PREHISTORIC Cave Paintings of Lascaux France; c. 15,000-10,000 BC Hall of Bulls Venus of Willendorf found in Austria; c.

c. 20,000 BC very rotund, no facial features, prominent female characteristics, fertility figure Stonehenge c. 2,000 BC built in stages (2,000 years to complete), megalith (big stone), religious site (moon/sun worship) post and lintel construction Bison from La Madeleine c. 15,000-10,000 BC EGYPTIAN Characteristics/Themes: registers, columns idealized body proportions (palm width measurements) composite perspectives (2-dimensional) patterns, symbols/symbolism rigid poses no shading, flat color outlines shallow space not freestanding, attached to stone block (sculptures) OLD KINGDOM (Archaic Period) Palette of King Narmer c. 3150 BC The Great Sphinx c. 2575-2465 BC Pyramids of Giza 3 pyramids, tallest is approx. 1,000 feet AMARNA PERIOD started by Akhenaten; egg-shaped skulls; haggard features, overemphatic outlines; different from traditional immobility of art King Menkaure and his Wife Nefertiti c. 1360 NEW KINGDOM (1500-1145 BC) constructions of large temples Temple of Hatshepsut Deir el-Bahn funerary temple; built by Senemut (1478-1468 BC); ramps and colonnades; dedicated to Amun and other deities Tutankhamen Coffin Cover c. 1340 BC ArtSpeak: mastaba basic form of a tomb (step pyramids are stacked mastabas) register how Egyptian art is organized: on top of each other/divided into rows) stylization ankh symbol of life ka the soul that lives on after death GREEK Influenced much of the Western world previously very colorful (statues) focused around people and religion

quick stylistic development lightness/subtleness in architecture ARCHAIC 800-550 BC freestanding; rigid poses; highly stylized; realistic Kouros (p. kouroi) sculpture of a young man CLASSICAL (Hellenic) idealized people in prime, controlled/poised, less emotional Doryphoros (spearbearer) c. 450 BC by Polykleitos asymmetrical, contraposto, neutral facial expression Discobolos (discus thrower) c. 450 BC by Myron motion before throwing, classical pose before movement Greek high classic Three Greek Orders Doric Ionic Corinthian Parthenon c. 430 BC by Iktinos and Kallikrates ordered to be built by Pericles; colonnade (46 outer columns); pediment and frieze relief sculpture; Golden Rectangle; dedicated to Athena REFINEMENTS unevenly spaced columns, corner columns placed closely together; convex platform entablature; columns slant inward intentional departure from strict regularity of design; aesthetic reasons; feeling of greater strength, sturdy subtle but noticeable Greek Vase Forms designed with form and function amphora: holds liquids krater: holds food kylix: drinking vessel HELLENISTIC very emotional (pathos), height of action (most dramatic, even more realistic Pergamon Altar (Great altar of Zeus at Pergamon) 180 BC battle of gods and giants high relief sculptures: more shadow, drama, contrast, adds dynamic very detailed Winged Victory of Samothrace (Nike) c. 200 BC Dying Gaul 220 BC; from Pergamon ROMAN Pantheon 25 BC, rebuilt c. AD 125 by Marcus Agrippa temple; backdrop for outdoor events oculous on dome Colosseum c. AD 80 used the 3 Greek orders for columns columns not supportive (has arches), only decorative Roman (round) arch and variations on it arch, barrel vault, triumphial arch, groin vault,

Portrait Sculpture Trajans Column AD 106-133 ArtSpeak: basilica form of building for large public spaces nave area between the side aisles apse semicircular end of building, focal point, altar equestrian statue statue of a person on a horse fresco mural painted on wet plaster MEDIEVAL Lindisfarne Gospel page c. AD 700 GOTHIC AD 1140: Royal Abbey of St. Dennis by Abbot Suger Cathedrals key concept is unity; interior and exterior receive equal emphasis/decoration flying buttresses (flying arches with tower buttresses): no need for heavy walls, pointed arches, enlarged apse, ribbed vaults (fan vaulting in England), stained glass walls, cloister stylistic traits of Gothic Sculpture not very realistic, stylistic, exaggerated features, halos around religious figures Notre Dame de Paris 1200s ArtSpeak: flying buttress rose window at the end of the building or transept tympanum carvings above doorways/portals; told stories to inform illiterate people, teaching device through art transept crosspart of building illuminated manuscript gargoyle grotesque demon statues, mouths: water spouts, thought to ward off evil portal - doorway ITALIAN RENAISSANCE Revival of classic antiquity aim: not to duplicate, but surpass the classics originality: used past ideas in different ways early modern era shift to secular orientation man is the measure of all things EARLY RENAISSANCE Giotto: Lamentation 1306 unlike Gothic art, figures are turned, one even faces away from the viewer overlap of figures: sense of space Donatello: David 1425-30/1440s 1st fullscale nude since antiquity bronze, showing a youth athletic, but not unrealistic like roman contraposto Botticelli: Birth of Venus c. 1480 Ghiberti: Gates of Paradise - 1435 HIGH RENAISSANCE Leonardo: Mona Lisa clam, hazy (sfumafo), soft features, nothing sharp,wild mountainous background

