Week 16 Notes
Week 16 Notes ART 1906
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This 6 page Class Notes was uploaded by Katie Warren on Friday April 22, 2016. The Class Notes belongs to ART 1906 at East Carolina University taught by Michael Duffy in Winter 2016. Since its upload, it has received 11 views. For similar materials see Art History Survey 1 in Art History at East Carolina University.
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Date Created: 04/22/16
NOTE FOR READER: For notes in this class I will give the full name of the painting or piece of art so that you can either look them up in your book or hopefully online if you do not have a book. Hope this makes it easier to study! Notes for Week 16: 4/18/16 Europe in the Romanesque Period (Map 16-1) 950-1050 Sistersion and Clooney Saint-Martin-Du-Canigou: 1001-1026 Pg. 462 (Figure 16-2) This is a monastery and built on two stories Barrel vaulting was used. Transverse arches. Made out of stone from the area and cut into brick shaped pieces to be put together. Interior, Church of Saint Vincenc, Cardona: 1020s-1030s Pg. 463 (Figure 16-3) Local stones are used here and they are cut in oblong shapes. The walls are very thick and this area is called a transverse arches are a unit. Arches that are not part of the arcade and this goes oblong, stripped buttress Traditional basilica structure. Articulated compound peer: there is a cluster of projecting elements. There is darkness and coldness inside this church. There are just windows on either side. The Pilgrimage Routes to Santiago De Compostela Pg. 464 (Map 16-2) This is where there were maids of St. James at De Compostela. This became an important place with relics. Looking at some Churches on this Journey and starting from the beginning: Plan (A) and Reconstruction Drawing (B) of the Cathedral of St. James, Santiago De Compostela: 1078-1122 Pg. 465 (Figure 16-4a) Seats of a bishop The plan of the floor is a Latin cross plan. The two side hallways were long and there was special entrances for the pilgrims in the two wings of the arms of the cross. There were shrines also in this area. There was a main area and processions would take place here. There were two towers at the back of the church. Transept Interior, Cathedral of St. James, Santiago De Compostela: 1078- 1122 Pg. 465 (Figure 16-5) The crypt was where the remains of St. James were kept. The side isles are wide and they lead into little nooks about the area. Compile piers were used where there were engages columns and other structures connected like transverse arches into a slow procession. The second story was open in the arches and called a gallery. The lighting was very dark and lights only came from the ends of the hall through the windows. There were not clearstory windows. Reconstruction Drawing of the Abbey of Cluny: 1088-1130 Pg. 466 (Figure 16-6) Very tall building with walls that were thick. There were 6 towers. Double transept, massive arcade. th th Reliquary Statue of Sainte Foy (St. Faith) late 9 or 10 century Pg. 467 (Figure 16-7) This is a silver gilt over a wood core and there are different gems and jewels about the figure. Plan (A) And Church Interior (B) of the Abbey of Notre-Dame, Fontenay: 1139- 1147 Pg. 469 (Figure 16-9 a and b) Cistercian order is a reform movement within the vaulting and proportions of the French Gothic Style that was an influence for it. Was in a valley and surrounded by trees. Church was a rectangular Placida Interior, Church of San Clemente, Rome: 1128 Pg. 471 (Figure 16-11) Cross with the symbol of afterlife and Christianity. There is the tree of life in this dome and there are deer drinking from the waters. This is a scene of abundance and paradise! Cross is represented as the tree of life. Tesserae are set at angles and the glass is sparkling. Golf leaf is used and this is also polished. The painting sparkles and is shown in a very rich way. Christ in Majesty: 1123 Pg. 473 (Figure 16-13) Fresco in a mountain church in Taull. This is a universal figure. Abbey Church of Saint-Savin-Sur-Gartempe 1060-1075 for Chior and Nave 1095-1115 Pg. 474 (Figure 16-14) Fresco is on the ceiling. Decoration: Ceiling and walls have paintings of the end of time from the book of revelations. Tower of Babel: 1115 Pg. 474 (Figure 16-15) The colors are very strong and well represented. The figures are shown as swaying and moving along quickly. Interior, Speyer Cathedral: 1080-1106 Pg. 475 (Figure 16-16) Simple arch structure. Kaiser dome is used here. Piers are 6x8 ft. tall. Columns built into the wall and are two stories tall. All the way to the transverse section where they are about 90 ft. tall. Exterior, Speyer Cathedral Pg. 475 Figure 16-17 The building has two towers and a narthex at the west of the building. There is also a large alter and choir space. The space is very grand and has a lot of large features. Plan (A) and Interior (B) Of Durham Cathedral: 1087-1133 Pg. 476 (Figure 16-18a) Architecture was developed specially by many different specialists and they all developed the aspect of the space. INSIDE: (Figure 16-18b) the arches were very wide and tall. o Pronounced ribbed ceiling. 