developer of the new genre, the opera. He also did much to
− Style of music that prevailed during the period from about 1600 to about 1750, bring a “modern” secular spirit into church music. He was an Italian composer,
known for its grandiose, dramatic, and energetic spirit but also for its stylistic string player, choirmaster, and priest in the late renaissance.
diversity. − The most famous work from hid Mantuan Period are the Opera Orfeo (1607).
− Period or style of Western classical music from approximately 1600 to 1750 Although opera had been invented in Florence around 1600, Monteverdi’s Orfeo
originated in Western Europe. is the first masterpiece in that genre.
− The Baroque period is divided into three major phases: early, middle, and late. − A composer of both secular and sacred music, and a pioneer in the development
Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 of opera, he is considered a crucial transitional figure between the Renaissance
to 1700, and from 1680 to 1750. and Baroque periods of music history.
− Baroque music forms a major portion of the "classical music" canon, and is now
widely studied, performed, and listened to. Artist Of Baroque Period (Germany) – Two Titans od the Baroque
− Baroque music forms a major portion of the "classical music" canon, and is now Johann Sebastian Bach (1685 – 1750)
widely studied, performed, and listened to. The term "baroque" comes from the − German composer and musician of the late Baroque period
Portuguese word barroco, meaning "misshapen pearl' − A German composer and musician of the Baroque era and the most celebrated
− During the Baroque era, professional musicians were expected to be member of a large family of north German musicians. His instrumental
accomplished improvisers of both solo melodic lines and accompaniment parts. compositions are known such as Celo Suites and Brandenburg Cencertos.
− A characteristic Baroque form was the dance suite. While the pieces in a dance − Bach’s one of the famous work is the Brandenburg Concertos. His Brandenburg
suite were inspired by actual dance music, dance suites were designed purely for Concertos are a collection of six, three-movement orchestral works, completed by
listening, not for accompanying dancers. the composer in around 1721 for Prussian royal, the Margrave Christian Ludwig
− The Baroque period saw the creation of tonality. of Brandenburg-Schwedt.
− During the period, composers and performers used more elaborate musical George Frederic Handel (1685 – 1759)
ornamentation, made changes in musical notation, and developed new − A German-British Baroque composer that well known for his operas, oratorios,
instrumental playing techniques. anthems, concerti grossi and organ concertos.
− Baroque music expanded the size, range, and complexity of instrumental − Though, Handel is working as a violinist, it was his skill on the organ and
performance, and also established opera, cantata, oratorio, concerto, and sonata harpsichord that began to earn him attention and landed him more opportunities
as musical genres. to perform in opera.
Early Baroque Music (1580 – 1630) − George Fray Handel's Messiah (1741) is one of the most famous pieces of
− In reference to music, they based their ideals on a perception of Classical choral music in the world, written during the Baroque era. He composed it for
(especially ancient Greek) musical drama that valued discourse and oration. As modest vocal and instrumental forces with optional settings for many of the
such, they rejected their contemporaries' use of polyphony and instrumental individual numbers. When composing the celebrated Hallelujah chorus, Handel
music, and discussed such ancient Greek music devices as monody, which said it was "as if I saw God on his throne and all angels around him".
consisted of a solo singing accompanied by a kithara. The early realizations of
these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning Rococo Music
of opera, which in turn was somewhat of a catalyst for Baroque music. − Rococo style in music occupies a really specific transition from Baroque style to
Middle Baroque Music (1630 – 1680) Classical era.
− The middle Baroque period in Italy is defined by the emergence of the vocal − Rococo music has diluted the highly complex polyphonic structures of the
styles of cantata, oratorio, and opera during the 1630s, and a new concept of Baroque period into a lighter, simpler yet very ornamented elegant style of
melody and harmony that elevated the status of the music to one of equality with musical expression.
the words, which formerly had been regarded as pre-eminent. − Roughly landing on the decades between the 1740s -1770s rococo music took
− The florid, coloratura monody of the early Baroque gave way to a simpler, more root in France and spread throughout Europe rapidly, to the delight of a growing
polished melodic style. These melodies were built from short, cadentially class of ubiquitous music amateurs and aficionados.
delimited ideas often based on stylized dance patterns drawn from the sarabande − It was referred to differently throughout Europe - from Style Galant to
or the courante. Empfindsamer Stil(sensitive style) in Germany.
