1 / 50

Introductory Vocabulary for the art historian

Introductory Vocabulary for the art historian. All words are defined in the Introductory chapter of Volume 1 and Volume 2 of Gardner’s Art Through the Ages . The words in your book are italicized.

susan-holland
Download Presentation

Introductory Vocabulary for the art historian

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Introductory Vocabularyfor the art historian All words are defined in the Introductory chapter of Volume 1 and Volume 2 of Gardner’s Art Through the Ages. The words in your book are italicized. BRUCE NAUMAN, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967. Neon with glass tubing suspension

  2. Chronology =dating of objects, buildings Imhotep Pyramid and Mortuary of Djoser Saqqara, Egypt ca. 2,630-2,611 B.C.E. limestone

  3. Physical evidence = examine actual materials of object to determine age Ka-Aper from his mastaba at Saqqara, Egypt ca. 2,450-2,350 B.C.E. wood approximately 43 in. high

  4. Documentary Evidence = written records Palette of King Narmer from Hierakonpolis, Egypt ca. 3,000-2,920 B.C.E. slate approximately 25 in. high Dinariuswith Portrait of Julius Caesar, 44 B.C.E.silver3/4 in.

  5. Visual Evidence = fashions of time Head of a Roman patrician, ca. 75-50 B.C.E.marble, approximately 1 ft. 2 in. high Portrait bust of a Flavian woman from Rome, Italy, ca. 90 C.E.marble, 25 in. high Mummy portraitfrom Faiyum, Egypt, ca. 160-170 C.E. encaustic on wood

  6. Stylistic Evidence = artist’s style A 19th-century German School portrait that sold for $21,850 at a Christie’s auction in 1998 has now been attributed to Leonardo da Vinci by some art and scientific experts. But the attribution has not gone unchallenged. The 13-by-9.4-inch work — which might be a betrothal portrait — did not cause a furor when it went on sale at Christie’s in New York. At the auction, it was bought by a dealer based in the United States, who sold it last year. If it is in fact a Leonardo, skeptics say, it went unrecognized by experts at the auction house, as well as the specialized dealers who attended the sale, including the one who bought it. Leonardo da Vinci, Ginevra de' Benci, c. 1474-1478, oil on panel, National Gallery of Art, Is it a Leonardo? Da Vinci's "Marriage Portrait of a Young Woman." ??????

  7. Period Style = characteristic manner of specific time within specific culture Hellenistic Greek Archaic Greek Classical Greek

  8. Regional Style = style tied to geographic region Italian Renaissance focused in Florence and Rome Northern Renaissance located in Flanders and Brugge

  9. Provenance = object’s place of origin The Euphronioskrater, a renowned red-figured Greek vase from the sixth century B.C., is widely believed to have been illegally excavated in 1971 from an Etruscan tomb near Rome. In 1972 a dealer in classical artifacts sold it to the Metropolitan Museum of Art for $1 million. Questions soon rose about its provenance, and The New York Times tried to follow the vase’s trail; the Met said at the time that it did not believe that the object had been smuggled. But in 2005, Italy stepped up an aggressive public campaign to lay claim to antiquities in foreign museum collections that it suspected had been looted. After long negotiations, the Met and the Italian government brokered an accord in February 2006 providing for the handover of 21 antiquities to Italy, including the Euphronios, in exchange for long-term loans from Italy to the museum Met Gives Back EuphroniosKrater to Italy

  10. Personal style = style of individual artists Georgia O'KeeffeJack-in-the-Pulpit No. IV, 1930 FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas,

  11. Narrative = art that tells a story Assyrian archers pursuing enemiesfrom the Northwest Palace of Ashurnasirpal II, Kalhu (modern Nimrud), ca. 875-860 B.C.E. Pilate Washing his Hands, Christ Carrying the Cross, Denial of Peter from a casketca. 420ivory

  12. Genre = scenes from daily life JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas

  13. Landscape = depiction of a place Dwelling in the Qingbian Mountains, Ming dynasty, 1617. Hanging scroll, ink on paper JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670.

  14. Still life =arrangement of inanimate objects WILLEM KALF, Still Life with a Late Ming Ginger Jar, 1669. Oil on canvas RACHEL RUYSCH, Flower Still Life, after 1700. Oil on canvas

  15. Iconography means writing of images, look at content and symbol use Menkaure and Khamerenebty from Gizeh, Egypt ca. 2,490-2,472 B.C.E. GIOTTO, Madonna in Glory c. 1311 Tempera on panel

  16. Symbols = images that stand for ideas Hatshepsutwith offering jars, Deir el-Bahri, Egypt, ca. 1,473-1,458 B.C.E. MARSDEN HARTLEY, Portrait of a German Officer, 1914.

  17. Personifications = abstract ideas embodied in persons

  18. To Attribute – give credit to a specific artist based on style, often works are not signed. Athenian bilingual amphora, red-figure side, clay, painted by "The Andokides Painter," c. 525 B.C. Athenian bilingual amphora, black-figure side, clay, painted by "The Andokides Painter," c. 525 B.C.

