art 110 3.2 and 4.2 nq

Chapter 3.2

Art of the Middle Ages

PART 3HISTORY AND CONTEXT

Copyright © 2011 Thames & Hudson

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields


Chapter 3.2 Art of the Middle Ages

Introduction

• Middle Ages – Marks the end of the Classical world– Ends at the beginning of the Renaissance

• Medieval– End of Roman Empire in the west by 476 CE – The western part of the empire followed the Roman Catholic Church

• Byzantium– Roman Empire becomes Byzantine empire in the east– Roman capital becomes Constantinople– The eastern part of the empire followed the Greek Orthodox Church




Introduction cont.

• Romanesque– Begins in the 11th century CE

– Period of building large stone churches covered with sculpture

• Gothic– c. 1150 to the fifteenth century– Known for grand cathedrals




Some stylistic characteristics of art from the Middle Ages:

• Expresses spiritual concerns rather than humanist ones

• Made to support religion and pilgrimages• Centered around location of relics and

important sites• Religious subject matter• Richly decorated manuscripts• Fantastical animal-like forms• Elongated and twisted figures• Grand-scale cathedrals

3.31 Map of Europe and the Middle East in the Middle Ages




Art of Late Antiquity

• Marks the transition from the pagan polytheistic religions to three large monotheistic religions:– Judaism

• Descendants of Abraham• Yahweh’s (God’s) face is not shown in art• Few examples of Jewish art survive

– Christianity• Worships Jesus Christ as the son of God• Second Commandment

– Admonishes that Christians should not worship idols– Some sects believe that this warns against making images of religious

figures

– Islam• Muhammad as main prophet of Allah (God)• Does not show Allah in art, and rarely shows human figures

3.32 Interior west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in National Museum, Damascus, Syria

Interior west wall of synagogue at Dura Europos, Syria

• Oldest surviving Jewish painting (fresco)

• Narrative stories

• Torah– Stories of Jewish

History – Shrine for Torah in

center of west wall

3.33 Exodus and Crossing of the Red Sea, panel from west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in National Museum, Damascus, Syria

Exodus and Crossing of the Red Sea, panel from west wall of synagogue at Dura Europos, Syria

• Parting of the Red Sea

• Continuous narrative

3.34 Painted ceiling, late 3rd–early 4th century CE. Catacombs of Saints Peter and Marcellinus, Rome, Italy

Painted ceiling, catacombs of Saints Peter and Marcellinus, Rome, Italy

• Earliest Christian paintings were found in catacombs

• Imagery – Christ as Good Shepherd

• Centrally located in cross-like formation

• Youthful and beardless• Adapted from pagan

images of Orpheus and Apollo

– Jonah swallowed by whale• Four scenes shown in

semicircles• Story foreshadows Christ’s

resurrection

3.35 Good Shepherd, 425–6. Mosaic in lunette. Mausoleum of Galla Placidia, Ravenna, Italy

Good Shepherd, mosaic in lunette, Mausoleum of Galla Placidia

• Family tomb of Roman emperor Flavius Honorius

• Imagery– Mosaic– Christ as Good Shepherd

• Centrally located• Appearance is regal• Sharply delineated rather

than fully three-dimensional

– Lambs in sets of three: symbolic of trinity




Byzantine Art

• Emperor Justinian great patron of the arts– Funded Hagia Sophia, Constantinople– Protected icons at monastery of St. Catherine,

Mount Sinai, Egypt

• Mosaic– Made from glass tesserae – Often placed in Byzantine churches to reflect light

• Icons– Encaustic paintings on wood– Venerated, believed to possess powers of healing




Some stylistic characteristics of Byzantine art:

• Christian subject matter

• Small icons promote personal mediation

• Glass mosaics made for churches

• Floating figures in which line is emphasized rather than volume

• Flat spaces with minimal sense of depth

• Light an important element for churches and mosaics

• Frequent use of gold, especially in the background

• Empty background to signify no connection to a specific time or place

3.36 Christ icon, 6th century. Encaustic, 33 × 18”. St. Catherine Monastery, Mount Sinai, Egypt

Christ icon, St. Catherine Monastery

• Protected at Mount Sinai during Byzantine Iconoclasm (see Chapter 4.8)

• Imagery of Christ– Bearded, long hair– Dual nature

3.37 San Vitale, apse, c. 547, Ravenna, Italy

San Vitale, Ravenna, Italy

• San Vitale– Central-plan church– Covered with mosaics– Apse mosaics

• Christ enthroned on Earth

• Emperor Justinian across from Theodora and attendants

3.38 Theodora and Attendants, c. 547. Mosaic on south wall of apse, 8’8” × 12’. San Vitale, Ravenna, Italy

Theodora and Attendants, San Vitale

• Mosaic– Figures flat and appear to be

floating– Figures lined in a procession

towards the actual altar of San Vitale

– Set in a garden because in reality women were not actually allowed near the apse in the church