Late Baroque Music (1680 – 1730) Rococo Composers
− Through the work of Johann Fux, the Renaissance style of polyphony was made − Johann Christian Bach and Carl Philip Emanuel Bach, two sons of the titan of
the basis for the study of composition. Baroque Music
− A continuous worker, Handel borrowed from others and often recycled his own − Johann Sebastian Bach-were at the forefront of this stylistic revolution against the
material. He was also known for reworking pieces such as the famous Messiah, density and complexity of the Baroque period composing style in Germany.
which premiered in 1742, for available singers and musicians. − In France Style Galant was championed by Jean Philippe Rameau, Louis-Claude
Daquin and Francois Couperin
Artist of Baroque Period (Italy) − Italy the music of composer Giovanni Battista Sammartini was rococo personified
Antonio Lucio Vivaldi (March 4, 1678, Venice Republic of venice Italy – July 28, Characteristics
1741, Vienna Austria) − Rococo composers wanted to convey the lightness of heart and simplicity of
− An Italian Baroque composers, virtuoso violinist, teacher, impresario and Roman emotional states, by focusing the artistic expression on a single affect, as
Catholic priest. opposed to conflating multiple disparate emotional states as a counterpoint to
− His best-known piece was “The four Season”, it is a set of four violin concerto themselves.
composed in 1723. It is the world’s most popular and recognized piece of − Galant style in music brought forth instrumental works such as string quartets to
Baroque music. take center stage of musical entertainment outpacing the contrapuntal vocal
− The four violin concerto broke new ground with their programmatic depiction of compositions of the early eighteenth century.
the changing seasons and their technical innovations. − New style called for instrumental music to delight the ear with intricate
− Violinist who left a decisive mark on the form of the concerto and the style of late ornamentation, memorable melodies, and positive disposition
Baroque instrumental music. − Rococo art and music are remarkably symbiotic as they both embody the cult of
Arcangelo Corelli elegance and grace.
− An Italian violinist and composer known chiefly for his influence on the
development of violin style and for his Sonatas and his 12 concerti grossi. Italian Composers
− His instrumental works established the chamber music style and form of the late Antonio Lucio Vivaldi – March 4, 1678 – July 28 1741
baroque era. Arcangelo Corelli – feb. 17, 1653 – jan. 8, 1713
− The trio sonatas of Opus 1 and 3 were intended for church performance (da Claudio Giovanni Antonio Monteverdi – may 9, 1567 – Nov. 29, 1643
chiesa) with figured bass for organ and those of Opus 2 and 4 were chamber German Composers
music (da camera) with harpsichord and/or archlute accompaniment. Johann Sebastian Bach – Mar. 31, 1685 – July 28, 1750
− Corelli’s famous work was Concerto Grosso or Christmas Concerto (no.8), this George Frederic Handel – feb. 23, 1685 – apr. 14, 1759
concerti grossi were not published until the year of his death
− This piece is commonly called the “Christmas Concerto” because it may have NEOCLASSICISM (LATE 18TH AND EARLY 19TH CENTURY)
been performed by Corelli on Christmas Eve, 1690. The title page bears the
inscription, Fatto per la notte di Natale (“made for the night of Christmas”)

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 ART APPRECIATION (ARTA111)

− The word neoclassicism came from the Greek word Neos meaning "New" and − He opened the idea for portraying discrete sexual pleasures by using pure
the Latin word Classicus which is similar in meaning to the English phrase contours with his mythological compositions.
