ART 250, Art History I

Required Text:  Marilyn Stokstad, Art History (most recent edition)

Course Objectives and Goals:  This course is a chronological survey that examines painting, sculpture and architecture from the Paleolithic Period through the Renaissance.  The course is intended to introduce you to major art works, to teach you to recognize and discuss major artistic styles, and to demonstrate how these art objects and styles reflect the cultures that produced them.  The course is also intended to broaden your appreciation of other cultures and their contribution to our common heritage.  Enjoy.

Course Requirements and Grading
    You will receive grades for the following:  two quizzes, a midterm, project, final exam and class discussion.
    Each quiz consists of short essays and identifications.  You will be asked to discuss the style of art works and relate the works to the cultures that produced them.  The tests are not difficult, but they do require study. For tests, please clear your desk completely, and do not leave the room once the test begins.
    The format for the final will be announced at the end of the last class.  It may be regular quiz format, open-note, or class presentations, depending on our class performance and schedule.
    The discussion grade reflects the general effort I feel you are putting into the course.  It considers class discussion, attendance and any positive contributions made toward the success of the course. This grade is especially important for borderline students, but applies to everyone.
    Special points: Students are graded on improvement, if improvement is fairly constant, which means greater weight may be placed on work completed at the end of the semester. Any exceptionally good piece of work may be given greater weight in determining your final average. 

Museum Project
    Each student will complete a project demonstrating specialized knowledge of a single work of art created before 1550. The project allows you to pick something that particularly interests you and study it in detail.  Projects are based on original works of art seen in person this semester.  If traveling to a museum presents a problem, see me early in the semester.  See sample project at the end of  this page.

Attendance and Lectures
    Tests are based on lectures.  Attendance is considered in grading and is necessary for  attaining good grades.  You are responsible for all material, including handouts, presented in class.  You are responsible for being able to identify all objects on the “List of Works” and being able to discuss the general ideas presented for all works shown in class.  If you miss a class, it is your responsibility to get notes and handouts.  Read the text in conjunction with the lectures.

Writing Style and Typing
    Answer test questions using full sentences (not outlines).  Ability to express yourself clearly and concisely is very important.  Art History involves learning facts about objects, but it also deals heavily with the ability to describe objects.  Describing art involves learning to look at it carefully and talk about it clearly.  Learn basic terms, practice using them, and spend as much time as possible looking at illustrations.
    Projects must be typed.  They should represent your best and most professional work in the course.
   
Talk to Your Art History Teacher Who Is Really a Very Nice Person
    Talk with me before/after class, during office hours, or by appointment.  See me with questions, concerns or ideas about your projects. During weekdays, call my extension 6252 at BCC (609-894-9311).  At other times, call me at home (609-894-8070).  Please identify yourself as a student. You may call my home until midnight.
    The Art History teacher has also recently joined the machine age and can now be reached by e-mail: yantzjm@uscom.com (or jyantz@bcc.edu). Use the uscom address for fastest replies. Projects may be submitted electronically.  Please use software compatible with Word, and do not send papers as attachments, because my virus software eats all attachments without regard to literary merit.

 Missed Exams
    Missing exams or coming late to exams is discouraged. Students who miss an exam or arrive after exams begin must make arrangements to take a makeup. All makeup exams are given in the test center and consist of four (out of six) essay “culture questions,” which ask about the relationship of an art objects to its culture. Makeups are harder than in-class tests. 
    Students who miss one exam are not eligible for an “A” in the course. Students missing two exams are not eligible for an “A” or a “B” in the course. There are no exceptions.
     All makeup work must be completed by the last day of class.  

Art History Classes
    Both Art History I and II transfer, and both are useful for art, design, teaching, history and graphic design degrees. If you are taking only one Art History course, be sure it is the right course for you.  If you work in the course, all art history courses will help you write, analyze and observe more carefully.  Knowing art, also, is essential to making it and appreciating it; knowing about the people who have created art helps us know ourselves, because the people of the past are part of us.



List of Works Covered in Art 250

Introduction
Be able to use the basic art terms presented in the first class.  For help, check the glossary (p. 1188), the introduction, or the handout of terms.  Begin with the two examples below.

