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aletheia: how things really are (think math)
phantasia: how they appear to our senses/brain |
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| the triangular part of a classical temple entablature - i.e. the "roof" which was supported by the columns. |
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| central part of a classical entablature. In doric architecture: divided into triglyph and metope |
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| part of the frieze in Doric architecture. Smooth area between the fluted "trigylphs" |
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has an open frieze
top part of column (capital) has scrolling (volute)
taller and more slender than Doric |
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- frieze divided into metope and triglyph
- top part of column (capital) has echinus (sloping) instead of volute (scrolling)
- shorter and more squat than Ionic |
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| main open area of midieval church with a basilican plan - the vertical piece of the cross |
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| the "crosspiece" of the cross in a basilican plan midieval church |
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| common in basilican-plan midieval churches. carries across the nave |
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| windows above eye level; common in basilican midieval churches |
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| a relief is a sculpture that is NOT freestanding (i.e. not a statue) - but it projects from its background. High relief projects a lot, and low relief projects a little. |
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| characteristics that can place a work in a certain time period, geographical area, or as belonging to a specific artist |
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| creates an illusion of depth in a work by portraying light travelling through the picture to the observer's eye |
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| the point in the picture that represents things that are infinitely far away - they have shrunk to the height of a line. |
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| a work created with colored glass in (traditionally) a metal frame - the glass is colored by adding ionic salts to it. |
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- common in Gothic church architecture
- braces the weight of a wall, but is seperated from the wall by a horizontal "flyer" |
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| period in history that preceeds the classical period |
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| when atmosphere has an effect on the subject of a painting - i.e. when mountains far away have less contrast with the background than do mountains close up. |
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Greek-speaking continuation of Roman Empire during Late Antiquity and the Middle ages; capitol was Constantinople
Art was more representational and abstract than naturalistic compared to Rome; icons were big. |
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| the "rules" for a proper human figure in art - proportions, etc. |
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period of art from death of Alexander the great to the Battle of Actium (31 BCE)
focuses on naturalism (in statues, especially) and study of the human form. |
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| representative statue showing a young man, but not a specific young man. Associated with the archaic period in Greece; less naturalistic than later Classical art. |
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| A human figure leaning more on one leg than the other, forming a more natural pose. First appeared in the Classical period. |
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| Hellenistic vs. Classical |
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| Hellenistic is a later period; more naturalism (portrayals of real people, non-physical ideals), influence by surrounding/conquered cultures, statuary becomes an industry because of high demand |
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| plays a prominant role in Greek mythos and art. Archaic period: avoided too much naturalism because it was seen as giving in to the struggle of chaos vs. order. Classical: after the battle of Salamis, where the Greeks defeated Xerxes of Persia using knowlege of the tides, chaos was no longer seen as an inherently bad thing. |
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480 BCE
defeat of Xerxes of Persia, with a larger army, by the fewer Greeks through knowlege of the terrain. Ushered in the Classical period and ended the Archaic period |
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| unity of the Greek city-states to defeat Xerxes of Persia at the Battle of Salamis (480 BCE). This helped usher in the Classical period because now the Greeks saw themselves as having a seperate identity for foreigners and their art reflected this seperationist attitude - they wanted to change from the previous representational style. |
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450-400 BCE
Pericles made a bunch of buildings for the Acropolis, such as the Parthenon, a temple to Athena |
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430-323 BCE
pretty much the same as High Classical, but a new canon comes out - the Lysippian, where the hight of the human body is eight heads.
Also, Lysippos made sculptures where you had to walk around to see it fully, instead of the previous statues which assumed the viewer was standing still. |
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| order that existed in the world- the will of the gods, as opposed to chaos. |
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| on opposite sides of the body muscles are tensed and relaxed. |
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| lines leading to the vanishing point |
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| wrote Republic at the end of the Classical period - allegory of the cave. Typical of Classical era with emphasis on enlightenment and seeing the truth after being mistaken. |
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| writes about art during the Classical period. Admires naturalism, and comments on artists' use of contrapposto |
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| leader of Greek democracy who commissioned the Parthenon; made Athens the most powerful of the city-states in 5th century BCE. |
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| Greek thinker who believed that beauty was present in mathematical ratios. This idea influenced the rations of the Parthenon and its formula to determine the number of columns a side would have. |
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the "floor" of a temple on which the columns are placed.
The edges would be lower than the center, as if the floor was an upside-down bowl. |
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| the portrayal of movement in a static moment or pose |
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| establishing a proportional relationship between all parts of a statue to each other and to the figure as a whole. |
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| painter of Ancient Greece; duelled with Zexius re: the best trompe l'oiele - he drew the curtain, Zexius drew the grapes. (This story is by Pliny the Elder) |
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| tiles used to create a mosaic |
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| lines that are perpendicular to the orthagonals, running horizontally along the picture plane. |
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| seen in the Gothic period; intersection of barrel vaults |
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| preceeded the Gothic style; curve-topped arches inspired by Roman and Byzantine architecture. Very sturdy; relies on walls instead of arches/columns/buttresses |
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| followed Romanesque style: pointed arches, rib vaults, buttresses/flying buttresses, very ornate facades |
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| a freestanding sculture - as opposed to relief |
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| a drawn depiction of space |
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| Roman naturalism; "warts and all" |
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| the destruction of religious images (specifically portraying religious figures). Happened in the Byzantine Empire 726 - 787 CE |
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| religious work of art, generally of Eastern Christianity, often flat and portraying religious figures |
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| the subject of the work; what it portrays |
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around 800-900, beginning with the reign of Charlemagne. Lots of pre-Romanesque stuff - illuminated manuscripts, mosaics, things like that.
Architecture consciously imitated Roman and Byzantine stuff. Churches were Basilican. |
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| built the first Church in Gothic style. Rebuilt church of St. Denis, which had been in the Carolingian style. When he made stained glass windows, he called the colored light coming through "lux nova" or "new light." |
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| architectural design where a crossbeam rests on two supports (think stonehenge) |
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| 14th century; focus on humanism, science, enlightenment, the "rennaissance man"; introduction of oil paint; neo-classical architecture; Devotio Moderna and the beginnings of religious reform |
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| the attempt of christian thinkers to reconcile christian dogma with rational thought |
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| a focus on humans as their own agents; a continuation of naturalism. The emphasis of secualar concerns upon the rediscovery of Greek/Roman art. |
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