"First Class." Artworks
− The western movement in decorative and visual arts was called Neoclassicism. − Psyche awakened by cupid’s kiss - A marble sculpture portraying the
− It also applied to Literature, Theater, Music, and Architecture that were influenced relationship of Psyche and Cupid.
by the classical art and culture of ancient Greece and ancient Rome. − Washington - A Life-size marble statue of George Washington, done in the style
− The Neoclassicism movement coincided with the 18th century Age of Reason of a roman general, by the Italian Neoclassical sculptor Antonio Canova. This is a
also known as the Age of Enlightenment. marble sculpture currently displayed at North Carolina Museum of History.
− Neoclassical art pieces such as painting, sculpture, and architecture generally Bertel Thorvaldsen
portrayed Roman History which elevated the Roman Heroes. − Thorvaldsen was the first internationally acclaimed Danish artist.
− Attribute for the emergence of this kind of art during the French Revolution in − He executed sculptures of Mythological and Religious themes characters.
1789. Artworks
− 1863 when there was an emergence of modern painting exhibitions. − Christ - A marble sculpture image of resurrected Christ currently located at the
− A movement in Europe that transpired during the late eighteenth and early Thorvaldsen Museum.
nineteenth centuries. − Lion Of Lucerne - A sculpture of a dying lion in Lucerne, Switzerland that
− It was the dominant art movement that time which basically aimed to revive and commemorates the Swiss Guards who were massacred in 1792 during the
rekindle the influences of Greek and Roman into art and architecture. French Revolution.
− The ancient Greeks and Europeans had placed emphasis on human reason and Neoclassical Architecture
keeping society in order. These very principle were also the dominant principles − Started in the 18th and early 19th century
during the Enlightenment Period. − Turned away from the grandeur of Rococo style and the Late Baroque.
− There was a call to veer away from such extravagance in terms of style and form − Style was principally derived from the architecture of Classical Greece and Rome
of the baroque period and the architectural designs of Italian architect Andrea Palladio
− The ancient greeks and Europeans had placed emphasis on human reason and Andrea Palladio (1508-1580)
keeping society in order. − Andrea Palladio was an Italian Renaissance architect active in the Venetian
Characteristics Republic.
− Portrayal of Roman History − Palladio's work was strongly based on the symmetry, perspective, and values of
− Formal Composition the formal classical temple architecture of the Ancient Greeks and Romans.
− The use of diagonals to show the peak of an emotion or moment Types Of Neoclassical Architecture
− Local color • Temple style
− Overall lighting − Temple Style building design was based on an ancient temple.
− Classic Geo-Structure − Temple Style building feature a Peristyle ( Continuous line of column around
Enlightenment Period the building)
− Enlightenment thinkers condemned rococo art for being immoral and indecent, − A rare (uncommon) feature of Renaissance Architecture.
and called for a new kind of art that would be moral instead of immoral, and teach − Example: Pantheon, La Madeleine De Paris, British Museum
people right and wrong • Palladian style
− Enlightenment encouraged criticism of the corruption of the monarchy (at this − Building were based on Andrea Palladio’s style villa construction
point King Louis XVI), and the aristocracy. − Some of the buildings feature a Balustrade which is a railing with vertical
Neoclassical Painting supports along the edge of the roof.
− Neoclassical artists embraced the ideals of order and moderation. − Example: The Palladian Bridge, Chiswick House & Garden
− Neoclassical painters gave great importance to the costumes, settings and details • Classical block style
of classical subject-matter. − The building features a rectangular or square plan, with a flat roof and an
Neoclassical Artist (Painting) exterior rich in classical detail.
Jacques Louis David (1748 - 1825 in France) − The exterior features a repeated classical pattern or series of arches and/or
− He was an influential French painter in the Neoclassical Style, and Considered to columns.
be the preeminent painter of the era. − Example: Library of Sainte-Geneviève designed by Henry Labrouste
− His Subject of paintings were more on History. • Charles Garnier - He designed the most famous classical block of all which is the
Artworks Palais Garnier (a Neobaroque opera house.)
− Death Of Marat - The Portrayal of a revolutionary Martyr. This is a painting of the
murdered French revolutionary leader Jean-Paul Marat. ROMANTICISM (18th and 19th Century)
− Napoleon Crossing The Alps - The Painting showed a strongly idealized view of − Romantic era
the real crossing that Napoleon and his army made across the Alps through the
− Art movement, used the central themes of Neoclassicist artworks as a
Great St. Bernard Pass in May 1800
springboard.
