ART HISTORY AP

Ancient Mediterranean 3500 BCE-300 BCE

BIG IDEA 1: Artists manipulate materials and ideas to create an aesthetic object, act or event. 1.1 Differentiate the components of form, function, content and/or context of a work of art. 1.2 Explain how artist decisions about art making shape the work of art. 1.3 Describe how context influences artistic decision about creating a work of art. 1.4 Analyze form, function, content, and/or context to infer or explain the possible intentions for creating a specific work of art.

BIG IDEA 2: Art making is shaped by tradition and change. 2.1 Describe features of tradition and/or change in a single work of art or in a group of related works. 2.2 Explain how and why specific traditions and/or changes are demonstrated in a single work or group of related works. 2.3 Analyze the influence of a single work of art or group of related works on other artistic production.

BIG IDEA 3: Interpretations of art are variable. 3.1 Identify a work of art. 3.2 Analyze how formal qualities and/or content of a work of art elicits a response. 3.3 Analyze how contextual variables lead to different interpretations of a work of art. 3.4 Justify attribution of an unknown work of art. 3.5 Analyze relationships between works of art based on their similarities and differences.

ENDURING UNDERSTANDINGS 2-1 Artistic traditions of the ancient Near East and dynastic Egypt focused on representing royal figures and divinities and on the function of funerary and palatial complexes within their cultural contexts. Works of art illustrate the active exchange of ideas and reception of artistic styles among the Mediterranean cultures and the subsequent influence on the classical world. 2-1a The art of the ancient Near East (present-day Iraq, Syria, Iran, Turkey, Lebanon, Israel, Palestine, Jordan, and Cyprus, from 3500 to 330 BCE) is associated with successive city-states and cultural powers: Sumerian, Akkadian, Neo-Sumerian and Babylonian, Assyrian, Neo-Babylonian, and Persian. The art of dynastic Egypt (present-day Egypt and Sudan, from 3000 to 30 BCE) generally includes coverage of predynastic Egypt and Old, Middle, and New Kingdoms. The Amarna period (New Kingdom) was also important because of its cultural reform and stylistic revolution.

2-1b The study of artistic innovations and conventions developed in the ancient Near East and dynastic Egypt (facilitated by recorded information from the time) provides a foundation for comparative understanding of subsequent artistic traditions within the region and beyond.

ENDURING UNDERSTANDINGS 2-2 Religion plays a significant role in the art and architecture of the ancient Near East, with cosmology guiding representation of dieties and kings who themselves assume diving attributes. 2-2a Artists created fully developed, formal types, including sculptures of human figures interacting with gods and stylistic conventions representing the human form with a combined profile and three-quarter view. In these combinations, important figures are set apart using a hierarchical scale or by dividing the compositions into horizontal sections or registers, which provide significant early examples of historical narratives.

2-2b Architectural repetitions include towering ziggurats that provide monumental settings for the worship of many dieties, as well as heavily fortified palaces that increased in opulence over the centuries, proclaiming the power and authority of rulers.

ENDURING UNDERSTANDINGS 2-3 The art of dynastic Egypt embodies a sense of permanence. It was created for eternity in the service of a culture that focused on preserving a cycle of rebirth. 2-3a The culture of dynastic Egypt represents an elaborate funerary sect whose devotees created numerous ka statues (to house the ka, or spirit, after death), artifacts, docrations, and furnishings for tombs. Egyptian art incorporates mythological and religious symbolism, often centered on the cult of the sun. Development of monumental stone architecture culminated with the pyramids and with innovative designs for rock-cut tombs and pylon (massive sloped gateway) temples, each demonstrating the importance of the pharaoh- a god-king with absolute power, descended directly from the sun god. The Egyptian architectural construction of the clerestory is particularly important for the history of architecture.

2-3b Representations of humans make clear distinctions between the deified pharaoh and people in lower classes, using representational and stylistic cues such as hierarchical proportion and idealization versus naturalism. Approaches to portraiture depend on a figure’s rank in society. The artistic canon of dynastic Egypt, with strict conventions of representation, use of materials, and treatment of forms was followed for many centuries with only short-lived periods of experimentation and deviation. Innovations in art and architecture tended to occur within the basic and established scheme.

