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| God values beauty and utility |
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| cultural mandate may be interpreted as a call to develop the whole range of human culture |
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| the thigns of the world can reveal something of the nature of god |
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| everything is people oriented, very focused on this world. |
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| focused on the ideal, not individual. all portrayed as what (in their eyes) was perfect |
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| using the mind and mathematical proportions to create things tha twill be aesthetically pleasing |
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| pericles is ruler of athens, high point of greek cultureat the end of avictorious war with persia. pericles rebuilt the ruined acropolis |
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| earliest and simplest of greek architectural orders, featuring short, sturdy columns, often unfluted, and simple capital shaped like a square block and circular cusion |
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| somewhat ornate greek architectural order characterized by its slim, fluted columns and capitals in the form of spiral scrolls, called volutes |
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| most ornate, featuring thin, fluted columns and capitals elaborately decorated with acanthus leaf carvings; popular during the hellenistic and roman periods |
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| decorative section of masonry at the bottom of Ionic and corinthian columns |
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| vertical section of a column between the capital and that base |
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| curve along the tapering lines of a column |
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| indentations in the column - scooped out area |
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| decorative top part of a column that supports the entabliture |
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| the horizontal structure above the columns and capitals and below the roof |
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| bottom part of an entabliture, directly above the capital. smooth. |
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| band of ornamental carving, especially the middle of an entablature. may be continuous or not.. |
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| rectangualr block with three vertical grooves. an interruption of the frieze |
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| square or rectangular space, often decorated |
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| horizontal molding that forms the uppermost, projecting part of an entablature |
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| triangular space at the end of a building, formed by the cornice and the ends of the sloping roof |
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| architectural construction system in which two vertical posts support a horizontal beam. simple, stable, popular, versatile. |
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| ratio for perfect proportions we supposedly see in our minds as aesthetically pleasing. |
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| deviations from absolute regularity and rigidity |
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| sculptural technique in which objects project from the surface of which they remain a part; the degree of relief is designated high or low, depending on how much the object projects from its background |
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| sculpture which is not attached to a background wall, but stands free |
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| alex the great dies young and leaves no successors, resulting in chaos and uncertainty and art changes |
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| hellenistic art characteristics |
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| more individualized, diversity of ages, movement and emotion exist |
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| you are what you listen to. music effects you ethically and will develop your character for good or bad |
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| music is so powerful that if you have healthy music youll have a healthy culture. he stressed that gymnastics and music would create a good citizen |
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| agrees with plato's view that music is powerful and young must be educated in music, but youth will be more responsive to music education if they find enjoyment in it, and music can also be an outlet for catharsis. |
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| they're borrowers... exported ideas but also open minded to importing ideas. huge empire yo |
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| main contribution. goal was to enclose large interiors with a minimum of interior supports, built buildings for use, using improved versions of the previously invented arch and concrete |
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| series of arches side-by-side |
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| vault based on an extension of the round arch; in effect, many round arches placed one behind the other. passageway |
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| vault resulting when two barrel vaults intersect. used to roof a square area. |
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| architectural generally in the shape of a hemisphere; theoretically, an arch rotated 360 degrees on vertical axis, provides roofing over a large area without vision-blocking supports |
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| mixture of rubble, mortar, and pozzolana (volcanic rock) improved drying properties. buildings built with it and usually covered by pretty stone. |
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| pretty stone that covers concrete |
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| opening at the to pof the pantheon |
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| decorative ceiling cut outs that also reduced weight of roof |
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| bumpouts in the walls where sculpture was located in the pantheon |
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| perfect circle (pantheon) |
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| material used to create a work of art |
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| surface on which a work of 2-d art is made |
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| coloring material made from various organic or chemcical substances |
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| substance in paints that causes particles of pigment to adhere to one another and to a support |
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| painting medum in which colors are applied to wet plaster, thus bonding the image with that painting surface. used in murals, very duragble, suffers fate of the wall to which it adheres. antiquity - renaissance |
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| painting medium in which the binder is hot beeswax. popular in antiquity. |
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| painting medium in which the binder is egg yolk. flat precise work with crisp outlines. middle ages and renaissance |
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| painting medium in which the binder is linseed oil. easy to work with, produces incredibly accurate textures. also pretty colors. 1400s - 1950s (renaissance) |
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| painting medium in which the binder is gum arabic |
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| plastic substance commonly used as binder for paintings and casting material for sculpture, pure/intense colors with great flexibility in application. 1950s. |