• Theodora– Rose from lower classes to become

wife of Emperor Justinian– Rich robe shows Three Magi on the

hem– Carries a chalice of wine that, when

combined with the bread held by Justinian in the nearby mosaic, signifies the Eucharist ceremony




Manuscripts and the Middle Ages

• Books written and decorated by hand

• Artists and scribes were often monks

• Beauty and detail of manuscripts encouraged long contemplation

3.39 Page from the Koran, probably late 12th century. Maghribi on vellum, 7½ × 7½”. British Library, London

Page from the Koran

• Late twelfth- or thirteenth-century artwork from Spain

• On the page– Beauty of script signifies beauty

of word of Allah– Image of Allah is not shown

• Script– Written from right to left– Headings in kufic (oldest script)– Everything else is maghribi

(regional script)– Large gold design signifies the

beginning of a new chapter

3.40 Cross-carpet page introducing the Gospel according to St. Matthew. Lindisfarne Gospels, fol. 26b. British Library, London, England

3.41 Detail of 3.40

Cross-carpet page, Lindisfarne Gospels

• Illuminated manuscript – Resembles stained glass

– Filled with decorative lines and animals

– Cross and Carpet page to signify beginning of new gospel

• Scribed by the bishop Eadfrith in northeast England

3.42 The Fifth Vision of Hildegard of Bingen, frontispiece for Liber Scivias, c. 1230, original manuscript lost. Biblioteca Governativa, Lucca, Italy

The Fifth Vision of Hildegard of Bingen, frontispiece for Liber

Scivias• Hildegard of Bingen

– Christian nun and visionary– Very educated and advisor

to kings and popes– Wrote popular book Scivias

• Manuscript– Hildegard shown receiving

a vision– Scribe shown near her

3.43 The Ascent of the Prophet Muhammad on his Steed, Buraq, Guided by Jibra’il and Escorted by Angels, 1539–43. Miniature painting from a manuscript of Nizami’s Khamsa (Five Poems), originally produced in Tabriz, Iran

The Ascent of the Prophet Muhammad on his Steed, Buraq …

• Islamic manuscripts– Do show humans, although

not Allah– Stories often taken from life

of Muhammad

• Muhammad in manuscript– Shown in the center

surrounded by flames – Face is veiled– Being led by angel Gabriel




Pilgrimage in the Middle Ages

• Central to the practice of Judaism, Christianity, and Islam

• Pilgrims traveled to:– Places where relics were kept– Sites of important religious events

3.44 Reliquary of the Head of St. Alexander, 1145. Silver repoussé, gilt bronze, gems, pearls, and enamel, 7½” high. Musées Royaux d’Art et d’Histoire, Brussels, Belgium

Reliquary of the Head of St. Alexander

• Relics– Body parts of saints or holy

figures– Sacred objects

• Tunic of Mary• Piece of the wooden cross

on which Christ was crucified

• Reliquary for head of St. Alexander– Face is beaten silver, hair

is gilded bronze– Small portraits below show

Pope Alexander flanked by two saints

3.45 Dome of the Rock, 688–91, Jerusalem, Israel

Dome of the Rock, Jerusalem, Israel

• Jerusalem – Popular pilgrimage site

in the Middle Ages– Stone in Dome of the

Rock is sacred to three monotheistic religions

• Dome of the Rock– Built as a site for pilgrims– Funded by Adb al-Malik– Dome originally built of

solid gold – Octagonal walls below

3.46 Kaaba, Al-Masjid al-Har¯am, Mecca, Saudi Arabia

Mecca

• Most important pilgrimage site in Islam

• Five “Pillars” of Islam: devotion to Allah, prayer, charity, fasting, and pilgrimage to Mecca

• Birthplace of Muhammad

• Site of the Kaaba– Built by Abraham for

God– Surrounded by mosque

3.47 Mihrab from the Madrasa Imami, Isfahan, Iran, c. 1354. Mosaic of polychrome-glazed cut tiles on stonepaste body, set into plaster, 11’3” × 9’5¾”. Metropolitan Museum of Art, New York