ENDURING UNDERSTANDINGS 2-4 The art of Ancient Greece and Rome is grounded in civic ideals and polytheism. Etruscan and Roman artists and architects accumulated and creatively adapted Greek objects and forms to create buildings and artworks that appealed to their tastes for eclecticism and historicism. 2-4a Ancient Greek art was produced in Europe and western Asia, primarily in the region of present-day Greece, Turkey, and southern Italy, from 600 BCE to 100 CE. Etruscan art (c. 700-100 BCE, from the region of Etruria in central Italy) and ancient Roman art was produced in Europe and western Asia from c. 753 BCE to 337 CE. The arts of these early western artistic cultures are generally studied chronologically. Additionally, archaeological models and stylistic analysis have identified periods based on stylistic changes. Artworks are assigned to periods according to styles (e.g., archaic Greek) governments, or dynasties (e.g., Roman Republic).

2-4b Art considered Ancient Greek includes works from the archaic, classical, and Hellenistic periods, as defined according to artistic style, not by political units such as governments or dynasties. Etruscan art is typically considered as a single cultural unit even though Etruria was comprised of separate city-states. Roman art includes works from the republican, early imperial, late imperial and late antique periods, as defined using governmental structures and dynasties rather than stylistic characteristics. Many Hellenistic works are in fact Roman in origin, which favors presenting these traditions at the same time.

2-4c Ancient Greek, Etruscan, and Roman artists and architects were influenced by earlier Mediterranean cultures. Ancient Greek religious and civic architecture and figural representation are characterized by idealized proportions and spatial relationships, expressing societal values of harmony and order. Art from the Etruscan and Roman periods is typified by stylistic and iconographical eclecticism and portraiture. Etruscan and ancient Roman art express republican and imperial values, power, and preference for conspicuous display. Etruscan and Roman architecture are characterized by investment in public structures. Roman architecture is also characterized by borrowing from its immediate predecessors (Greek and Etruscan) and by technical innovation.

2-4d Ancient Greek and Roman art provides the foundation for the later development of European and Mediterranean artistic traditions. From the 18

th

century onward, European and American observers admired ancient Greek and Roman ethical and governmental systems, which contributed to prioritizing art and architecture that could be associated with political elites and cultural capitals (e.g., Rome). Most recently, art historians have examined art produced by contemporary subjects or ‘provincial’ populations.

ENDURING UNDERSTNADINGS 2-5 Contextual information for ancient Greek and Roman art can be derived from contemporary literary, political, legal, and economic records as well as from archaeological excavations conducted from the mid-18th century onward. Etruscan art, by contrast, is illuminated primarily by archaeological record and by descriptions of contemporary external observers. 2-5a Some of the earliest written statements about artists and art making survive from the ancient Greek and Roman worlds. Little survives of the rich Etruscan literary tradition that is documented in Roman sources.

2-5b The Greek, Etruscan, and Roman cultures shared a rich tradition of epic storytelling (first orally transmitted, later written) that glorified the exploits of gods, goddesses, and heroes. The texts recorded a highly developed rhetorical tradition that prized public oratory and poetry. Religious rituals and prognostications were guided by oral tradition, not texts.

ANCIENT NEAR EASTERN ART

UNIT 2 ANCIENT MEDITTERANEAN ANCIENT NEAR EAST

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TERM DEFINITION TERM DEFINITION ANIMAL STYLES

CITADEL

CELLA DIORITE

HIERATIC SCALE ICONOGRAPHY

REGISTER STELE

STYLUS VOTIVE FIGURE

ZIGGURAT

TEXT REFERENCES

JANSON: Chapter 3, Ancient Near Eastern Art STOKSTAD: Chapter 2, Art of the Ancient Near East

INTERNET RESOURCES

Mesopotamia: www.mesopotamia.co.uk Metalwork and Ceramics in the Ancient Near East: www.asia.si.edu/exhibitions/onling/RoyalRiches/default.htm The Oriental Institute (Chicago): www.-oi.uchicago.edu/OI/MUS/HIGH/OI_Musuem_Mesopotamia.html Persepolis and Ancient Iran-Apadana: www.-oi.uchicago.edu/OI/MUS/PA/IRAN/PAAI/PAAI_Apadana.html Code of Hammurabi: www.fit.edu/~patterso/hamsci.html