Jean Auguste Dominique Ingres
− Romanticists have highlighted heroic elements into their work.
− Born on 1780, Died on 1867 in France
− One of the major revolutions in history would be the French Revolution, such
− Ingres was a pupil of Jacques Louis David.
revolutionary movements became the focal point of most Romantic works.
− He was influenced by Italian Renaissance painters like Raphael, Nicolas Pousin,
− Most works also promoted justice, equality, and social order.
Brotticelli, and his mentor, Jacques Louis David.
− Artists also emphasized emotions and feelings of man, which was a deviation
− His painting were usually nudes, portraits and mythological themes.
from the humanist principle of rationalism.
− He was Regarded as one of he great exemplar of academic art and one of the
− During the Age of Revolutions, there has been a tremendous focus on patriotic
finest old master in his era.
and nationalistic movements.
Artworks
− The major and central themes of Romanticism movement include the emphasis
− Portrait of Napoleon on the Imperial Throne - The painting depicts Napoleon in
on the goodness of mankind.
his decent coronation costume, seated upon his golden encrusted throne. The
− Artists also emphasized senses, emotions and feelings of man, which was a
painting was believed to be commissioned by Napoleon as King of Italy. The
deviation from the humanist principle of rationalism.
painting was owned by the Corps Legislatif which was a part of the French
− Awe of nature
Legislature.
Characteristics of Romanticism
− The Apotheosis Of Homer - The painting was a state-commission by Charles X
− Shows the height of action
(10) to have him Remembered in the building work of the Louvre. The painting
depicts an image of Homer, receiving all the brilliant men of Rome, Greece and − Emotional extremes
Contemporary times. − Celebrated nature as out of control
Neoclassical Sculpture − Dramatic compositions
− defined by its symmetry, life-sized to monumental scale, and its serious subject − Heightened sensation (life and death moments)
matter. Romanticism Architecture
− The subjects of Neoclassical sculpture ranged from Mythological figures to heroes − This flow is highly aesthetic in the arts and literature so that more use of
of the past to Major contemporary personages. imagination and things that are exotic value like taking from nature.
Neoclassical artist (sculpture) − Example: The royal pavilion in Brighton, England; House of parliament in
Antonio Canova London, England
− Canova was a prolific italian artist and sculptor who became famous for his Romanticism Paintings
Marble sculpture that delicately rendered nude flesh. − The paintings of the Romantic Period gave more emphasis on Emotion.

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 ART APPRECIATION (ARTA111)

− Artists expressed as much feeling and passion as it could be on a canvas.

Artists of Romantic Period NATURALISM ART TO FUTURISM ART
− Jean Louis Theodore Gericault
o The Raft of the Medusa
NATURALISM
o Charging chasseur − Describes a true-to-life style which involves the representation or depiction of
− Eugene Delacroix nature (including people) with the least possible distortion or interpretation.
o Liberty Leading the People − Refers to the depiction of realistic objects in a natural setting.
− Francisco Goya − The realist movement of the 19th century advocated naturalism in reaction to the
o Saturn Devouring His Son stylized and idealized depictions of subjects in romanticism, but many painters
o The Third of May have used a similar approach over the centuries.
Romantic Painting (Landscape) − Naturalism began in the early Renaissance, and develop itself further throughout
− Landscape painting depicts the physical world that surround us and includes the Renaissance, such as with the Florentine school.
features such as mountains, valleys, vegetation, and bodies of water. − It is a type of art that pays attention to very accurate and precise details, and
− The sky is another important element shaping the mood of landscape paintings. portrays things as they are.