Mihrab from the Madrasa Imami, Isfahan, Iran

• Mihrab– Prayer niche identifying

direction of Mecca– Tiles decorated with

geometric design and calligraphy

– Arabesque style– Pointed arch– Script bordering edges

of frame quotes from the Koran




Symbolism in Medieval Churches

• Imagery used to teach the faithful stories from the Bible

• Many parishioners and pilgrims were illiterate

3.48 St. Trophîme, west portal with tympanum, 12th century, Arles, France

St. Trophîme, west portal with tympanum

• Last Judgment– Placed above entrance and

exit to church– Blessed on Christ’s right;

damned on his left

• Christ – Hierarchical scale– Central position

• Four Evangelists:– Matthew (angel)– Mark (lion)– Luke (ox)– John (eagle)

3.49 Diagram of the west portal tympanum in 3.48




Medieval Church Plans

• Churches were sites of relics and made for pilgrimages

• Romanesque churches– Some architectural features reminiscent of

ancient Rome– Pointed arch a new aspect at this time– Use of tympanum

3.50 St. Sernin, c. 1070–1120, Toulouse, France

St. Sernin, Toulouse, France

• St. Sernin Church– Designed in shape of

Latin cross– Entrance on the west;

entrance on the east– Towers show

generations of building– Bell tower shows

evolution of pointed arch in upper levels

– Entrance on the west via a portal featuring Last Judgment tympanum

– Altar to the east

3.51 Latin cross plan




The Rise of the Gothic

• Gothic architecture– Increased height– Rib vaults– Flying buttresses

3.52 Chartres Cathedral, completed 1260, France

Chartres Cathedral

• Chartres – exterior

• Rib vaults make great height possible

• Flying buttresses

• Large stained-glass windows

3.53 Chartres Cathedral, interior view showing labyrinth

Chartres Cathedral, interior

• Chartres – interior

• Famous for blue windows

• Designed for pilgrims:– Large size

• Ceiling 118 feet high• Nave 50 feet wide

– Labyrinth at entrance, symbolic of spiritual and physical journey




Click the image above to launch the video

3.54 Cimabue, Virgin and Child Enthroned, c. 1280. Tempera and gold on wood, 12’7½” × 7’4”. Uffizi Gallery, Florence, Italy

3.55 Giotto, Virgin and Child Enthroned, c. 1310. Tempera on wood, 10’7”× 6’9”. Uffizi Gallery, Florence, Italy

Cimabue and Giotto, two different artworks of Virgin and Child Enthroned

• Transition from Gothic to Renaissance

• Cimabue’s Virgin and Child Enthroned– Figures seem to rise

toward top (mirroring Gothic architectural style, which emphasized height)

– Suggestion of three-dimensional throne

– Focus on spiritual, heavenly forms

• Giotto– Student of Cimabue– Father of the Renaissance

Cimabue and Giotto cont.

• Giotto’s Virgin and Child Enthroned– A more convincing

three-dimensional throne

– More three-dimensional, earthly figures

– More sense of depth in the background

PowerPoints developed by CreativeMyndz Multimedia Studios



This concludes the PowerPoint slide set for Chapter 3.2

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields





3.31 Drazen Tomic

3.32, 3.33 Zev Radovan/www.BibleLandPictures.com

3.34 Canali Photobank, Milan, Italy

3.35 Photo Scala, Florence

3.36 Monastery of St. Catherine, Sinai, Egypt

3.37 Photo Scala, Florence

3.38 Cameraphoto/Scala, Florence

3.39, 3.40, 3.41 British Library, London

3.42 Biblioteca Governativa, Lucca

3.43 British Library/akg-images

3.44 Musées Royaux d’Art et d’Histoire, Brussels

3.45 © Hanan Isachar/Corbis

3.46 Mohamed Amin/Robert Harding

3.47 Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, Acc. no. 39.20. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

3.48 © Matthew Lambley/Alamy

3.49 Ralph Larmann

3.50 © Rolf Richardson/Alamy

3.51 Ralph Larmann

3.52 Hervé Champollion/akg-images

3.53 Sonia Halliday Photographs

3.54, 3.55 Galleria degli Uffizi, Florence

Picture Credits for Chapter 3.2

1. To where did Constantine move the center of the Roman empire in 330?

a. Rome b. Ravenna c.Constantinople d. Dura Europos

a.