CITY STRUCTURES

Composite Reconstruction Drawing of Chatal Huyuk

Anatolia (present-day Turkey) c. 6500-550 BCE

Early Cities

Jericho- located in today’s West Bank territory Ain Ghazal- located outside present-day Amman, Jordan Chatal Huyuk- located in Anatolia, present-day Turkey Susa- located between the Tigris River and the Zagros Mountains east of present-day Iran

COINING MONEY

Sumerian mold-making method.

Gold, Silver, Bronze and Copper had been used in the past,

but began being standardized with the development of

cities.

EARLY WRITING

Sumerian system invented around 3100 BCE as a means of

accounting.

Symbols were pictographs comprised of abstract symbols,

or characters, which create Cuneiform writing.

SUPPLEMENTARY NOTES: VIDEO SEGMENTS

“STELE OF NARAM SIN ANALYSIS”

“LAW CODE STELE OF HAMMURABI ANALYSIS” “STANDARD OF UR ANALYSIS” “LAMASSU FROM THE CITADEL OF SARGON II ANALYSIS”

EGYPTIAN ART

UNIT 2 ANCIENT MEDITTERANEAN ANCIENT EGYPT

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TERM DEFINITION TERM DEFINITION ANKH

CANON OF PROPORTIONS

CANOPIC JARS CARTOUCHE

CLERESTORY DYNASTY

ENCAUSTIC FAIENCE

HIEROGLYPH HYPOSTYLE HALL

KA

MAAT

MASTABA MONOTHEISM

PALETTE PAPYRUS

PERISTYLE COURT PHARAOH

POLYTHEISM PYLON

PYRAMIC SARCOPHAGUS

SUNKEN RELIEF VOTIVE OFFERING

TEXT REFERENCES

JANSON: Chapter 2, Egyptian Art STOKSTAD: Chapter 3, Art of Ancient Egypt

INTERNET RESOURCES

Explore the Pyramids: www.pbs.org/wgbh/nova/pyramid/explore Sphinx in Pictures: www.sis.gov.eg/sphinx/html/sphnx002.htm Mummy Maker: www.bbc.co.uk/history/ancient/egyptians The Egyptian Museum, Cairo: www.idsc.gov.eg/culture/egy_mus.htm

ELEMENTS OF CONSTRUCTION

Mastaba to Pyramid

Progression of the gateway to the afterlife for

Egyptian kings and members of the royal court.

Mastaba

Stepped Pyramid

Pyramid

Plan of Djoser’s Funerary Complex, Saqqara 3rd Dynasty, c. 2630-2575 BCE

Model of the Giza Plateau

From L to R: temples and pyramids of

Menkaure, Khafre, and Khufu.

#4: Valley Temple of Menkaure; #5: Valley

Temple of the Sphinx of Khafre

Urban Planning

Plan of the Northern

Section of Kahun, built

during the reign of

Senusret II near Modern

el-Lahun. 12th Dynasty, c.

1880-1874 BCE

The Great Temple Complexes

Plan of Funerary Temple of Hatshepsut. 18th Dynasty, c.

2009-1997 BCE

Reconstruction Drawing of the Hypostyle Hall, Great

Temple of Amun at Karnak. 19th Dynasty, c. 1292-1190

BCE

SYMBOLS AND HEIROGLYPHS

Symbols and Hieroglyphs were commonly used to illustrate

stories or in the identification of individuals and places.

Both forms of communication are present in artworks and

architecture throughout Ancient Egypt.