− Landscaped art ranges from highly detailed and realistic to impressionistic, Two Famous Artists
romantic and idealized. William Bliss Baker
Romantic Painting (Landscape Painters) − was an American artist who became widely hailed landscape painter early in his
− Theodore Rousseau career.
o The Church Of Marissel − Began exhibiting yearly at the National Academy in 1881
o Le Repos Sous Le Saules Near Beauvais − Some landscape paintings of Baker’s are considered to be the best example of
− Francios Rude the naturalist movement.
o Departure Of The Volunteers − Fallen Monarchs is considered to be Baker’s masterpiece.
o Jean D’arc Examples of paintings
− Antoine Louis Barye − Summer pasture
o Hercules Sitting On A Bull − Shadows in a pool
o Theseus Slaying The Minotaur − Early summer
Albert Charpin
REALISM − He was a naturalist painter associated with Barbizon school
− Style of work focuses on the accuracy of details that depicts and somehow mirrors − He painted real objects in a natural setting.
reality. − His paintings can be found in museums and private collections in Europe and
− There is little room for imagination in this movement since emphasis is placed in America
observable traits that can concretize through artworks realism was heavily − his paintings of sheep in their natural settings
influenced by Hellenistic Greek culture since most artworks during period placed Examples of paintings
emphasis on the human body. − Troupeau à Barbizon
− Realism as modern movement in art veered away from traditional forms of art. In a − Bergère et ses moutons
way, it revolutionized themes and techniques in paintings. − Strickende Schafhirtin mit ihrem Hund in weiter Landschaft
− This movement also expanded and widened existing notions of what can be
considered as art. IMPRESSIONISM
− Artists worked within the context of revolutions and social changes, artistic works − describes a style of painting developed in France during the mid-to-late 19th
began to depict real-life events. Idealistic concepts and images were replaced by century
real manifestations of society. − Characterizations of the style include small, visible brush strokes that offer the
− There is a move to combine both art and life in artistic works since the modern bare impression of form, unblended color and an emphasis on the accurate
world were suitable for subjects of art. This movement also re-examined existing depiction of natural light.
belief systems and traditions. − Movement started in France, which led to a break from the tradition in European
− Accurate, detailed, unembellished depiction of nature or of contemporary life. painting.
− Rejects imaginative idealization in favor of a close observation of outward − Impressionism is a style of painting that emerged in the mid-to late 1800s.
appearance. − impressionist artist incorporated scientific principles to achieve a more distinct
− Direct opposition to concerns of the unusual, the basis of romanticism. representation of color.
− The term is also used to describe artworks painted in a realistic almost photographic − The distinctive characteristic of this style is that it allows the artist to emphasize is
way. communicated by the artist through his work and can be seen through the
− Artistic movement characterized by subjects painted in a naturalistic manner from brushstrokes, distinction of colors, and the lights and shadows used by the artist.
common life. Three Famous Artists
− Realism rejects imaginative idealization in favor of a close observation of outward Oscar-Claude Monet
appearances. − French painter and founder of impressionist painting who is seen as a key
− Major trend in French novels and paintings between 1850 and 1880 precursor to modernism, especially in his attempts to paint nature as he perceived
Literary Realism it.
− Introduced a new way of writing and a new generation of authors whose influence − Example: Saules Au Soleil Couchant
can still be seen in American literature and English literature to this day Paul Cezanne
Elements: − Most influential artist in the history of modern painting
o Realistic characters and setting − Said to have formed the bridge between the late 19th century Impressionism and
o Comprehensive detail about everyday occurrences early 20th century’s new line of artistic enquiry, Cubism.
o Plausible plot (story that could happen in your town) − Known for his incredibly varied painting style
o Real dialects of the area − Example: Les Pommes
o Character development important Edouard Manet
o Importance in depicting class − was a French modernist painter.
Example: − He was one of the first 19th-century artists to paint modern life, and a pivotal
o Adventures of huckleberry finn figure in the transition from Realism to Impressionism.
o The red badge of courage − Example: Bouquet De Pivoines
o Of mice and men
o The gleaners by jean-francois millet Other Examples
o The horse fair by rosa bonheur − “Le déjeuner sur l'herbe” - Edouard Manet
Realism Art Style
− “Impression, Sunrise” – Oscar-Claude Monet
− Realism’s purpose is to interpret the actualities of any aspect of life, free from
− “Fog, Voisins” - Alfred Sisley
subjective prejudice, idealism, or romantic color.