b

c

d

2. What is the period that followed the end of the Western Roman Empire known as?

◦ a. Classical◦ b. Renaissance◦ c. Post-Roman◦ d. Middle Ages

3. Which of the following is a characteristic of Romanesque architecture?

◦ a. Rounded arches◦ b. Flying buttresses◦ c. Rib vaults◦ d. All of the above

4. On which type of medieval architecture can spires be found?

◦ a. Romanesque◦ b. Gothic◦ c. Late Antique◦ d. all of the above

5. What type of art decorated the interior walls of Dura Europos?

◦ a. Mosaics◦ b. Reliefs◦ c. Frescoes◦ d. Tempera painting

6. Which of the following works of art is not considered "didactic"?

◦ a. Exodus and Crossing of the Red Sea from Dura Europos

◦ b. Painted ceiling from Catacombs of Saints Peter and Marcellinus from Rome

◦ c. Cross-carpet page from the Lindisfarne Gospels

◦ d. The Fifth Vision of Hildegard of Bingen from Liber Scivias

ab

c d

7. Which religion commonly used calligraphy in its art?

◦ a. Christians◦ b. Muslims◦ c. Jews◦ d. all of the above

8. Which of the following is an example of a continuous narrative?

◦ a. Painted ceiling from the Catacombs of Saints Peter and Marcellinus, Rome

◦ b. Good Shepherd from Mausoleum of Galla Placidia, Ravenna

◦ c. Exodus and Crossing of the Red Sea, Dura Europos

◦ d. Sculpture in the west portal of St. Trophîme, Arles

a. b.

c.

d.

8. Which of the following is an example of a continuous narrative?

◦ a. Painted ceiling from the Catacombs of Saints Peter and Marcellinus, Rome

◦ b. Good Shepherd from Mausoleum of Galla Placidia, Ravenna

◦ c. Exodus and Crossing of the Red Sea, Dura Europos

◦ d. Sculpture in the west portal of St. Trophîme, Arles

9. The visual appearance of Christ was similar to the appearance of pagan gods until which century?

◦ a. 3rd ce◦ b. 4th ce◦ c. 5th ce◦ d. 6th ce

10. Emperor Justinian I was the patron for which work?

◦ a. Good Shepherd from Mausoleum of Galla Placidia, Ravenna

◦ b. St. Catherine Monastery at Mount Sinai

◦ c. Hagia Sophia in Constantinople

◦ d. All of the above

11. Which is a central-plan church?

◦ a. Chartres Cathedral◦ b. St. Sernin◦ c. San Vitale◦ d. None of these a. b.

c.

12. What is the central space of a cathedral called?

◦ a. Apse◦ b. Altar◦ c. Choir◦ d. Nave

13. In which area(s) of the church were women, such as Theodora, allowed?

◦ a. Altar◦ b. Courtyard◦ c. Choir◦ d. None of the above

14. In which manuscript were the visions of Hildegard of Bingen recorded?

◦ a. Lindisfarne Gospels◦ b. Koran◦ c. Liber Scivas◦ d. Five Poems

a. b.

c.

d.

15. Which of the following is an element of a royal portal?

◦ a. Transept◦ b. Aisle◦ c. Apse◦ d. Trumeau

15. Which of the following is an element of a royal portal?

◦ a. Transept◦ b. Aisle◦ c. Apse◦ d. Trumeau

d

16. Which of the following is used to represent the evangelist John in the west portal of the Church of St. Trophîme, built

in the 12th century?

◦ a. An angel◦ b. An ox◦ c. An eagle◦ d. A lion

16. Which of the following is used to represent the evangelist John in the west portal of the Church of St. Trophîme, built

in the 12th century?

◦ a. An angel◦ b. An ox◦ c. An eagle◦ d. A lion

c

17. In medieval churches, where is the scene of the Crucifixion of Christ depicted?

◦ a. North side◦ b. South side◦ c. East end◦ d. West end

18. In a Latin cross-planned church, such as Chartres or St. Sernin, what is the shorter axis located near the east end of

the church called?

◦ a. East axis◦ b. Apse◦ c. Nave◦ d. Transept

18. In a Latin cross-planned church, such as Chartres or St. Sernin, what is the shorter axis located near the east end of

the church called?

◦ a. East axis◦ b. Apse◦ c. Nave◦ d. Transept

d.d.

19. What is one major difference between the figures in Cimabue’s Virgin and Child Enthroned and Giotto’s painting

of the same name?

◦ a. Giotto’s figures are flat, while Cimabue’s are volumetric.

◦ b. Cimabue invokes the Gothic style, while Giotto recalls the Byzantine.

◦ c. Giotto’s creates a realistic space, while Cimabue focuses on the spiritual aspect.

• d. Giotto’s figures seem to hover between earth and heaven, while Cimabue’s do not.

