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| HALL OF BULLS. found in Lascaux, France. 15,000-13,000 BCE. The aminals vary in size, the differnt forms of the animals reveal that some were painted at different times.the figures are painted in twisted perspective. |
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| VUNUS OF WILLENDROF. Found in Willendorf, Austria. 28,000-25,000BCE Paleolithic period. the emphasis on the breast and the pubic area reveal that this figure might of been used as a fertility simbol. |
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| STELE W/LAW CODE OF HAMMURABI. found Susa, Iran. 1780 BCE.Babyloninan. the stele was used as a law document. The image on the top is a portrayal of Hammurabi being blessed by the sun god. Used as political propaganda. |
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| PALETTE OF KING NARMER. Found in Hierakonpolis, Egypt. Predynastic Period. 3000-2920BCE. It represents the unification of upper and lower Egypt. The use of the falcon-God symbolizes blessing over the unification of egypt. the size of an image represents thier status. the images are shown on a twisted perspective. |
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| GREAT PYRAMIDS. found in Gizeh, Eqypt. build during the 4th dynasty, 3000-2920 |
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| ROYAL INTIMACY,Akhenaton, Nefertiti and 3 daughters.Found in Tell el-Amarna, Egypt. from the 18th dynasty. 1353-1335 BCE. sunken relief stele. it shows a different look @ the royal family. curvaceous, new way to show the body.living rays of the sun. |
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| DORYPHOROS,by Polykleitos. from Pompeii,Italy. 450-440BCE. the ideal male body. the contrapposto form. though it looks like a natural pose is not. tension and relaxation, |
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| PARTHENON, by Iktinos & Kallikrates.from the Acropolis in Athens, Greece. 447-438BCE. the ideal temple, echos Doryphoros(the ideal male).design in doric style but has a hint of Ionic columns. use of ratios to build, but still has an irregular shape to it. |
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| LAOCOON'S AGONY, by Athanadoros,Hagesandros & Polydoros of Rhodes. from Rome,Italy. 1st century. the 2nd son might of been added later.pratrays a greek myth about the trojan priest. the gods send a serpent to punish Laocoon for warning Troy about the wooden horse. |
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| LAOCOON AND HIS SONS. early first century. found in the palace of the second emperor, sounds the torment of Laocoon by his sons. |
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| ARA PACIS AUGUSTAE or ALTAR OF AUGUSTAN PEACE. very political, is a reconstruction,includes mythical scenes and political ideology. |
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| PANTHEON, 118-125ce, temple to all the gods, revolutionary as an architeture piece. |
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| PANTHEON (INTERIOR) 118-125ce, large dome, use of coffers lessen the stress of weight, beautiful marble veneers |
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| CHRIST SEATED. 350-375, civita latina italy, christ is apollo youth like,ears a tunic like a scholar and holds a scroll. retains pagan-like statues features |
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| INTERIOR OF SANTA COSTANZA, ROME. 337-351, central plan design, accommodates ambulatory (ringlike barrel-vaulted corridor domed cylinder by a dozen pairs of columns) |
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| CHRIST AS SOL INVICTUS, late third century, detail of a vault in mosaic in the mausoleum of the julii,rome,italy. portrayed similar to a pagan deity (the invincible sun). orb in left hand, as ruler of universe. halo pattern of a cross. |
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| REBECCA AND ELIEZER AT THE WELL,FOLIO 7 RECTOOF THE VIENNA GENESIS, illustrates the bible story of rebecca drawing water at the well. two stories in one frame |
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| SUICIDE OF JUDAS AND CRUCIFIXION OF CHRIST, 420, features of note: silver spilling on the ground, mary and joseph of arimathea, spear into the side, "king of the jews sign," ivory box |
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| ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS, 532-537, hagia sophia, constantinople/istanbul, turkey. church of holy wisdom, built by a mathematician and a physicist. |
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| ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS INTERIOR, 532-537. arabic writing, vast interior, high dome |