5-36, Classical Greece, Artemis Slaying Actaeon, Gr., 5th C. BC  (Closed composition)
9-14, Buddhist, Seated Buddha, India, 1st-2nd C. (Hierarchic scale and symmetrical balance)

Chapter 1, Prehistory
1-8, Paleolithic, Bison (Cave Painting, Altamira), Sp., c. 15,000 BC
1-7, Paleolithic, Spotted Horses (Cave Painting)
1-11, Paleolithic, Man and Bison (Cave Painting from Lascaux)
** Paleolithic, Woman Holding Horn, Fr., c. 20,000 BC, page 1
1-12, Paleolithic, Two Bison, Fr., c. 12, 000 BC
1-3, Paleolithic, Lion-Human, Ger., c. 30,000 BC

** Neolithic, Jericho, Fortified Tower, c. 8000-7000 BC, page 1
** Neolithic, Head, Jericho (Jordan), c. 7000-6000 BC, page 1
** Neolithic, Houses, Chatal Huyuk (Anatolia/ Turkey), c. 6000 BC, page 1
2-4, Neolithic, Shrines, Chatal Huyuk, c. 6000 BC
**, Neolithic, Deer Hunt, Chatal Huyuk, page 2
1-17, Neolithic, New Grange, Ireland, c. 3200 BC

Chapter 2, Ancient Near Eastern Art
2-6, Sumerian, Ziggurat, Mesopotamia (Iraq), c. 2500 BC
2-9, Sumerian, Worshippers
** Sumerian, Standard of Ur, page 2
2-11 & 2-12, Sumerian, Bull’s Head Harp and inlaid panel

** Akkadian, King, Mesopotamia, c. 2200 BC, page 2        (Akkadians: 2400-2200 BC)
2-15, Akkadian, Stele of Naram-sin

2-16, Neo-Sumerian, Gudea, Mesopotamia, c. 2100 BC  (Neo-Sumerians: 2200-2000 BC)
2-17, Babylonian, Code of Hammurabi, Mesopotamia, c. 1750 BC (Babylon: 1750-1600 BC)

2-27, Hittites, Lion Gate, Turkey, c. 1400 BC

2-1, Assyrian, Guardian Figure, Mesopotamia, c. 800 BC     (Assyria: 850-650 BC) 
2-19, Assyrian, Lion Hunt
** Assyrian, Dying Lioness, page 3
2-21, Assyrian, King and Queen Feasting

2-29, Persian, Palace Audience Hall, Persia, c. 500 BC                 (Persia: 500-331 BC)
**  Persian, Bull Capital, page 16
**  Persian, detail of Audience Hall (relief of tribute bearers), page 16
** Sasanian, King, Iran, c. 350 A.D. (Met), page 3   (Sasanian: 3rd-7th C AD)

Chapter 3, Egyptian Art
3-4, Predynastic/Neolithic, Palette of Narmer, Egypt, c. 3000 BC
3-8, Old Kingdom, Stepped Pyramid, Egypt, c. 2650 BC (Imhotep)
3-10, Old Kingdom, Great Pyramids, c. 2500 BC
1, Old Kingdom, Sphinx
3-12, Old Kingdom, Ka Statue (Khafre)
3-15, Old Kingdom, Seated Scribe
** Old Kingdom, Panel from Tomb of Hesire, page 3

3-22, Middle Kingdom, Portrait Fragment, Egypt, c. 1850 BC  (MK: 2000-1800 BC)
3-19, Middle Kingdom, Rock Cut Tomb, c. 1950-1900 BC
3-23, Middle Kingdom, Hippo (“William”), c. 1985-1795 BC, Dyn. 12, Met

3-31, New Kingdom, Mortuary Temple of Hatshepsut, Egypt, c. 1490-1460 BC (Senmut)
3-30, New Kingdom,  Hatshepsut, as sphinx, Met  (NK:  1600-1100 BC)
** New Kingdom, Ka Statue, c. 1450 BC, page 4
** New Kingdom, Musicians and Dancers, c. 1400-1350 BC, page 4