Chapter 4.2

Spirituality and Art

PART 4THEMES





Introduction

• Works of art inspired by beliefs express things that cannot be seen

• Spirituality

– Our sense of being connected to others, our awareness of mind and body, and the desire to understand the meaning of life and the world

• Four broad categories of spiritual art discussed in this chapter:

– Artworks that incorporate specific gods or deities

– Works that refer to the spirits of the natural or ancestral world

– Works that reflect communication with the spiritual world

– Places that have sacred character




Deities

• Stories of religious figures or deities– Explain their importance– Make them more accessible and memorable

• Many different religions depict divine figures– Greek mythology– Christian Bible– Buddhist scripture

4.21 Apollo, Centaur, and Lapith, fragments of relief sculptures from West Pediment of Temple of Zeus, Olympia, Greece, c. 460 BCE. Marble, 8’8” × 10’10”. Archaeological Museum, Olympia, Greece

Apollo, Centaur, and Lapith, from the West Pediment of the Temple of Zeus

• Legendary battle between the Lapiths and Centaurs

• Lapiths– Greeks considered them the civilized

heroes of the story– They are idealized, shown in perfect

form• Centaurs

– Drunken Centaurs tried to abduct the Lapith king’s bride

– Connected to Dionysus, the god of wine

– Represent chaos, change, and madness

– Depicted with dramatic gestures and angered expressions

• Apollo brings about order and reason – Credited with peacefully ending the

conflict

TEMPLE OF ZEUScompleted before 456 BC

• - The temple was burnt by order of Theodosius II in AD 426. Badly damaged by the fire, it was finally thrown down by the earthquakes of AD 551 and 552. Excavations at the temple began by the French in 1829, and were completed by the German School. Parts of the sculptural decoration have been restored and are now on display in the Olympia Archaeological Museum, while the metopes removed by the French expedition of 1829 are in the Louvre. Conservation and cleaning of the monument are currently in progress.

4.22b Doors depicting scenes from Genesis and the Life of Christ, commissioned by Bishop Bernward for the Abbey Church of St. Michael’s, Hildesheim, 1015. Bronze, 16’6” high. Dom-Museum, Hildesheim, Germany; 4.22c Diagram with identification of panels on Hildesheim Doors




Doors depicting scenes from Genesis and the Life of Christ

• Commissioned by Bishop Bernward for the Abbey Church of St. Michael’s, Hildesheim, Germany

• Scenes from the Old and New Testaments

– Organized to make direct connections between the two

• Left doors: scenes from the Book of Genesis

– Start at the top and go down

• Right doors: scenes from the Life of Christ

– Start at the bottom and go up




- Cathedral in Hildersheim Germany, copper roof, 1280 AD

4.22a Detail of Hildesheim Doors: Expulsion from the Garden of Eden

Detail of Hildesheim doors: Expulsion from the Garden of Eden• Scene from the Old Testament

door– Adam and Eve were expelled

from Paradise• Corresponding panel on the

New Testament door – Sin is redeemed by the

Crucifixion of Jesus• Not an idealized depiction

– The figures are elongated and frail

– Positioned within an unnatural environment

– Reflects Christian emphasis on internal, spiritual matters rather than the exterior, physical world

4.23 Life of Buddha, stela, Gupta period, c. 475 CE. Sandstone, 41” high. India Museum, Calcutta, India

Life of Buddha, stela• Buddha

– Born Siddhartha Gautama, a Hindu prince in Nepal

• Buddhist art depicts the life and teachings of Buddha – Stories are pathways to

spiritual perfection• This stela shows important

moments in Buddha’s life, including:– Miraculous birth– Moment of enlightenment– Giving his first sermon– Achieving tranquility, called

nirvana




Spiritual Beings and Ancestors

• African cultural tradition– Art objects are infused with spiritual presence– Preserved through cultural practices and

family ties

• Contemporary artists will often refer back to traditional art, customs, and rituals

4.24 Mother-and-child figure, late 19th–mid-20th century. Wood, 25” high. Cleveland Museum of Art, Ohio

Mother-and-child figure• Senufo culture, West Africa

– Religion centers on a creator deity, nature spirits, and ancestral spirits

– Including a female spirit: “ancient mother” or “ancient woman”

• Mother-and-child figure– Exaggerated breasts and

arms– Depicts a nursing female

ancestral spirit– Used to guide the

community’s men, who were responsible for maintaining religious and historical traditions

4.25 Chair, early 20th century. Wood, brass, and iron tacks, 23⅝ × 13¼ × 23¾”. National Museum of African Art, Smithsonian Institution, Washington, D.C.