− “In a Park” - Berthe Morisot
− Direct opposition to concerns of the unusual, the basis of Romanticism.
− “L'Absinthe” - Edgar Degas
− Stresses the real over the fantastic
Example of Realism:
− Nighthawks by Edward Hopper
POST-IMPRESSIONISM
− Christina’s World by Andrew Wyeth

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 ART APPRECIATION (ARTA111)

− It is an art movement that emerged in France, which is a result of both the − Defining characteristic of Art Nouveau is the asymmetrical line that usually is in
influence and rejection of impressionist but later on saw the inherent limitations the form of insect wings or flower stalks. The line is done in such a graceful and
and flaws of impressionism. elegant manner that somehow evokes a certain power to it.
− This eventually led to the development of individual style that gave emphasis to Three famous artists
defining from with the use of broken colors and short brush stroke. Louis Comfort Tiffany
− Most of the works of the said painters became the framework of the contemporary − he produced a vast amount of exquisite Favrile glass, many pieces achieving
techniques and trends during the twentieth century. mysterious and impressionistic effects; his innovations made him a leader of the
Post-Impressionism: Concepts, Styles, and Trends Art Nouveau movement. American painter, craftsman, philanthropist, decorator,
1. Seurat and Pointillism - Paul Signac's The Port of Saint Tropez(1906) and designer, internationally recognized as one of the greatest forces of the Art
2. Van Gogh and Japonisme - The Great Wave Off the Coast of Kanagawa(1906) Nouveau style)
3. Gauguin and Synthetism - Paul Gauguin's Mountains In Tahiti(1897) − Example: Glass Lamp
4. Cézanne and the Structure of Pictorial Form - Cézanne's series Montagne Sainte- Gustav Klimt
Victoire − Gustav Klimt whose work is another example of Art Nouveau at its most
5. Rousseau and Primitivism - Hungry Lion dominant, his work is decorative, colorful, and contained gold-leaf like in the
6. Les Nabis - Les muses au bois sacré(1893) painting the kiss and the portrait of Adele Bloch-Bauer which leave no space
Four Famous Artists unadorned
1. Paul Cezanne − Example: Portrait of Adele Bloch-Bauer, The Kiss
2. Georges Seurat Alphonse Mucha
3. Paul Gauguin − Examples of this Art Nouveau can be found in all art forms during this time. Art
4. Vincent Van Gogh Nouveau was the first artistic movement to give serious credibility to the graphic
arts especially the poster as an art form.
NEO-IMPRESSIONISM − Art Nouveau had a great run and even though it lasted only 20 years, the work
− As an art movement, neo-impressionism is considered as a response to empirical produced during this period made a lasting expression on the art world towards
realism of impressionism. the end of Art Nouveau, the prevailing aesthetic eventually gave way to the more
− Most painters who subscribe to such movements rely on a systematic and industrial lines of modernism ad the more predictable geometric forms of Art deco
scientific techniques that have a predetermined visual effects not only on the art still the influence and appreciation of Art Nouveau organic forms and prolific
work itself but also how the audience perceive the art. ornamentation has lasted through today.
− Example: Job, Daydream
Georges Seurat and Chromoluminarism
− Seurat said he wanted "to find something new, my own way of painting." He FAUVISM
particularly valued color intensity in painting, and took extensive notes on the use − This is a style of painting that emerged in France around the turn of the twentieth
of color by the painter Eugène Delacroix. He began studying color theory and the century.
science of optics and embarked on a path that would lead him to develop a new − What makes fauvists revolutionary is that they used pure and vibrant colors by
style he called Chromoluminarism. applying straight from the paint tubes directly to the canvas.
The Theory of Neo-Impressionism − This is done to produce a sense of explosion of colors in the canvas.
