Art Research Paper 3

Research Question 1: Contrast the differences between Early Gothic and High Gothic architecture in France using specific examples to illustrate your discussion.

 

The term Gothic was first used in 1550 by Giorgio Vasari, because he wanted to ridicule the medieval art and architecture. But, to others the Gothic style was considered “modern work.” Although the term Gothic started out as a “derogatory” term it is “used to describe the history, culture, and art of Western Europe in the 12^th to 14^th centuries” (Kleiner, p. 461, 523). Early Gothic architecture started in 1140 with the design and implementation, building, of the abbey church, Saint-Denis, France (Figure 18-2, p.462). The building contained Gothic Rib Vaults with pointed arches (Figure 18-4, p.464). The pointed arches allowed the vaults to appear taller, thus setting them apart from other pointed arches like the ‘Sasanian vaults (Figure 2-27)’ and the ‘French Romanesque vaults (Figure 17-1 and 17-14)’ (Kleiner, p. 464).

The rib vaults can also be seen in the Laon Cathedral (Figure 18-8, p. 467); however, in this building the architect used a new feature called triforium. The Early Gothic period ended in 1194; which is when the High Gothic architecture started. The triforium in the Laon Cathedral continued to evolve in the High Gothic architecture. The buildings elevation increased. The vaults increased from ‘80 to 144 feet,’ as can be seen in the Chartres Cathedral(Figure 18-10c, p. 468) and the Amiens Cathedral (Figure 18-10d, p. 468). The Amiens Cathedral is more elegant then the Chartres Cathedral, because the architect increased the detail and design of the cathedral. This pushed the High Gothic style up a notch. The Amiens Cathedral architect also used “the concept of a self-sustaining skeletal architecture” as seen in figure 18-20 (Kleiner, p.474). The High Gothic period ended in 1300.

Research Question 2: Explain the role of light in Gothic architecture both from the symbolic and structural point of view. Use examples to support your essay.

 

The abbey church, Saint-Denis was repaired by Abbot Suger, a monk. The plan allowed the walls to be removed from the ‘radiating chapels.’ The walls were replaced with windows, so that the building remained structurally sound. The stained-glass windows were designed and manufactured to ‘transmit’ light, so that it came into the building. In the past, the stained-glass windows ‘reflected’ light. Stained-glass windows were “costly and labor intensive” (Kleiner, p.472). The details of stained-glass windows can be seen in the Chartres Cathedral (Figure 18-1).

The stained-glass windows went between the radiating chapels, and it allowed more light to come in. Abbot Suger believed his church allowed him to be “transported from this inferior to that higher world” (Kleiner, p. 462-3), because the stained-glass windows transmitted the light into different colors throughout the building “enlightening the inside.”  The stained glass windows used in the Saint-Denis set the stage for other Gothic cathedrals. Stained glass was originally used to conceal walls, but this new technique allowed the stained glass windows to replace the walls. The “stained-glass windows are the Holy Scriptures… and since their brilliance lets the splendor of the True Light pass into the church, they enlighten those inside” explaining the lights symbolic meaning (p. 472).   

 

Research Question 3: Describe the stylistic elements introduced by Giotto. Why was his work so important for the development of Renaissance painting? Use examples to support your essay.

 

Giotto Di Bondone is regarded as the “first Renaissance painter, a pioneer in pursuing a naturalistic approach to representation based on observation” (Kleiner, p. 503). Giotto’s paintings portrayed nature and people in a natural form. He observed the environment around him and used the information in his painting style. His three-dimensional perspective is clearly seen in his work; Figure 19-1, The Arena Chapel is a reflection of Giotto’s painting style (p.496).

Giotto used borders for the Lamentation, Figure 19-9, in the Arena Chapel (p.504-505). The Fresco painting draws the viewer’s eyes to the lower left corner by the direction of the landscape and faces. The people are looking at the dead Christ and the rock slopes toward him; therefore, it catches the viewer’s attention and draws them to look at the dead Christ (p.504).

Research Question 4: Contrast the rivalry between Siena and Florence. How did the political climate affect the visual arts of both cities? Use examples to support your essay.

 

Siena and Florence were both powerful Italian city-states in the 14^th-century. These city-states were the center of international trade and wealth (Kleiner, p. 505). The Patrons in these city-states would employ artists to do the work for them. Patrons were normally people of power and wealth or an institution (churches, confraternities, hospitals) (p.506). For example, the Maesta altarpiece, from the Siena Cathedral (figure 19-10, p. 507) was created for the bishop of Siena. The Maesta lives up to being majesty, because it measures 25 x 31 feet.