Chair from the Democratic Republic of Congo

• Functional objects highly valued in African traditions – Acquired their power through

use– Chairs: resting places for the

soul after the owner dies• Chair, probably from Ngombe

culture – Carved from a single piece of

wood (except the crossbeams)– Decorative brass and iron tacks

imported from Europe – Chevron motif

• Sign of masculinity and royalty

• Appropriate because this chair was originally owned by a chief

• Congo chiefs were believed to be divine or semi-divine

4.26 Betye Saar, Ancestral Spirit Chair, 1992. Painted wood, glass, plastic, metal, and vine, 60 × 46 × 32”. Smith College Museum of Art, Northampton, Massachusetts

Betye Saar, Ancestral Spirit Chair

• Saar explores personal and community identity– Draws on traditions

important to African groups– Interest in stereotypes,

voodoo, and spirit worship• Ancestral Spirit Chair

examines the power that remains with an object over several generations

• Saar describes how power is transferred in her artwork: – Between artist and material – Between the final product

and the viewer




Connecting with the Gods

• Intermediaries between people and deities– Act as role models– Educate viewers about religious practices

• Rulers– Interact directly with the divine on behalf of

their people– Favor of the gods shows that they are

blessed, and worthy of their leadership role

4.27 Stela of Naram-Sin, c. 2254–2218 BCE. Pink sandstone, 6’7” × 3’5”. Musée du Louvre, Paris, France

Stela of Naram-Sin• Stela of Naram-Sin (an Akkadian

king)

– Commemorates his victory over the Lullubi people

• Hierarchy of size: Naram-Sin is the largest figure

• Naram-Sin is closest to the abstract sun god

– Reinforces the king’s status as supreme and divine

– Favorable connection with the gods ensures prosperity for the whole community

4.28 Virgin of Vladimir, 12th century (before 1132). Tempera on panel, 30¾ x 21½”. Tretyakov Gallery, Moscow, Russia

Virgin of Vladimir• Byzantine “icons” painted on

wood panels were portable – They could be carried to

distant lands to help spread the beliefs of Christianity

• Orthodox Church developed a basic formula for icons – Must have gold

backgrounds, linear outlines, stylized figures

• Icons were one way of communicating with saints – Many were believed to

possess miraculous powers– The icon served as a source

of devotion and an inspiration for spiritual living

4.29 Gianlorenzo Bernini, The Ecstasy of St. Teresa, 1647–52. Polychromed marble, gilt, bronze, yellow glass, fresco, and stucco, 4’11” high (figures only). Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy

Gianlorenzo Bernini, The Ecstasy of St. Teresa

• Funerary monument for the Cornaro family in Rome

• Ecstasy of St. Teresa – St. Teresa had a vision that she

was pierced by an angel’s arrow and infused with divine love

– Theatrically set in the clouds, dramatic light effects

• Typical of the Italian Baroque style

– Bernini skillfully depicted a variety of textures

– Combination of realistic details and exaggerated devotion

• Supports the Catholic Church’s ideas – Individuals should form a

personal relationship with Christ

4.30 Altar 4, La Venta, c. 800 BCE. Basalt, 59¼” high. Parque Museo La Venta, Villahermosa,Tabasco, Mexico

Altar 4, La Venta• Olmec leaders sat on “altars,” or thrones,

during public ceremonies– Belief that leaders could travel from

one world to another

• Altar 4: a ruler on the threshold of a cave– Emergence of the man represents the

birth of mankind

– He holds a rope that wraps the cave and secures prisoners

• They will be sacrificed to appease the gods

– Caves: • Important in Olmec creation

mythology, symbolic of the womb

• Access point to another world

• Seen as a living entity with eyes, a nose, and teeth

4.31 Rhinoceros, bird-headed man, and disemboweled bison, c. 15000–13000 BCE. Paint on limestone. Lascaux Caves, Dordogne, France

Rhinoceros, bird-headed man, and disemboweled bison, Lascaux

Caves• Paleolithic• Bird-headed man

– Rare example of a human figure in prehistoric art

– Likely a shaman• Shamans served as

intermediaries between the spiritual world and the world of humans

• They used magic to heal or control events

– The man may be shown here in a shamanic trance, in the process of transforming into a bird or deity

• This painting probably served a ritual function




Sacred Places

• Sacred places restore a person’s soul– Can be individual or communal– Allow us to feel connected and at peace

• Some artists and architects mark sacred places– Places of personal retreat– Communal worship– Connected to nature, religion, or community

4.32a Hall of the Bulls. Plan of Lascaux Caves, Dordogne, France

4.32b Hall of the Bulls. Pigment on limestone rock. Lascaux Caves


PART 4THEMES

Chapter 4.2 Spirituality and Art

What Makes a Place Sacred?Hall of the Bulls, Lascaux Caves

• Section of the cave near the entrance– Heavily painted with depictions of various animals– Hall of the Bulls

• Many detailed, realistic images • Overlapping pictures indicate that the cave was repeatedly

visited by multiple generations of prehistoric people• Repeated use of the same space suggests that the caves were

important and even sacred to those living in the area

• The images likely served several functions– Told a story– Taught hunting techniques – Represented shamanistic practices (see 4.31)