** Amarna, Akhenaton, Egypt, c. 1350 BC, page 4
3-37, Amarna, Queen Tiye, c.1355-1335 BC
3-36, Amarna, Relief, c. 1335 BC

3-2 and 3-41, New Kingdom, Tut’s Burial Mask and Inner Coffin, c. 1325 BC
** Painted chest from Tut’s tomb, page 5

3-34, New Kingdom, Temple of Ramses, c. 1250 BC

** Saharan Africa, Rock Painting (Running woman), Sahara Desert/Algeria, c. 2000 BC, page 17
13-4, Ife, King (Oni), Nigeria, 11th-15th centuries AD

Chapter 4, Aegean Art
4-3, Cycladic, Figure, Cycladic Islands, c. 2500 BC
4-4, Cycladic, Harpist (Met)

4-8, Minoan, Knossos, Stairwell, Crete, c. 1500 BC
4-15, Minoan, Bull-Leaping Fresco, Knossos, c. 1440-1400 BC
4-13, Minoan, Girl Gathering Crocuses, Thera
4-14, Minoan, Spring Fresco
4-12, Minoan, Octopus Vase

4-18, Mycenaean, Lion Gate, Mycenae, c.1300-1250 BC
4-19, Mycenaean, Mask, 1600-1500 BC
4-27, Mycenaean, Warrior Vase, c.1200 BC

Chapter 5, Ancient Greece
5-22, Archaic, Calf Bearer, Greece, 6th century BC
5-18, Archaic, Kroisos (a Kouros figure), Greece

5-21, Archaic, Kore
5-26, Archaic, Suicide of Ajax (by Exekias)

5-16, (Early) Classical, Dying Warrior, Greece, 5th century BC
5-35, Classical, Warrior, Greece, 5th century BC
5-34, Classical, Charioteer
5-1, Classical, Discus Thrower (by Myron)
5-36, Classical, Artemis, Red Figure Painting, (Pan Painter)
5-38, 40 and 5-48, Classical, Parthenon (esp. 5-40) & Erechtheion (Porch of Maidens)
5-45, Classical, Horsemen on Parthenon
**, Classical, Gods and Goddesses on Parthenon, page 5
5-49, Classical, Temple of Athena Nike

5-61, Late Classical, Aphrodite, after 4th century BC original
**,  Late Classical, Apollo Belevedere, copy after original of 4th century BC, page 6
5-71, Late Classical, Theater at Epidauros
5-55, Late Classical, Tholos at Delphi

5-77 and 5-78, Hellenistic, Altar of Zeus, Pergamon, 2nd century BC
5-80, Hellenistic, Winged Victory
5-75, Hellenistic, Dying Gaul                                                           (Hellenistic: 323BC-31/27BC)
** Hellenistic, Seated Boxer, page 6
5-82, Hellenistic, Old Market Woman (in the Met)
** Hellenistic, Sleeping Eros (in the Met), page 18
** Hellenistic, Sleeping Satyr, page 7
** Hellenistic, Ahprodite and Pan, page 7

Chapter 6, Etruscan Art and Roman Art                (Etruscans: 700-200 BC)
6-1, Etruscan, She Wolf,  Italy, c. 500 BC
6-5, Etruscan, Apollo, Italy, 6th century BC
6-8, Etruscan, Sarcophagus
6-7, Etruscan, Tomb of Reliefs
6-9, Etruscan, Dancers (Tomb of Lionesses), 480 BC

6-10, Roman, Portrait of a Man, Italy, c. 300 BC  (Republic) see also p. 239, funerary practices
** Rome, Forum, Pompeii, page 7
6-65, Roman, Portrait, Pompeii
6-64, Still Life, Pompeii

6-20, Roman, Augustus, Italy, 1st century AD (Imperial)
** Roman, Mother Earth, from Altar of Peace, page 6
6-12, Roman, Pont-du-Gard (aqueduct), Nimes
6-16, Roman, Maison Carree, Nimes
6-17, Roman, Theater at Orange, 1st century BC