Siena and Florence   compete with each in arts and architecture, because they both want merchants to come to their city-states to dominate the artistic markets. An example of Siena’s work is the Campo with the Palazzo Pubblico (Figure 19-15, p. 511). An example of Florence work is the Florence Cathedral (Figure 19-18, p. 513).

 

References

Kleiner, Fred. (2011). Art through the ages: a global history (13^th ed). Boston, MA: Wadsworth.

 

Art Research Paper 2

Research #1

The Romans used similar architecture as other ancient people, but the Romans used concrete construction. The Romans frequently constructed theaters; for example, the Aerial view of the amphitheater (Figure 10-13, p.245) was a roofless circular or oval structure that enclosed a large center space or arena, from which the seats radiated in tiers. Another theatre was the Colosseum: the aerial view of the Colosseum (Figure 10-36, p.260). The Romans would gather at events in the theatres for entertainment. The Roman gladiator contests in the amphitheater arena were executions where (sometimes) defenseless individuals were brought out and subjected to butchery and certain death. The Greeks and Romans regularly led criminals condemned to death through the theater, where they were subjected to ridicule by the assembled throngs.

            The Romans also built the Temple of Portunus (Figure 10-3, p.240) which was “a temple dedicated to Portunus, the Roman god of harbors” (p.239). The Romans found favor with the Greek architecture and art; as such, you can see Greek architecture in the Roman Buildings. As the Romans conquered new areas, like Greece, they acquired wealth. This wealth allowed the Romans to build “The Roman House” (p.247). According to Figure 10-16 the Restored view and plan of a typical Roman House, the house contained a “fauces, atrium, impulvium, cubiculum, ala, tablinum, triclinium, and a peristle” (italics authors; p.247).

Research #2

Greek architecture entered in the seventh century B.C.E. and lasted down to the fourth century B.C.E. Athens became the site for majestic temples and buildings erected in honor of the Greek gods and goddesses. The Parthenon, Figure 5-43 and 44 (p.126-7), represent the Greek style of architecture by the three Greek columns developed: the Doric, the Ionic, and the Corinthian.

The Romans were much indebted to the Greeks as to architectural style, as stated in essay 1. Roman architecture was generally more functional and lacked some of the beauty. Perhaps, the use of concrete made it difficult for the Romans to copy the Corinthian capital (Figure 5-73, p.144). However, the Roman architects development of the double arch and the dome were amazing (Exhibit 10-6, p.241). The Romans could extend the span of their arches through the use of concrete this can be seen in the Pantheon (Exhibit 10-49 to 10-51, p. 267-268).

Research #3

The early Christians architects designed their buildings with mosaics: the use of stones, and later glass, to represent rocky landscapes, vegetation, rough water, or even skies with wandering clouds. These scenes of nature helped to depict the life of Jesus: Christian Religion. Figure 11-1, the Interior of the Mausoleum of Galla Placidia is an excellent example of how mosaics were used, because the entire building is covered in mosaics (p. 288). In Figure 11-13, Detail of vault mosaic in the ambulatory of Santa Costanza the mosaics are in the ambulatory; “a ringlike barrel-vaulted corridor separated from the central domed cylinder by a dozen pairs of columns” (p.300). Figure 11-17, Interior of Sant’ Apollinare Nuovo features mosaics of “prophets and scenes from the life of Christ” (p.303). The building was built for Theodoric, so that he could dedicate it to Christ. The mosaics in the building were built so that they would catch the light; therefore, the photograph in the textbook fails to do the mosaics justice.

Research #4

The Byzantine removed the nature scenes from the mosaics; unlike the early Christians and they added “fields of gold” (Figure 12-13, p.322). The Byzantine started to create icons (images) depicting Christian figures, but this divided the people. According to Fred Kleiner, “The iconoclasts (breakers of images) and the iconophiles (lovers of images) became bitter and irreconcilable enemies… The consequences of iconoclasm for the history of Byzantine art are difficult to overstate” (p.326). The people became divided, because the Law that God gave to his people after liberating them from Egypt explicitly directed against idolatrous practices (creating images). The book of Exodus includes the Ten Commandments which expressly prohibited making for worship a carved image. The iconoclasts were following the book of Deuteronomy which explains that all existing idolatry (altars, sacred pillars, sacred poles, and graven images) were to be destroyed. The iconoclasts destroyed a number of pieces of art.

 

References

Kleiner, Fred. (2011). Art through the ages: a global history (13^th ed). Boston, MA: Wadsworth.