  19. Connoisseur – an expertin analyzing the hand of the artist: which self-portrait was painted by Rembrandt? Rembrandt WorkshopPortrait of Rembrandt, 1650 Rembrandt van RijnSelf-Portrait, 1659

  20. School = artists working in same style during same historical period, same geographic location Dutch School Spanish School

  21. Patrons = people or institutions who paid for art William Walters Henry Walters Portrait of Augustus as general from Primaporta, Italy ca. 20 B.C.E. Head Reliquary of Saint Alexander from Stavelot Abbey, Belgium, 1145, silver repoussé, gilt bronze, gems, enamel

  22. Formal analysis – specialized visual analysis, considering qualities such as line, shape, color, space, light, texture, form,

  23. Composition =how an artwork is organized visually Mihrab from the MadrasaImamiIsfahan, Iran, ca. 1354glazed mosaic tilework STUART DAVIS, Lucky Strike, 1921. Oil on canvas Meiping vase, 960-1127 C.E.Stoneware

  24. Technique = how artists handle materials Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Lavender Mist, Jackson Pollock, oil, enamel, aluminum on canvas, 1950

  25. Contour line – continuous outer line defining artwork’s shape or form Incised shell gorget, Mississippian, from Sumner County, Tennessee, ca. 1250–1300 CE. 4” wide.

  26. Value = degree of lightness or darkness DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1935. Gelatin silver print.

  27. Hue = Color Primary colors – red, yellow, blue Secondary colors – orange, green, purple Complementary colors – opposite on the color wheel: red/green, purple/yellow, orange/blue

  28. Saturation = brightness or dullness of color MORRIS LOUIS, Saraband, 1959. Acrylic resin on canvas ELLSWORTH KELLY, Red Blue Green, 1963. Oil on canvas

  29. Texture = quality of surface Colossal head, Olmec, La Venta, Mexico, 900–400 BCE. Basalt,

  30. Collage = combination of different materials & textures, using mixed media PABLO PICASSO, Maquette for Guitar, 1912. Cardboard, string, and wire (restored)

  31. Illusionistic space = space painters depict on 2D object to represent 3D space The School of Athens, Raphael, 1510, fresco

  32. Mass = 3D space, building, sculpture Colosseum, Rome, Italy ca. 70-80 C.E.

  33. Volume = space enclosed or divided by a building, sculpture, pottery, furniture, interior Ziggurat at Ur (modern Tell Muqayyar) Iraq ca. 2,100 B.C.E. mud brick

  34. Perspective = pictorial device for organizing space, creates illusion of depth on 2D surface, commonly used in Western art ANNIBALE CARRACCI, Flight into Egypt, 1603–1604

  35. Foreshortening = a kind of perspective which puts forms close to the picture plane, shows forms at an angle that implies depth CARAVAGGIO, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas

  36. Proportion = relationship of size of parts to the whole Portrait of Constantine from the Basilica Nova, Rome, Italy ca. 315-330 C.E.

  37. Canon of proportion = ideal proportions for representing human figures, constructing buildings Goats Treading Seed and Cattle Fording a Canal Saqqara, Egypt - Mastaba of Ti ca. 2450-2350 B.C.E.painted limestone Polykleitos, Doryphoros (Spear Bearer), ca. 450-440 B.C.E.

  38. Hierarchy of scale = intentional use of disproportion to emphasize importance of king or leader Victory stele of Naram-Sin from Susa, Iran ca. 2,254-2,218 B.C.E. sandstone Ti watching hippopotamus hunt from Saqqara, Egypt ca. 2,450-2,350 B.C.E.

  39. Carving: subtractive and additive Guang, probably from Anyang, China, Shang dynasty, twelfth or eleventh century BCE. Bronze, Semnut with Princess Nefruafrom Thebes, Egypt, ca. 1470-1460 B.C.E. granite

  40. Mold:hollow form used for shaping or casting a fluid substance such as bronze Head of an Akkadian ruler from Ninevah (modern Kuyunjik) Iraq ca. 2,250-2,200 B.C.E.

  41. Sculptures in the round = freestanding sculptures UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze Nike of Samothrace, ca. 190 BCE

  42. Relief sculptures = sculptures project from background but are still attached to it Ashurbanipal hunting lionsfrom the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq, ca. 645-640 B.C.E. gypsum approximately 5 ft. high

  43. Sunken Relief = sculptor cuts into background to make relief. Akhenaton sacrificing a duck ca. 1,353-1,335 B.C.E. limestone

  44. Low relief = projection is slight, barely raised from background surface Ashurbanipal hunting lions from the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq ca. 645-640 B.C.E.

  45. High relief = forms project high, some parts of relief are actually in the round Replica of Western Frieze of Pantheon, Nashville, TN.

  46. Repoussé – relief made of metal from hammering from behind, pushing subject out from background Head of Sasanian King (Shapur II?) from Ctesiphon, Iraq ca. 350 C.E. silver with mercury gilding

  47. Plan – a map of a floor, shows masses of building & volume of space Old Saint Peter’s Basilica (plan) Rome, Italy ca. 320

  48. Section = shows mass of building by cutting through the 3D rendering of it Old Saint Peter’s Basilica (section) Rome, Italy, ca. 320

  49. Elevation = head-on view of an external or internal wall Tympanum of the south portal of Saint-Pierre Moissac, France marbleca. 1115-1135

  50. Cutaway = combines interior and exterior views Temple of Aphaia, Aegina, Greece ca. 500-490 B.C.E.

More Related