4.33a Plan and section (through main gallery of oldest region) of catacomb of Callixtus, 2nd century CE, Rome, Italy

4.33b Catacombs of Priscilla, 2nd and 3rd centuries CE, Via Salaria, Rome, Italy


PART 4THEMES


What Makes a Place Sacred?Catacombs of Priscilla, Rome

• The catacombs in Rome

– Series of underground tunnels – Measure between 60 and 90 miles in length– Contain the remains of nearly 4 million people– Sacred space for pagans, Jews, and Christians

• Praying figure in the catacombs of Priscilla

– Fresco painting– Familiar to all religions

• But interpreted differently by each one• Could have helped win potential converts to Christianity

4.34 Main entrance portal (iwan), Masjid-i-Shah, early 17th century, Isfahan, Iran




Main entrance portal (iwan), Masjid-i-Shah

• Muslims are called to prayer 5 times a day, facing Mecca

• Mosque: building for people gathering to pray– Generally the largest structure in an Islamic community

– Qibla wall: indicates the direction for prayers

– Minarets, or large towers: call worshipers to prayer

– Iwans: vaulted entrances connecting courtyard to mosque

– Mihrab: prayer niche

– Muqarnas, or stalactite vaults: represent the “rotating dome of heaven”

• Decoration includes:– Foliage designs, intricate tile work, and calligraphy

4.35 Ise Jingu, site dates from 4th century CE, rebuilt 1993, Mie Prefecture, Japan




Ise Jingu, Japan

• Shinto religion

– Nature itself is considered a deity

– Well-being is connected to elements of water, trees, mountains, and the sun

• Ise Jingu

– Shrine dedicated to the sun goddess Amataerasu Omikami

– Began when the site was marked by piles of small stones

– These structures grew to include fences, buildings, and gates

– A-frame wooden structure is rebuilt every 20 years

• Because nature is cyclical

4.36 Rothko Chapel, 1966–71, Menil Collection, Houston, Texas




Rothko ChapelHouston, Texas

• Mark Rothko

– Abstract Expressionist artist

– Painted with intense colors to inspire contemplation

– He wanted to create an environment to transport viewers

• Rothko Chapel

– Designed in collaboration with a team of architects

– Sought to create a universal space that is spiritual in nature, but free from religious connections

4.37 Chapel of the Rosary, Vence, Côte d’Azur, France. Plan devised by Henri Matisse, 1948–51


Gateway to Art:



Matisse, IcarusDesigns with Cutouts

• Matisse used paper cutouts to design and plan works of art

• The Chapel of the Rosary

– Designed by Matisse for Monique Bourgeois, a nun who once nursed him

– Reveals interest in geometric form, bold patterns, and color

– Matisse designed stained-glass windows, furniture, and tiles

• Matisse chose a color palette that reflects the natural environment for his stained-glass windows

– Blues represent the sea

– Yellows indicate the sun

– Subdued greens for foliage

4.38 Henri Matisse, Icarus, from Jazz, 1943–7. Page size 16⅞ × 12⅞”. MOMA, New York

Matisse, IcarusDesigns with Cutouts

• Designed as a cutout and produced as a stencil print in a book

• Later in his career, Matisse applied a similar technique, using cutouts, to design the entire interior of a building


PART 4THEMES

Gateway to Art:


Matisse, Icarus and the Chapel of the Rosary

• Compare Icarus and the Chapel of the Rosary. Discuss Matisse’s use of:

– Color

– Light

– Organic or geometric shapes

– Evidence of the cutout technique in the final artwork



PART 4THEMES

Click the image above to launch the video




Discussion Question

2. Review the sacred places covered in this chapter and then think of a building, public space, or sculpture that is important to you. Choose a place or artwork that you are comfortable discussing with others and that is personally significant and connected in deep ways to your sense of self.

Describe it as fully as possible (the function of the space, what you do there, what it looks like, how you feel when you are there, whether other people have similar experiences there, and so on). Be sure to consider how your experience could best be shared with someone unfamiliar with your personal sacred space.




Discussion Question

3. In this chapter you have encountered some spaces that have been sacred to a large community and even to a global body of followers.Describe a sacred space with universal appeal, or invent and design one.

Sacred spaces often harmonize with nature or feature geometric forms, and include sacred symbols. Will your space include any of these elements?

Try to make your chosen space reflect feelings and/or physical attributes that are important to you.




This concludes the PowerPoint slide set for Chapter 4.2

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields





4.21 John Hios/akg-images 4.22a, 4.22b Dom-Museum Hildesheim 4.22c Ralph Larmann 4.23 India Museum, Calcutta 4.24 The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1961.198 4.25 National Museum of African Art, Smithsonian Institution, Washington, D.C., Museum purchase 90-4-1.