Research Paper 1

Research Question 1

            Today, just as in the past, people believe that different things will happen when they die. Christians believe in God, and that they will go to heaven or be resurrected by God and live forever on earth. But, the Egyptians believed in reincarnation. When the Egyptians would die they would become immortal and live with the Gods or deities that they worshipped. The Egyptians would depict this practice through drawings, etchings in walls, and writings. According to Art through the Ages, “The Book of the Dead…depicts the weighing of Hu-Nefer’s heart against Maat’s feather before the deceased can be brought before Osiris, god of the Underworld;” figure 3-36 is the Last Judgment of Hu-Nefer (p. 76).

However, the Egyptians also believed it was important to embalm (preserve) their bodies, so that the Egyptians could return to their bodies if they wanted too. That is why the Egyptians put forth so much time and effort building burial sites for their departure. Figure 3-5 and 3-6 (p.58) of Art through the Ages show Djoser’s pyramid and “mortuary” which is “a 37 acre rectangle”. As time went on the burial sites increased in size and complexity; for example,   figure 3-22 and 3-23 (p.69) are portraits of Ramses II ‘rock-cut’ temple which has images ranging in size from “65 to 32 feet.” Egyptian architecture, sculptures, and paintings support the Egyptians belief in the after-life.

Research Question 2

            Egyptian rulers varied in their abilities and vision of what it was that they wanted to create and build for themselves. I find it hard to make a blanket statement, “that the spirit of the Old Kingdom is best expressed in the pyramids, that of the Middle Kingdom in its sculpture, and that of the New Kingdom in its painting” (Mr. Trinchera Instructions). The Great Pyramids at Gizeh, figures 3-8 and 3-9, were created during the Old Kingdom (p.59-60); however, during that time period many sculptures were created that contained the spirit of Egypt. For example, figures 3-12 Khafre enthroned and 3-13 Menkaure and Khamerernebty?(p. 62).

            If the Egyptians were ruled well they remembered their king or pharaoh after they died; departed to go live with their Gods. But, if the king or pharaoh was cruel or something happened to displease the next ruler, then they would remove, destroy, eradicate anything that they felt would remind others to follow of them. Therefore, what we have today to remind us of the Egyptians is remarkable and captures the spirit of the Egyptian culture -no matter what the time period. Architects today continue to study the buildings and designs of the Egyptians.

Research Question 3

            The Greeks were influenced by gods and goddesses, and as such they built temples and alters to worship these deities. The Lady of Auxerre was sculpted during the Archaic period (p. 105). The sculptor clothed the woman and gave the shape of the female body, but it lacks realism. The Temple of Athena Nike, figure 5-56, portrays the female Nike as being beautiful no matter what she is doing (figure caption reads Nike Adjusting her sandal on p. 133).

As time went, during the late classical period, the female body was expressed and not repressed behind clothing. The naked sculpture of  Aphrodite of Knidos is appropriate, since she represents the Goddess of love (p.137). The attention to the body appears to be more natural than the Archaic period. The setting is important because it depicts the Goddess as doing something that humans do. The sculptor was open in displaying the breast, but took care not to go too far.

Old market woman, figure 5-86, portrays an old woman (p. 152). This is very different from the other time periods, because upon first glance it is not as appealing as the younger, beautiful women of earlier times. 

Research Question 4

The Egyptians learned when building the great pyramids that the numbers mattered. The degree of the tilt and the size/shape of the material being used were important. If they were not careful and precise with the math, then the project would not be completed and time would be lost. The Greeks learned a similar lesson as well. “The Parthenon architects and Polykleitos were kindred spirits in their belief that beautiful proportions resulted from strict adherence to harmonious numerical ratios…” explains Fred Kleiner (p.127).

The Greek architects created a formula to use when designing their temples. The Temple of Athena Parthenos, figure 5-44, is the result of the architects sticking to the formula that they came up with (p.126-127). The architects wanted to create a structure that would be beautiful and that would last. Since the structure still stands today, the architects are remembered for their design and achievement. 

Research Question 5

            The Greeks honored the Gods and Goddesses by worshipping them. Part of worshipping them was building the Gods and Goddesses temples and alters. Inside the temples and alters were sculptures. I believe that the sculptures of the Mount Olympus Gods reflected their beliefs and customs the most. Figure 5-31 is a portrait of several sculptures of the Greek Gods and goddesses: East Pediment from the Temple of Zeus (p.119).

            The Olympian deities were sculpted in different stances or positions to give the appearance of motion. The sculptures portrayed the deities as humans, so the Greeks were able to better relate to them. Since, the Greeks could relate to the Gods and Goddesses they were able to build their culture around the deities. Most of the Greek art has some aspect to the Gods and Goddesses during the classical period.

References

Kleiner, Fred. (2011). Art through the ages: a global history (13^th ed). Boston, MA: Wadsworth.