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| art form in which small pieces of tile, glass, or stone are fitted together and embedded into a background to make a pattern or image. floor/wall decoration. roman/byzantine. |
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| forerunner of christ seen in the old testament in art |
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| focused on story telling, focused on the next life, not so much focused on accuracy or detail |
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| constantine put this symbol on the shields of his soldiers because an angel appeared to him and told him "in this sign you will conquer" |
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| entrance hall or vestibule |
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| rectangular space of a church where worshippers sit or stand |
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| series of arches along the nave |
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| area above the nave arcade; originally flat and covered with mosaics or paintings, later became arcaded wall passage |
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| row of windows along the top of the nave walls |
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| basilica architectural structures |
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| cruciform, atrium, narthex, nave, triforium, clerestory, apse |
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| portion of a church flanking the nave and separated from it by a row of columns or piers |
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| originally the semicircular niche at the ends of a roman basilica; in christian architecture, the niche usually housed the altar |
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| section of the church near the apse that crosses the nave at a right angle |
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| where the nave and transept cross (interesect) |
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| concerns of music in the church |
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| pagan influence and distraction (not listening to the words but caught up in the music) |
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| limitations of music in the church |
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| no instruments, no dancing, down-played rhythm |
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| characteristics of a Gregorian chant |
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| musical prayer, monophonic, unaccompanied, easy to sing, church modes, little sense of beat, calm quality. |
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| background of the romanesque era |
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| church provides light and motivation for romanesque art because they have the means and confidence to produce works |
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| characteristic of the romanesque era. going somewhere because of faith. hoping to attain something, there were churches and monasteries along the way to worship and get some sleep/foodddd |
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| something once touched or attached to a holy person |
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| romanesque era... provides stability of where people fit into the system. still a time of uncertainty but they're doin okay |
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| structures in romanesque architecture |
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| towers, portal, ambulatory, chapels, choir, nave, transept, crossing |
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| characteristics of romanesque architecture |
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| horizontal, based upon multiple units as construction principle (segmented), rounded arches, thick walls and piers, dark, solemn interiors, severe, simple exteriors, more spacious. "there's a god and you're not him" attitude |
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| extension of the aisles which allows pilgrims to walk around the apse or choir of a church |
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| small area projecting off the apse of a church; contains an altar consecrated for ritual use |
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| romanesque portal structures |
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| archivolts, jambs, tympanum, trumpeau, lintel |
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| characteristics of romanesque sculpture |
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| emaciated and elongated; skeletons with fabric on them; jerky awkward movements; inaccurate proportions; crowded/distracting |
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| many lines of music, glossing, importance of notation, simple->complex |
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| characteristic of a song, means its in verses |
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| background of the gothic era |
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| things are increasingly settling down and looking up. there is economy, education, and stability. |
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| gothic philosophy for an approach to education - using the mind to figure things out (reason does not destroy faith but perfects it) |
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| characteristics of gothic architecture |
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| located in big cities; very vertical; unified unbroken space that was airy and bright; included pointed arches, ribbed groin vaults, flying buttresses. exterior was richly deocrated |
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| headquarters of churches of the region (as opposed to churches and romanesque cathedrals which were on pilgrimage routes). dedicated to Mary (notre dame = our lady) |
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| slender arched support that in a vault system typically projects from the surface along the groins where semicircular vaults intersect each other. ribs both reinforce the vaults and unify them aesthetically |
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| sculpture in the gothic era |
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| becoming more naturalistic because of shift to more humanistic ideas. they're moving towards more believeable bible stories. |
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| every day has a place in the big picture |
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| everything is falling apart, there's flood, famine, war, plague, great schism (pope drama). but they try to control what they can and make little advancements (improving what they can). more humanistic. |
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| human form is believeable; shading, shadows, spatial sense, simple narrative without distractions. USING THE EYE TO OBSERVE THIS WORLD |
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| adventure of the mind. a rebirth of the Greco-Roman world with improvement and they're own twist on things. faith is still there, but there is an increasing interest in realism in art. |
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| wealthy family in florence who basically sponsored and supported the renaissance |
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1) objects in the distance appear to be smaller.
2) parallel lines appear to converge at a point in the distance |
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| look blurry and air makes things in the distance look more realistic and 3D |
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| shading to make things look rounded, 3D, and realistic, also to create shadows |
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| soul is perfect before birth, you are born and contaminated by sin, you can choose to contemplate art and then save yourself! |
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