AHI 1B Week 4 Lecture Notes
AHI 1B Week 4 Lecture Notes AHI 1B
Popular in Medieval and Renaissance Art
Popular in Art History
This 4 page Class Notes was uploaded by Kayla Dillard on Thursday January 28, 2016. The Class Notes belongs to AHI 1B at University of California - Davis taught by Dr. Ch'ien in Winter 2016. Since its upload, it has received 49 views. For similar materials see Medieval and Renaissance Art in Art History at University of California - Davis.
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Date Created: 01/28/16
1/28/16 St. Matthew, Ebbo Gospels, 816-835 • lots of lines, the image seems to vibrate • sense of movement gives the sense that something divine is happening • has a golden border that also seems to move • he has a concerned expression—looks like he is doing an all nighter • his hair is curly—like you can see the thoughts spewing out • subject to time because of the movement • there is a sense of storytelling Ottonian to Romanesque The Hildesheim Doors, Saint Michael’s, Hildesheim, Germany, 1015 • each door was cast as a single piece of bronze—very large sheet of bronze which leads to a greater source of error • left side of the doors recounts the book of Genesis and the right side recounts the life of Christ • the old testament scene and the new testament scenes match up next to each other (see the image on the lecture slides of the layout) • Presentation of Eve toAdam • God is shown presenting Eve toAdam • their gaze meets and they are reaching out to each other • God is much larger and in much higher relief thanAdam and Eve • the figures stand on the ground line like a tight rope—their feet go over it, the figures lean out a little bit • the leaning out helps people be able to see them from down below • Fall ofAdam and Eve • Adam and Eve were cough eating the fruit • they are covering their nakedness • the serpent is shown on the ground • they are shown blaming each other and the chain of blame leads to the serpent • God is shown pointing atAdam who is pointing at Eve who is pointing at the serpent • Expulsion from the Garden of Eden • the ground line is firm and solid • Adam and Eve are shown eating the gate • the natural world around them reflects what is happening in the scene • The Temptation • the trees are twisted and the world is beginning to rupture • they are already being separated • The Crucifixion • Christ is on the cross • Saint Mary and St. John are both present • two men are staying him • the figures witnessing the scene are off balance—they lean backwards and forwards • St. John clutches the gospel book—this identifies him • the figures are all separate from each other • the earthquake is shown by the uneven ground • Cross that Christ dies on is called the tree of life Otto I presenting Magdeburg Cathedral to Christ, from an altar or pulpit in Magdeburg Cathedral, 962-968 • was gone over in discussion so she isn't going to cover it Saint-Étienne, Vignory, France, 1050-1057 • looking down the nave to the apse is facing east architecturally clear and coherent • • looks like Roman (Romanesque) • there are radiating chapels—on the end of the apse to hold more altars • ambulatory allows people to go around the places that are reserved for priests • 3 story elevation—similar to Palatine Chapel • Romans did not like columns that were resting on an arch like the columns on this building Saint-Sernin, Toulouse, France, 1070-1120 • pilgrimage church—they have a lot of people visiting • cross shaped building • the narthex is very clear to see • its on the coast so its nice to visit • extra long nave so getting to the end is more exciting • there are double isles • lots of radiating chapels • bay: unit of measure in a church, like a slice of cake hormonally across the church • this church is 11 bays with a width of 4 bays • columns stuck on the wall are engaged columns • there are transverse arches and a barrel vault • the isles have groin vaults Christ in Majesty, Bernardus Gelduninus, relief in the ambulatory of Saint-Sernin, Toulouse, 1096 • inscription on the altar that dates it and states the artist: Bernardus Gelduninus • Christ is in a mandorla (named after an almond) halo • raises his right hand and holds a book in his left that is inscribed “peace to you” • Matthew, Mark, Luke, and John are in the four corners • statue remains flat and planar but there are many different forms and plains Madonna and Child (Morgan Madonna), 2nd half of the 12th century • free-standing small devotional sculpture • one of the most reproduced images in Christianity • it is very emotionally satisfying • Madonna as the throne of wisdom • human figure in the shape of a throne • the Catholic church provides the foundation for Christ—church is unmoving • she is supportive and encloses Christ in her arms • even the mantel conforms to the form of her body • Christ’s arm was probably raised giving a blessing Abbey Church of Sainte-Foy, Conques, France, 11th century • looks like a fairytale church long nave that is crossed by a transept • • has radiating chapels Reliquary Statue Sainte-Foy, late 10th to early 11th century with later additions • young child who refused to pray to Roman pagan gods • furta sacre: holy theft • the people that stole it claimed that Sainte Foy wanted to be there • reliquaries provided destinations for pilgrimages • made of gold, silver, gilt, and jewels over a wooden core • has a Roman helmet • things kept being added to it through the 19th century • Sainte-Foy was a greedy saint—she demanded that people gave her all of their jewels Cisterians and Cluniacs ThirdAbbey church (Cluny III), 1088-1130 • The abbey was only under the supervision of the Pope because the man that donated the land relinquished his rights to profit • they began decorating more with art South Portal of Saint-Pierre, Moissac, France, 1115-1135 • depicts the second coming of Christ • he is surrounded by the 4 evangelios • there are 24 crowned historical kings • Christ is the largest—hierarchical size • the registers are rippled • this is a last judgement scene-clear religious message • see the Romanesque portal diagram from the lecture slides Cloister at Saint-Pierre, Moissac, France, 1100-1115 • the trumeau has intertwined birds and all the columns have nonreligious subjects—each capital is different
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