− The discoveries of "optical blending and "simultaneous contrast" that Seurat read − The difference lies with how the fauves have this strong and expressive reaction
about became the theoretical foundation of Chromoluminarism, which came to be to how they portray their subjects.
known as Neo-Impressionism. − Most fauvist works reject the conservative and traditional renderings of three-
Four Famous Artists dimensional space
1. Henri-Edmond Cross − What artists did was they introduced and promoted a picture space that is defined
2. Maximilien Luce by the movement of color.
3. Camille Pissarro
− This goes along with the unique color schemes and color renditions of objects
4. Georges Seurat
and people in fauvism.
− recorded optical sensation on a more scientific manner. His color theories
− Henri Matisse said he did not choose colors based on scientific theory like post-
paved the way for the technique called pointillism. This art technique basically
impressionist but on feeling, observation, and the nature of each experience. Also
utilizes discrete dots and dashes of pure color. These elements are believed to
full of artists shifted away from urban themes and return to impressionist subject.
blend with viewer’s perspective.
− Fauvism valued individual expression. The artist’s direct experience of his
Important Art In Neo-Impressionism
subjects, his emotional response to nature, and his intuition were all more
1. A Sunday Afternoon on La Grande Jatte (1884 - 1886)
important than academic theory or elevated subject matter.
2. La Dame à la Robe Blanche (Woman in White) (1886 - 1887)
− Color could project a mood and establish a structure within the work of art without
having to be true to the natural world.
ART NOUVEAU (new art) − Fauvism’s central artistic concerns was the overall balance of the composition.
− Between 1890 and 1910, countries from Europe and the United States witnessed The fauves’ simplified forms and saturated colors drew attention to the inherent
the emergence and flourishing of a new art style. flatness of the canvas or paper; within that pictorial space, each element played a
− This ornamental style of art was a break from the conservative historicism, which specific role. The immediate visual impression of the work is to be strong and
was the prevailing and dominant theme of most Western artworks. unified.
− This ornamental style uses long and organic lines that are concretely manifested − A style of painting that emerged in France around the turn of the twentieth
in architecture, jewelry and glass design, among others. century.
− The defining characteristic of Art Nouveau is the asymmetrical line that usually is − What makes fauvists revolutionary is that they used pure and vibrant colors by
in the form of insect wings or flower stalks. The line is done in such a graceful and applying straight from the paint tubes directly to the canvas.
elegant manner that somehow evokes a certain power to it. − This is done to produce a sense of explosion of colors in the canvas.
− Art Nouveau drew inspiration from both organic and geometric forms to create − The difference lies with how the fauves have this strong and expressive reaction
elegant flowing designs that resembled the stems, vines, tendrils, blossoms, and to how they portray their subjects. Most fauvist works reject the conservative and
flowers of plants. traditional renderings of three-dimensional space.
− Both Art Nouveau and Art Deco are early expressions of modernity. The
difference between Art Nouveau and Art Deco was ART NOUVEAU features History Of Fauvism
curved in lines and organic forms that celebrate nature while ART DECO is more − Developed in France during the 20th century
industrial and full of straight lines, geometry, and sharp edges. − Started by Henri Matisse- He is a leader in the fauvist movement.
− These rebel artists driven to impart their own style in the art world were the − The term FAUVISM means WILD BEASTS (known as Les Fauves in French
innovators but highly influential movement known as Art Nouveau. term)
− Art Nouveau pieces are organic in their ornamentation featuring what many art − The term Les Fauves was born when a painting by Henri Matisse was shown at
historians call whiplash curves decorating every available surface. an exhibition at 1906 Salon d’Automne
− Art Nouveau artists were also influenced by the arts and crafts movements’ − There were Fauvists but Henri was one of the dominant figure
emphasis on hand craftsmanship and the highly expressive paintings of post- − It was not exactly an art movement
impressionists. (Woodblock painting in Japan, Japanese Art Nouveau) − The name, Les Fauves was actually first used as a derogatory remark about their
− Common characteristics of Art Nouveau are muted colors (all colors that have low work by French art critic Louis Vauxcelles. Les Fauves actually means “wild
saturation (or chrome). These are subtle colors that are not bright or have been beasts”—it referred to Matisse and the others' choice of colors, indicating that
subdued, dulled, or grayed. (Muted colors) their work was savage and primitive.
