Intro to Art from 200 to 1000

1. Intro to Art from 200 to 1000 • In Europe, the period between ____________________is known as the ____________________, or medieval period. The term “Middle Ages” was invented during the _____________________to suggest that these centuries were an ___________________between the golden age of classical Greece and Rome and the “new” golden age of the Renaissance. • The people of the Renaissance ______________________________________________________________________________________________(“Dark Ages”), but historians today refute this characterization.

2. The dominant institution—culturally, educationally, spiritually, and often politically—was _________________________. Some Christians withdrew from the world into __________________________. The church developed a ruling hierarchy headed by the pope. • The expanding institutions and hierarchy of the Church, and the development of Mass, created a __________________________________________. • Many works offer a stylistic treatment that emphasizes __________________________________________________of the traditions of _________________________________________that had dominated during the Greek and Roman periods. • From Europe during this period, we have virtually no _________________________. The ______________________________of a person was not considered to be ________________. Many of these works were produced _______________________working ______________________new important group. By the tenth century lay artists were organizing themselves into professional organizations called ___________.

3. Byzantine Art

4. The Decline of Rome • Unwieldy bureaucratic machine • Too many mercenary troops that were disloyal • Power shift from Rome to Constantinople • Invasion of barbarians from north • 330 A.D. Emperor Constantine moved capital to Constantinople • Final barbarian assault – end of empire, 476 A.D. • ………………………………………………………………………………………… • By the early __________________, The Roman Empire already had severe economic, political, and social problems. In 330 Emperor Constantine dedicated the Greek Commercial center of _____________as his eastern capital. • He renamed the city ___________________________.

5. Under _______________(527-65), and intelligent and efficient emperor, the Byzantine civilization _______________.His intelligent wife, ______________, assisted in governing the empire. The location of the Constantinople meant that the influence of Roman culture was gradually supplanted by Greek taste and values, and Greek replaced Latin as the official language at court. • Disagreements within the Church led to an official split in ___________between the Western , or Roman, Church and the Byzantine , or Orthodox, Church, with its center in Constantinople. This split explains why the Christian Crusaders, on their way to fight the Muslims in 1204, diverted their campaign and captured and sacked Constantinople .

6. The central feature of their reign is its blending of their ________________with the ________________so that church and state became a _________________. Christianity, which had been a despised and persecuted sect, now became the official religion of the state. The Roman Empire, Christianity, and the ascent of the ByzantineEmpire Church of Hagia Sophia, Constantinople, 6th century AD

7. The Icon and Iconoclasm • One unique form of painting that developed on Orthodox Christianity was the __________(Greek for “___________”), a consecrated religious painting that ________________________________________________________________________________________________________ • By the later ___________century, the faithful attributed miraculous ____________to certain icons. Conservative factions, called ________________(image destroyers), feared that icons themselves had become ______________, which would be ___________________________________. • They were countered by ________________(image venerators) who argued that because Christ had become _____________it was ________________to depict him in the human form. The dispute erupted into open and sometimes bloody conflict between 726 and 843, known as the ________________________.

8. _________________________had a readily recognizable look to it, a look most apparent in its art and architecture. It was an art that was ________________, ___________________, and ___________________. A contemporary Orthodox theologian has said that the proper attitude of a Byzantine worshiper is _____________. The ______________________of this tradition were meant to be seen as __________________through which the devout might view ________________________________. No conscious attempt was made to be innovative in this art. The emphasis was always on _________________________________________. lunette over the south doorway, Church of Hagia Sophia Virgin and Child flanked by Emporerer Justinian I and Constantine I Church of Hagia Sophia, interior, Constantinople, 6th century AD

9. Stylized _______________ • Simplified _____________ • _____________composition • Intense __________________ • Frontal __________________ • ________________Postures • ____________Design Elements • Symmetrical _______________ • Spiritual Quality • “God’s Eye View” • Biblical – The Word of God • Imbued with Holy Spirit • Didactic – Used for Purposes • of Religious Instruction • Evangelical – Used to Spread the Faith Characteristics Madonna and Child Enthroned with Saints Theodore and George and Angels. Sixth century. 2' 3" x 1' 7 3/8".

10. Byzantine Architecture Byzantine Architecture Early Byzantine architecture is essentially a ________________________________. Gradually, a style emerged which was influenced more by the architecture of the near east, and used the Greek _____________for the church architecture which mostly stands today. ____________replaced stone, classical orders were used more freely, _________replaced carved decoration, and ________________were erected.

11. Church of Hagia Sophia, Constantinople 532-37 Church of Hagia Sophia, interior, Constantinople, 6th century AD

12. The interior of Hagia Sophia (Holy Wisdom) offers the dramatic interplay of two crucial architectural elements: _______________________. The enormous interior space and dome seems to ____________over us because of the __________________at its base. • Dome rebuilt after damage from earthquakes in 558, 989, and 1346. • Served as a _________________for the Byzantine emperors and was the site of their coronations.

13. Ravenna San Vitale and Sant'Apollinare in Classe, in Ravenna, Italy (6th century AD.) are two of the most illustrious expressions of Byzantine artistry in the world. Basilica of San Vitale Sant'Apollinare in Classe (Tower is a medieval addition)

14. Church of San Vitale,Ravenna, Italy Church of San Vitale, view across the central space toward the sanctuary apse , Ravenna, Italy. 526-47

15. The church of San Vitale has a plain brick exterior that characterized much of Early Christian and Byzantine architecture, but inside a comprehensive mosaic program synthesizes _________________with imperial __________________________. • The complex ideological programs joins Old Testament and New Testament scenes to ________________, ___________________and _____________________________ • On the left wall of the apse, a rectangular mosaic depicts Justinian with ecclesiastical personnel on his left and civil and military personnel on his right. Justinian carries the vessel that held the bread for Mass; on the soldier’s shield at the left border, Christ’s _______________monogram indicates the political importance that ______________________had assumed within the Empire. • His placement communicates his ____________as _____________of both Church and State. • Although some modeling suggested, the ______________________denies the illusion of real space as if the earthly court of Justinian has been transfigured into a spiritual realm.

16. Justinian, Archbishop Maximianus of Ravenna, and Attendants. c. 547. 8' 8" x 12'.

17. Church of San Vitale, Theodora Mosaic Empress Theodora and Her Attendants, mosaic on south wall of the apse, Church of San Vitale, Ravenna (Dodati) 547 AD

18. Church of San Vitale,Ravenna,TheodoraMosaic Empress Theodora and Her Attendants, detail; mosaic on south wall of the apse, Church of San Vitale, Ravenna(Dodati) 547

19. Church of Saint'Apollinare The Transfiguration of Christ with Saint Apollinaris, First Bishop of Ravenna, mosaic in the apse, Church of Saint'Apollinare in Classe, Italy. 533-49

20. What Byzantine Art Reveals about Byzantine Civilization • The power and expressiveness of the figures portrayed in the art suggest • the vitality and strength of Byzantine traditions, which have outlasted the fall of the empire. • The richness of the materials, especially the lavish use of gold, indicates wealth. • The great variety in the subject matter, media, and types of art attests to • the taste and sophistication of the society that commissioned it and to the remarkable artistic skill of the craftsmen who created it. Because Byzantium was Greek-speaking, the culture of ancient Greece was kept alive until the middle of the 15th century, when the city fell to the Ottoman Turks. The removal of much of that culture to the West was a strong influence on the development of the Renaissance.