6-44, Antinous, from Hadrian’s villa, 2nd century AD
6-34 to 6-36, Roman, Pantheon

6-68, Late Roman, Caracalla, 3rd century AD
6-74, Late Roman, Battle of Romans and Barbarians
6-82, Late Roman, Colossal Head of Constantine, 4th century AD

Chapter 7, Early Christian, Jewish and Byzanine Art
7-3, Early Christian, Ceiling Painting of Good Shepherd, Rome, 4th century
7-18, Early Christian, Christ as Good Shepherd, It., c. 425
** Early Christian, Loaves and Fishes, Ravenna, It., 6th century, page 8
           
7-24, Byzantine, Hagia Sophia, Istanbul/Turkey, 6th century                                       
7-44, Byzantine, Christ as Ruler, Greece, 12th century (Byzantine Empire dates: c.500-1453)
7-42, Byzantine, Vladimir Madonna, Byzantium, 12th century (Icon)
7-49, Byzantine, Angel Michael, 10th/11th century (Icon)

Chapter 14, Early Medieval Art in Europe
14-3, Migrations, Sutton Hoo Purse Lid, England, 7th century

**   Irish, Tara Brooch, Ireland, c. 700, page 18
14-1, Irish, Chi Rho Page, Book of Kells
** Irish, High Cross, 10th century (similar to 14-5), pae 10

14-16, Carolingian, St. Matthew, Germany, c. 800
14-12, Carolingian, Aachen, Palace Chapel
** Carolingian, Lorsch Gatehouse, page 10

14-20, Viking, Ship, Scandinavia, 9th century          (Vikings: 9th-11th centuries)
14-21, Viking, Animal Head

14-28, Ottonian, Gero Crucifix, Germany, c. 970
** Ottonian, Otto Enthroned, c. 1000, page 9

Chapter 15, Romanesque Art
15-2 thru 15-4, Romanesque, Sainte.-Foy, c. 11th/12th centuries (interior and exterior)
15-40, Italian Romanesque, Pisa Cathedral and Tower, It., 11th century
15-11 & 15-12, Romanesque, last Judgment, Autun, Fr., 12th century
**  Eve, detail at Autun, by Gislebertus, page 18
15-13, Three Magi from Autun
** and 15-6 (plan), Romanesque, Cloister, Fr., page 11 (sim. to cloister at PMA)
15.1, Reliquary of Ste. Foy, 10th-11th centuries

Chapter 16, Gothic Art
** and 16-22, Gothic, Notre Dame, Fr., 13th century, page 10  (nave with rose similar to 16-27)
16-28, Gothic, Ste.-Chapelle, Fr., 13th century
**  Gothic, Beauvais Cathedral, Fr., 13th C, page 20 (vaults collapse 1284)
16-29, Gothic, Virgin and Child, Fr. 14th century (compare to 15-14)
16-24, Gothic, Visitation, Reims, Fr. 13th century
**     Gothic, Angel from Reims, page 20
16-53, Gothic, Ekkehard and Uta, Germany, 13th century
16-54, Gothic, Pieta, Germany, 14th century
16-55, Gothic, Florence Cathedral, It., 1296-1436 (14th century campanile by Giotto,
                                15th century dome by Brunelleschi)

Chpt. 9, 10,  12: The World Beyond Europe
9-8, Buddhist, Great Stupa, India, 1st century
9-9 and 9-10, Indian, Yakshi, India, 1st century BC
9--28, Hindu, Shiva as Lord of the Dance, India, c. 1000
** Hindu, Dancing Ganeshe (Ganesha), India, c. 800-900 (PMA), page 17
9-13, Buddhist, Buddha, Gandhara, 3rd century (western influence)
9-14, Buddhist, Buddha Preaching, India, 5th century
** Buddhist, Standing Buddha, India,  5th century (in the Met), similar 9-16, page 22
** Buddhist, Death of Buddha, Sri Lanka, 11th century, page 11

10-7, Han, Incense Burner, China, 113 BC (Han dates: 206 BC-220AD)
10-14, Tang, Camel with Musicians, China, 8th-9th C. (Tang dates: 7th-10th)
10-17, Tang, Pagoda, 7th century
10-20, Song, Landscape, 11th C. (Song dates: 10th-13th Centuries)
 