mysterious smile, colors: browns and greys: helps haze effect, idealized Madonna of the Rocks altarpiece in Paris, setting: dark cave Last Supper 1497 wall painting, linear perspective (Jesus is the vanishing point) notebooks Vitruvian man Michelangelo: David 1504 pieta Sistine Chapel CEILING: 1508-1512 The Creation of Adam and Fall of Man Raphael: School of Athens 1510 Madonnas El Greco: Burial of Count Orgaz (Mannerism) 1588 two levels: heaven and earth; intense light in upper half elongated figures; flatness Madonna with Long Neck 1534 by Parmigianino (Mannerist) ArtSpeak: linear perspective one point/scientific perspective, one light source atmospheric perspective things that are farther away are hazy and duller in color foreshortening things seem bigger and more distorted as they are closer sfumafo engraving hidden symbolism altar piece painting of wood placed on altar in chapel for people to pray to NORTHERN RENAISSANCE Germany, Flanders (Belgium), Holland, England Van Eyck: Arnolfini Wedding Portrait 1424 (Early Northern Renaissance) "hidden symbolism Bruegel: c. 1550, Flemish landscapes, proverbs, scenes of everyday life (genre) Peasant Wedding Hunters in the Snow (Return of the Hunters) - 1565 Harvesters Durer: self-portraits prints The Annunciation Triptych (Merode Altarpiece) c. 1425 (Early Northern Renaissance) by Robert Campin BAROQUE Caravaggio: Calling of St. Matthew dark, simple setting, painted for a church, radical realism conversion: shown as a beam of light, chiaroscuro: dark/light contrasts, autobiographical elements Velasquez: Maids of Honor 1656 large painting, group portrait (Spanish royalty), shows artist himself in picture multiple levels of reality: mirror, paintings, doorframe, artist Rembrandt (Dutch): Nightwatch (The Company of Franz Cocq) 1642 chiaroscuro, group portrait (militia), scene of army going to a nightwatch Self-Portrait 1658 Rubens: Raising of the Cross triptych, muscular figures, lighting highlights Christ (chiaroscuro) tensions: diagonal positions create motion (dynamic as opposed to static) The Lion Hunt 1618

Bernini: Ecstasy of St. Theresa 1645 marble sculpture; religious trance, fervor; lifesize, illusionistic: drapery; light rays; theatrical The Rape of the Sabine Women 1634 by Nicolas Poussin ROCOCO Artistic style favored by the French aristocracy before the Revolution (1789) pastel colors, brighter pictures subject matter: mythological, aristocratic young people, fantasy Jean-Antoine Watteau: Pilgrimage to Cythera (The Embarkation for Cythera) 1717 fetes galantes gallant festival NEOCLASSICAL Artistic style of the Enlightenment and Revolution inspired by Greek and Roman art heroic subjects: courage, sacrifice, valor David: Death of Socrates 1787 Death of Marat ROMANTICISM Eugene Delacriox: Liberty Leading the People 1830 Theodore Gericault: Raft of the Medusa 1818-1819 Francisco Goya: Third of May 1814 chiaroscuro, shows faces of the victims, not the soldiers, white shirt white flag of surrender IMPRESSIONISM Challenges of photography; light effects color; painting outdoors en plein air Manet: landscapes, urban life Luncheon on the Grass 1863 Monet: Waterlilies landscapes portraits Renoir: The Boating Party POST-IMPRESSIONISM Van Gogh: Starry Night 1889 Seurat: Sunday at the Grand Jatte Cezanne: father of modern painting landscapes patches of color, flatness still life took a long time to observe and plan portraits CUBISM Analytical, visual perception redicing art of essential form

Picasso: Women of Avignon (Demoiselles dAvignon) 1907 started Cubist movement; reworked many times Guernica 1937 black and white; shows bombing off Guernica, Spain; figures express emotions collage EXPRESSIONISM Self-expression color captures emotional state Munch: The Scream -