SUPPLEMENTARY NOTES: VIDEO SEGMENTS

“PALETTE OF NARMUR ANALYSIS”

“SEATED SCRIBE ANALYSIS” “HATSHEPSUT ANALYSIS” “AHKENATON AND HIS FAMILY ANALYSIS”

“JUDGEMENT OF HUNIFER BEFORE OSIRIS”

AEGEAN ART

UNIT 2 ANCIENT MEDITTERANEAN THE AEGEAN

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TERM DEFINITION TERM DEFINITION BEEHIVE TOMP

BUON FRESCO

CHEVRON CITADEL

CYCLOPEAN CONSTRUCTION

FRESCO SECCO

MEGARON NIELLO

REPOUSSE SHAFT GRAVE

STEATITE THOLOS TOMB

TEXT REFERENCES

JANSON: Chapter 4, Aegean Art STOKSTAD: Chapter 4, Aegean Art

INTERNET RESOURCES

Knossos: www.uk.digiserve.com/mentor/minoan/knossos.htm Minoan Crete: www.fhw.gr/chronos/02/crete/en/index.html Prehistoric Archaeology of the Aegean: http://deylab.darmouth.edu/history/bronze_age Minoan Snake Goddess: http://witcombe.sbc.edu/snakegoddess The Ancient Greek World: www.museum.upenn.edu/GreekWorld/Intro.html

PALACIAL CONSTRUCTIONS

The Old Palace Period, c. 1900-1700 BCE

Place at Knosso, Crete

Reconstruction of Citadel at Mycenae. Greece c. 1600-1200 BCE Pioneering archaeologist Heinrich Schliemann discovered both this site, thought to be the home of Agamemnon, and the accepted site of the ancient city of Troy.

Pylos Palace Plan c. 1300-1200 BCE

Tholos, The Treasury of Atreus. Mycenae, Greece. C. 1300-1200 BCE Popularly referred to as beehive tombs. Earliest burials were in shaft tombs.

SUPPLEMENTARY NOTES: VIDEO SEGMENTS

“CYCLADIC ISLAND FIGURE ANALYSIS” “LION GATE ANALYSIS” “THE PALACE AND CIRCLE GRAVE AT MYCENAE ANALYSIS”

“TREASURY OF ATREUS ANALYSIS” “MASK OF AGAMEMNON ANALYSIS”

GREEK ART

UNIT 2 ANCIENT MEDITTERANEAN GREECE

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TERM DEFINITION TERM DEFINITION ARCHAIC SMILE HUMANITY

BLACK-FIGURE POTTERY KORE/KOROUS

CARYATID LOST-WAS PROCESS

CELLA MAENADS

CHITON MOSAIC

COLONNADE METOPE

CONTRAPPOSTO NAOS

CORNICE NIKE

ECHINUS ORTHOGANAL PLAN

ENATBLATURE PARAPET

ENTASIS PEDIMENT

FAÇADE PEPLOS

FRIEZE PERIPETERAL

HALLOW CASTING PERISTYLE

PODIUM

POLIS

PORTICO

PRONAOS

SANCTUARIES

STELE

STEREOBATE

STOA

STYLOBATE

TEMPERA

TESSERAE

THOLOS

TRIGLYPH

VOLUTE

CORINTHIAN ORDER

DORIC ORDER

IONIC ORDER

TEXT REFERENCES

JANSON: Chapter 5, Greek Art STOKSTAD: Chapter 5, The Art of Ancient Greece

INTERNET RESOURCES

Perseus Digital Library: www.perseus.tufts.edu The Athenian Agora Excavations: www.agathe.gr/index.html The Greeks: www.phs.org/empires/thegreeks A Digital Archive of Architecture: www.bc.edu/bc_org/avp/cas/fnart/arch/greek_arch.html

TEMPLE PLANS

Plan and Section of the Tholos, Sanctuary of Athena Pronaia, Delphi Demonstrates both Doric and Corinthian Order constructions.

Reconstruction of the West Façade of the Temple of Artemis, c. 600-850 BCE Doric order construction.

Reconstruction drawing of the West Pediment, Temple of Zeus, Olympia; c. 470-460 BCE

Reconstruction Drawing of the Treasury of the Siphians, Delphi Sanctuary of Apollo, Delphi; c.530-525 BCE Architectural elements would have been painted strong colors: dark blue, bright red, white, and yellow, at one time.

MARKETPLACES, URBAN PLANNING, AND ENTERTAINMENT

Plan of the Agora (marketplace), c. 400 BCE

Plan of Miletos, Ionia (Turkey)

Plan of Theater at Epidauros Influenced modern day amphitheater style seated utilized at events.