12-2, Olmec, La Venta, Mexico, 900-600 BC  (Olmec Dates: 1200-300 BC)
12-3, Olmec, Head, Mexico, 900-400 BC
**  Olmec, Celt

12-8, Maya, Temple I, Tikal, Guatemala, c. 700 (Classic Maya dates: 300-900)
**  Maya, Ball Court at Tikal, page 22
**  Maya, Bird Jaguar Taking a Prisoner, Yaxchilan, Mexico, 755-770, page 22 
**  Maya, Bonampak Mural of Captives, Mexico, 6th century, page 12
**  Maya, Amorous Couple, Jaina, c. 700-900, page 23
 
8-10 & 8-11, Islamic, Court of Lions and Dome, Alhambra, Sp., 14th century (in chpt. 8)
8-6 & 8-7, Mosque at Cordoba, Spain, begun 785-86, dome in 965

Chapter 17, Early Renaissance Art in Europe
17-6, Limbourgs, February, 15th Century
17-11, Robert Campin, Merode Altarpiece, Flemish, 15th century
**     Rogier, St. George and the Dragon, page 20
17-15, Rogier, Deposition

**  Jan Van Eyck, Madonna, page 21
17-13, Jan Van Eyck, Man in Red Turban

17-22, Hugo, Adoration of Shepherds
17-31, Schongauer, St. Anthony Tormented, Ger., 15th century

Chapter 16, Late Gothic Art in Italy
16-68, Cimabue, Madonna Enthroned, 13th century
**     Giotto, Joachim in the wilderness, 14th century, page 19
16-72, Giotto, Lamentation
16-65, Simone Martini, Annunciation, 14th century
Chapter 17, con’t: Italian Art
** Donatello, St. George, page 13
17-51, Donatello, David
17-52, Donatello, Magdalene

17-33, Brunelleschi, Dome of Florence Cathedral
** Brunelleschi, Pazzi Chapel, page 12
17-58, Gentile da Fabriano, Adoration of Magi
17-61, Masaccio, Expulsion
17-59, Masaccio, Trinity

**  Fra Filippo Lippi, Madonna and Child, page 13
** Piero della Francesca, Flagellation, page
17-55, Pollaiuolo, Hercules and Antaeus
17-67, Mantegna, Ceiling
** Mantegna, Dead Christ, page 13

Chapter 18, Renaissance Art in 16th Century Europe--The High Renaissance
** Leonardo, Embryo, It., 16th century, page 14
** Leonardo, Virgin of the Rocks, page 14
** after Leonardo, Battle of Anghiari  (Battle of the Standard), page 24

18-18, Bramante, Tempietto
**  Raphael, Baldassare Castiglione, page 14
**  Raphael, Marriage of the Virgin, page 14

18-11, Michelangelo, David
18-15, Michelangelo, Moses
**  Michelangelo, Slave, page 15
18-16, Michelangelo, Medici Tomb
18-17, Michelangelo, Laurentian Library 


Museum Project

    The museum project is designed to encourage you to study original works of art.  Select one work of art (created before 1550) in any museum, and create a paper based on your selection.  Use the format given in the sample and be sure to satisfy all the basic requirements of the project. There is no minimum or maximum length.

    Plan your project early.  Check with the museum before going for hours (some museums  close Mondays), free admission times (PMA and UP Sunday morning), student rates (most museums), and rules on photography (no photos at Brandywine, permission needed from UP, no photos in special shows).  Do this early to prevent disasters.  Anyone who knows they will have difficulty traveling to a museum should see me now.

    Project drafts, which will be critiqued and returned with suggested revisions, will be accepted before the project is due. (See calendar.) Drafts are optional. Mark them “DRAFT” and include target grade.  For full consideration of your work, resubmit drafts with your final revisions, which are due the day of the final. Drafts may be e-mailed.

BASIC REQUIREMENTS:

1.  Give the location of your work and provide proof of attendance at that museum this semester--a dated receipt, picture of you in front of the museum, etc.  A museum postcard alone is not enough.  Ask if you aren’t sure:  Lack of acceptable proof means a loss of ten points.