− It started with Henri Matisse experimenting with colors in painting

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 ART APPRECIATION (ARTA111)

Famous artist
− Henri Matisse - Interior with a young girl reading, Le Bonheur De Vivre or “ Joy of
Life”, Woman with a Hat
Other Examples
− “Luxe, Calme et Volupte” - Henri Matisse
− “The River Seine at Chatou” - Maurice de Vlaminck
− “Pinède à Cassis (Landscape) - André Derain
− "Jeanne dans les fleurs” - Raoul Dufy
− “At the Circus” - Georges Rouault

CUBISM
− was a revolutionary new approach to representing reality invented in around
1907–1908 by artists Pablo Picasso and Georges Braque. They brought different
views of subjects (usually objects or figures) together in the same picture,
resulting in paintings that appear fragmented and abstracted.
− a style of art that stresses abstract structure at the expense of other pictorial
elements especially by displaying several aspects of the same object
simultaneously and by fragmenting the form of depicted objects.
− Cubism is an artistic movement, created by Pablo Picasso and Georges Braque,
which employs geometric shapes in depictions of human and other forms. Over
time, the geometric touches grew so intense that they sometimes overtook the
represented forms, creating a more pure level of visual abstraction.
− This style would later on have a huge influence on artists during the twentieth
century.
− Cubists highlighted the two-dimensional surface of the picture plane. Focusing on
flat surface was a rejection of the dominant techniques like the use of perspective,
foreshortening, and modeling. In addition, one of the things that cubism rejected
was the existing and prevailing notion that art should imitate nature.
− Cubists emphasized that they are not in any way obliged to copy texture., form,
color, and space. They presented a new depiction of reality that may appear
fragmented objects for viewers.
Two Famous Artists
− Pablo Picasso - Proto-Cubist Les Demoiselles d’Avignon (1907), Guernica
(1937)
− Georges Braque - Houses of l’Estaque (1908), Clarinet and Bottle of Rum on a
Masterpiece (1911)
Other Examples
− “Les Demoiselles d’Avignon” - Pablo Picasso
− “Houses at L’Estaque” - Georges Braque
− “Violin and Palette” - Georges Braque
− “Tea Time” - Jean Metzinger
− “Conquest of the Air” - Robert de la Fresnaye

FUTURISM
− Futurism was launched by the Italian poet Filippo Tommaso Marinetti in 1909. On
20 February he published his Manifesto of Futurism on the front page of the Paris
newspaper Le Figaro.
− Among modernist movements futurism was exceptionally vehement in its
denunciation of the past. This was because in Italy the weight of past culture was
felt as particularly oppressive.
− Futurist painting used elements of neo-impressionism and cubism to create
compositions that expressed the idea of the dynamism, the energy and
movement, of modern life.
− It is an early twentieth century art movement that started in Italy, which
highlighted the speed, energy, dynamism, and power of machines.
− Common themes for works in this movement are restlessness and the past-space
of modern life.
− The movement’s influence branched out not only in Europe but also in Russia.
− The greatest impact of futurism is evident in poetry and visual arts.
− Italian poet and editor Filippo Tommaso Marinette coined the term “futurism” to
reflect his purpose of disregarding the traditional methods of the art in the past.
He believes that art should embrace and embody change. Innovation, creativity,
and originality.
Three Famous Artists
− Giacomo Balla - Abstract Speed- The Car has Passed (1913)
− Umberto Boccioni - Unique Forms of Continuity in Space (1913, cast 1972)
− Gino Severini - Suburban Train Arriving in Paris (1915)
Other Examples
− “The City Rises” - Umberto Boccioni
− “Funeral of the Anrchist Galli” - Carlo Carra
− “Dancer at Pigalle” - Gino Severini
− “The Cyclist” - Natalia Goncharova
− “Citta Nouva (New City)” - Antonio Sant’Elia

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