GREEK VASE STYLE

SUPPLEMENTARY NOTES: VIDEO SEGMENTS

“BLACK FIGURE VASE ANALYSIS” “RED FIGURE VASE ANALYSIS” “KOUROUS FIGURE ANALYSIS”

“PEPLOS KORE ANALYSIS” “CHARIOTEER ANALYSIS” “ZEUS/POSEIDON ANALYSIS”

“SEATED BOXER ANALYSIS” “DYING GAUL ANALYSIS” “VENUS FIGURE ANALYSIS”

“GRAVE STELE OF HEGESO ANALYSIS” “APHAIA PEDIMENT ANALYSIS” “ATHENIAN AGORA ANALYSIS”

“CLASSICAL ORDERS” “PARTHENON ANALYSIS” “PARTHENON PEDIMENT SCULPTURE ANALYSIS”

“PARTHENON FRIEZE ANALYSIS” “METOPE SCULPTURE ANALYSIS” “NIKE ADJUSTING HER SANDLE ANALYSIS”

“NIKE OF SAMOTHRACE ANALYSIS” “ERECTHION/CARYATID ANALYSIS” “PERGAMON ALTER ANALYSIS”

“ALEXANDER MOSAIC ANALYSIS”

ROMAN ART

UNIT 2 ANCIENT MEDITTERANEAN ROME

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TERM DEFINITION TERM DEFINITION ARCADE ATMOSPHERIC

PERSPECTIVE

ATRIUM BARREL VAULT

BAY BUTTRESSING

CLERESTORY COFFERS

COMPOSITE CONCRETE

CORNICE DADO

DRUM EMBELEMATA

ENGAGED COLUMNS EXEDRAE

EXTRADOS FORUM

GROIN VAULT HEMISPHERIC DOME

INSULA INTRADOS

INTUITIVE PERSPECTIVE KEYSTONE

MEANDER MENORAH

MOSAIC MURAL

NAVE

OCULUS

TEXT REFERENCES

JANSON: Chapter 6, Etruscan Art; Chapter 7, Roman Art STOKSTAD: Chapter 6, Etruscan and Roman Art

INTERNET RESOURCES

The Museo Gregoriano Etrusco: www.christusrex.org/www1/vaticano/ET1-Etrusco.html A gazetteer of the Roman World: www.ukans.edu/history/index/europe/ancient_rome/E/Gazetteer/Periods/Roman/home.html

ARCHITECTURAL ELEMENTS

Arches, Vaults, and Domes

Plan of an Etruscan Temple. Based upon description by Vitruvius

Plan of Temple. Forum Boarium (Cattle Market), Rome

Roman Architectural Orders

Architectural elements would have been

painted strong colors: dark blue, bright red,

white, and yellow, at one time.

URBAN PLANNING, AND ENTERTAINMENT

Plan of the Villa of Mysteries

Pompeii, early 2nd c. BCE

Entrance foyer

Peristyle

Atrium

Pool (water basin)

Tablinium (office)

Mysteries painting room

Terrace

Bedroom

Flavian Amphitheater (The Colosseum), Rome,

70-80 CE

Plan of Trajan’s Forum, c. 110-113 CE

Reconstruction Drawing of the Pantheon

Plan of the Baths of Caracalla, Rome c. 211-17 CE

Floor plan and reconstruction of Basilica of Maxentius

and Constantine. Basilica Nova, the Christian church

prototype.

SUPPLEMENTARY NOTES: VIDEO SEGMENTS

“CITY OF THE DEAD ANALYSIS” “ARA PACIS ANALYSIS” “AUGUSTUS OF PRIMAPORTA ANALYSIS”

“VERISTIC MALE PORTRAITURE” “EQUESTRIAN STATUE ANALYSIS” “LUDOVISI BATTLE SARCOPHAGUS ANALYSIS”

“THE PARTHENON ANALYSIS” “THE COLOSSEUM: AN ANALYSIS” “TRAJAN’S FORUM: AN ANALYSIS”

“TRAJAN’S MARKENT: AN ANALYSIS” “THE COLUMN OF TRAJAN ANALYSIS” “ARCH OF CONSTANTINE ANALYSIS”