Photograph Franko Khoury; 4.26 Smith College Museum of Art, Northampton, Massachusetts. Purchased with the proceeds from the sale of

works donated by Mr. and Mrs. Alexander Rittmaster (Sylvian Goodkind, class of 1937) in 1958, and Adeline Flint Wing, class of 1898, and Caroline Roberta Wing, class of 1896, in 1961. Courtesy Michael Rosenfeld, LLC, New York, NY

4.27 Musée du Louvre, Paris 4.28 State Tretyakov Gallery, Moscow 4.29 Photo Scala, Florence/Fondo Edifici di Culto – Min. dell’Interno4.30 Gianni Dagli Orti/The Art Archive 4.31 Norbert Aujoulat 4.32a Ralph Larmann 4.32b Colorphoto Hans Hinz, Allschwil, Switzerland 4.33a Ralph Larmann 4.33b © Araldo de Luca/Corbis 4.34 © B. O’Kane/Alamy 4.35 Courtesy Jingu Administration Office 4.36 Photo Hickey-Robertson © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London 4.37 Rainer Hackenberg/akg-images. © Succession H. Matisse/DACS 2011 4.38 Teriade Editeur, Paris, 1947. Printer Edmond Vairel, Paris. Edition 250. Museum of Modern Art, New York,

The Louis E. Stern Collection, 930.1964.8. Photo 2011, Museum of Modern Art, New York/Scala, Florence. © Succession H. Matisse/DACS 2011

Picture Credits for Chapter 4.2

1. This chapter examines spirituality expressed in art through ________.

◦ a. depictions of specific deities

◦ b. references to spirits and ancestors

◦ c. reflections of communication with the spirit world

◦ d. places with sacred resonance

◦ e. all of the other answers

2. Whether pagan, Christian, or Buddhist, artworks depicting deities are generally intended to ________.

◦ a. tell the stories of the key religious figures

◦ b. represent accurately what the key religious figures looked like

◦ c. be appreciated only by those who can read

◦ d. serve as structural elements in religious buildings

◦ e. none of the other answers

3. In the relief sculpture from the west pediment of the Temple of Zeus, the figures of the Lapith people

are

◦ a. abstract.◦ b. deformed.◦ c. idealized.◦ d. dramatic.◦ e. not included.

4. Figure 4.23 depicts episodes from the life of Buddha

◦ a. painted as separate scenes on different walls of a cave.

◦ b. sculpted as separate scenes all on one block of sandstone.

◦ c. hidden underneath a chair that was placed in a temple.

◦ d. stacked one on top of the other in an outdoor shrine.

◦ e. through the medium of performance art.

5. In African art, such as that of the Senufo people, spirit figures are often shown as:

◦ a. abstract with exaggerated body parts.

◦ b. realistic with exact anatomical proportions.

◦ c. invisible.◦ d. disguised in the form

of buildings.◦ e. sea monsters.

6. Contemporary artist Betye Saar was referring to what aspect of traditional African art in her

Ancestral Spirit Chair?

◦ a. The medium of relief carving

◦ b. Christian religious practices

◦ c. Personal and communal identity

◦ d. Representational imagery instead of symbolism

◦ e. None of the other answers

7. Artworks that show interaction between humans and deities

◦ a. all look the same.◦ b. were made at the

same time.◦ c. were made by the

same culture.◦ d. always show the

human bigger than the god.

◦ e. none of the other answers

8. What characteristic do the Stela of Naram-Sin, Virgin of Vladimir, and The Ecstasy of St. Teresa share?

◦ a. Inclusion of masks as transformative elements

◦ b. All the figures are depicted in dark clothing.

◦ c. They are all sculptures.◦ d. An emphasis on light in

the form of rays or golden tones

◦ e. They have nothing in common.

9. What shared aspects of the caves at Lascaux and the catacombs in Rome indicate that these places were sacred to

those who used them?

◦ a. People returned to both places again and again.

◦ b. Neither culture had developed a writing system.

◦ c. Both places appear to have been the site of eating festivals.

◦ d. Both sites feature paintings connected to spiritual beliefs.

◦ e. Neither place seems to have been significant for the users.

10. Such sacred places as mosques, temples, shrines, and chapels

◦ a. are always oriented in the direction of Mecca.

◦ b. are all rebuilt every twenty years.

◦ c. must have stained-glass windows.

◦ d. are often used for quiet contemplation.

art 110 3.2 and 4.2 nq

Entertainment & Humor

examples of jewish art

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middle east

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kathryn shields

byzantine empire

byzantine churches

imagery of christ