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| CHOIR AND APSE OF SAN VITALE, 526-547, mosaicsone of the most climactic achievements of byzantine art. form a unified composition,whose theme is the holy ratification of Justinian's right to rule. |
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| JUSTINIAN, BISHOP MAXIMIANUS, AND ATTENDANTS, 547, from the north wall of the apse, san vitale ravenna italy, Justianian is standing to the right of the savior, visually and symbolically united by purple robes and haloes. dozen attendants parallels the apostles. |
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| TRANSFIGURATION OF JESUS APSE MOSAIC, 548-565, jesus in a mandorla,flanked by elijah and moses, at his feet are john, peter, james. set in gold,making figures float |
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| VIRGIN AND CHILD BETWEEN SAINTS THEODORE AND GEORGE, sixth or seventh century, painted in encaustic on wood, continuing a tradition of panel painting in egypt that goes back to the roman empire |
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| CHRIST AS PANTOKRATOR, 1090-1100, daphni greece, church of dormition, dramatic icon hovering in space, |
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| CRUCIFIXION MOSAIC IN THE CHURCH OF DORMITION, 1090-1100. pictorial style characteristic of the post iconoclastic middle byzantine period. blend of painterly, hellenistic style and formalistic byzantine style |
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| DAVID COMPOSING THE PSALMS IN PARIS PSALTER, 950-970. reasserts artistic values of the greco roman past with astonishing authority. dates from the so-called macedonian renaissance, a time of enthusiastic and careful study of language and literature of ancient greece. |
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| VIRGIN (THEOTOKOS) AND CHILD ICON, 11th/12th century. stylzed abstraction resulting from centuries of working and reworking the conventional image. constantinople artist? characteristics traits of the byzantine icon of the virgin |
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| CHRIST AS SAVIOR OF SOULS,14th century. lavish use of finely etched silver foil to frame the tempera figure |
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| MAN (SYMBOL OF SAINT MATTHEW), FOLIO 21 BOOK OF DURROW, 660-680. abstract designs on the cloak. resemble the cloisonne decorations of contemporary belt buckles, brooches and purse ornaments. book weds the abstraction of early medieval personal adornment with early christian pictorial imagery |
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| CROSS AND CARPET PAGE OF LINDISFARNE GOSPELS, 698-721. marriage between christian imagery and animal-interlace style of the north. |
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| CHI-RHO-IOTA PAGE OF THE BOOK OF KELLS, 8th/9th century. the most elaborately decorated of the insular gospel books. opens the account of the nativity in the gospel of matthew. |
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| SAINT MATTHEW OF THE CORONATION GOSPELS, 800-810, deft illusionistic brushwork defines the massive drapery folds wrapped around the body beneath. uses color and light/shade modulation, not line. roman accessories. |
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| SAINT MATTHEW FROM EBBO GOSPELS, 816-835. loads of energy that amount to frenzy, saint almost leaps under it. |
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| CRUCIFIXION FROM LINDAU GOSPEL, 870. eclectic work highlights the stylistic diveristy of early medieval art in europe |
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| AERIAL VIEW OF SAINT-SERNIN, 1070-1120. 12th century exterior is still mostly intact, two large towers. |
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| INTERIOR OF SAINT-SERNIN, 1070-1120. toulouse, france. has tribunes over the inner aisle and opening onto the nave |
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| CHRIST IN MAJESTY, 1096. relief in the ambulatory at saint sernin. bernardus gelduinus. christ in a mandorla, right hand raised in a blessing, left hand resting on an open book withthe words pax vobis (peace be unto you). four symbols of the gospels surrounding christ. |
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| VISION OF HILDEGARD OF BINGEN, DETAIL OF A LOST FOLIO IN THE SCIVIAS, 1150-1179. link in a chain of author portraits that go back to classical antiquity |
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| INITIAL R IN MORALIA IN JOB, 1115-1125. |
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| churches/cathedrals in the form of a cross |
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| ROYAL PORTAL, WEST FACADE CHARTRES CATHEDRAL, 1145-1155. proclaim the majesty and power of christ. episodes from christs life on the capitals. |
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