4/20/16 Christ and Disciples on the Road to Emmaus: 1100 458 (Figure 16-1) These figures are all travelers or pilgrims and there are two disciples following the resurrected Christ. The Style is very Romanesque. The figures are large and fill the space up that they are crafted in. The art is soft and drapery is molded upon the bodies. There is a drill being used here. The figures are also making eye contact with the viewer. Elements of Architecture: The Romanesque Church Portal Pg. 478 All the parts of this door are carved individually. There are two examples of this in two different towns that held these churches, they are shown below… South Portal, Tympanum Showing Christ in Majesty: 1115 Pg. 480 (Figure 16-21) Pilgrims would stop here and also congregations would meet here. These buildings are associated with monasteries. Hierarchy is important here and Christ has a crown on and is being represented as a king. There is a new style of wavy lines that encompass the figures. There is a rippling and sense of three rows here. The registers even ripple. It is also hard to distinguish the separate blocks of stone. Tremeau, South Portal, Priory Church of Saint-Pierre, Moissac: 1115 Pg. 481 (Figure 16-22) Figure of unknown prophet. Slithering being like a snake. The lines are twisting. It seems like the lines are sticking out of the stone and the drapery is clinging to him. Reliefs on the Left (West) wall of the South Porch, Priory Church of Saint- Pierre, Moissac: 1115 Pg. 482 (Figure 16-23) There are three registers. The left there is a greedy man being strangled by his own greed. There are other sections that also represent different meanings. A Closer Look: The Last Judgment Tympanum at Autun by Gislebertus: 1120- 1130 or 1130-1145 Pg. 483 The lines are carefully placed and this is a very large arch. There are two lentils. The figure in the middle is looking straight forward. The Magi Asleep (A) and the Flight into Egypt (B): 1125 Pg. 484 (Figure 16-24a and b) The angel is interrupting their sleep to inform them that Herod the King was coming. Herod was trying to save the child in the flight into Egypt and, this is a realistic image. th Crucifix (Majestat Batillo): Mid-12 Century Pg. 485 (Figure 16-25) Wood crucifix was found in a church and is very large! 3 ft. high and based upon the concept of Christ. Splendidly dressed in this image! Wearing something that many fortunate people wear. Virgin and Child: Late 12 Century Pg. 486 (Figure 16-26) Almost 3 ft. tall and this is carved from very precious wood. Thrown of wisdom. Virgin is seated in an elaborate chair almost like a queen. Tomb Cover with Effigy of King Rudolf of Swabia: 1080 Pg. 486 (Figure 16-27) Bronze casting. He is a king from Saxony. He died in battle. He was a crusader. Renier of Huy Baptismal Font, Notre-Dame-Aux-Fonts: 1107-1118 Pg. 487 (Figure 16-28) Represents paradise, the figures are molded softly to represent a natural aspect of surfaces, textures and proportions. This is the beginning of the Gothic period. The figures are well placed and very proportional. The figures are the only images on the art so it represents peacefulness. There are half figures and some of the oxen were lost. Messengers Signal the Appearance of Halley’s Comet, The Bayeux Embroidery: 1066-1082 pg. 488 (Figure 16-29) This is Linen work with wool embroidery and it was created after a comet crossed the sky. St. Matthew from the Codex Colbertinus: 1100 Pg. 491 (Figure 16-33) Books of manuscripts! Hildegard of Bingen: The Universe: 1927-1933 Pg. 492 (Figure 16-35) Hildegard made this work and claimed to see visions about it and then composed this artwork to represent the vision. Hildegard and Volmar: 1150-1175 Pg. 492 (Figure 16-36) Wax writing Was Hildegard responsible for the images in this book? Probably so! She had visions when she was awake like a daydream. She was constantly sick and felt pain. She was writing on the tablet in the image like it was a sketch pad. Gothic next time (Mondays class)! Plan of the Choir (A) and View of Ambulatory and Apse Chapels (B of the Abbey Church of Saints-Denis: 1140-1144 Pg. 498 (Figure 17-2b) Uplifting structure, the arches usually end at a point Lancet windows are very long and tall.
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