2.  Submit a picture of your selection.  Slides, postcards, or your own photo (if the museum allows it) are fine.  If you can’t get a picture, make a quick sketch.  This will help you when you write your paper; it will help me when I grade your paper.

3.  Write a paper that covers the following:

    A.  Discuss the subject or meaning of the work--subject, symbols, message, whatever is appropriate.

    B.  Discuss the style of the work.

    C.  Place the work in historical context.  Make some meaningful observations about how the work relates to the culture that produced it or how it relates to the history of art.  Place your work in a meaningful context that reveals the significance of the work.  See me with questions about this.

    D.  If references are used (including the internet and museum signs), cite them in your bibliography, or points will be taken off.  (Avoid encyclopedias!)  All work must be in your own words; plagiarism results in dire consequences.  Also, avoid or limit quotations: Say it yourself.

GRADING--You will receive two equal grades:  One for subject and style; the other for the context or historical perspective alone. Students working toward an A should not select works that have been covered in class.


SAMPLE MUSEUM PROJECT



Jan Van Eyck, Portrait of a Man in a Red Turban, 1433
National Gallery, London
http://www.nationalgallery.org.uk/
Oil on Panel, approximately 10 x 7.5 inches

Subject or Meaning

    The painting depicts a bust-length portrait of a man wearing a red turban.  Although it is uncertain who the man is, it is believed that he is Jan Van Eyck.  This interpretation is based upon other paintings which we know do depict Jan Van Eyck, each of them showing the artist in the same red turban.  None of these other paintings, however, clearly show the face of the subject.  Additional proof of the man’s identity in this picture rests on the frame, signed with Jan Van Eyck’s name and the notation “as best I can,” implying that this picture reflects the artist’s best painting abilities.  This inscription also provides evidence that the sitter here is Jan Van Eyck exactly because it does not identify anyone else.  All the artist’s portraits originally included the name of the sitter on the frame--except this one.  Therefore, it is very likely that this is a self-portrait by Jan Van Eyck.

Elements of Style

    The turban, created in highly saturated, rich reds, is twisted ornately around the head of the man.  The folds of the turban are crisp, angular and precisely delineated.  This exotic turban draws our attention to the face of the man who looks in the direction of the viewer with a penetrating glance (as if he were evaluating the viewer).  All forms are clearly outlined and finely detailed, including the slight stubble of beard which begins to grow on the man’s chin.   The painting’s surface is smooth, like enamel, which enhances reflections the artist has painted, e.g., mirrored reflections of light in the man’s eyes which come from the room where the man is represented.  The dark background helps us focus the viewer’s attention on the face of the man as he looks out at us.

Context or Historical Perspective

    The Portrait of a Man in a Red Turban is very typical of 15th century Northern Renaissance painting.  It is highly detailed, linear and precise.  Colors are rich, reflecting Jan Van Eyck’s mastery of oils, also a characteristic of Northern Renaissance art.  The interest here in portraiture reflects the renewed belief in the worth of humans and an increased desire to capture and understand natural forms in the human world, a quality of the Renaissance in both the north and south.  The painting is distinct from its southern counterparts, however, by its fine detail and small size.  Since this work is likely to be a self -portrait of an artist, then it also reflects the increasing importance of the role or status of the artist in society--another aspect of Renaissance developments.



TERMS FOR ART 250

Naturalism and Abstraction--Both these terms are relative.  A work of art is naturalistic if it closely resembles the object it depicts--if it appears to be accurate, “realistic” or life-like.  Naturalistic works accurately represent what exists in nature, but there are degrees of naturalism, e.g., a very life-like work of art would be considered very naturalistic. In contrast, abstract works are not faithful or exact depictions of what is depicted.  Rather, abstract images are changed or distorted, based on the interpretation of the artist.  Ex.: Cycladic figures and The Last Judgment at Autun are both abstract; the Dying Gaul and the Self-portrait by Jan Van Eyck are both naturalistic.

Ideal Naturalism--Naturalistic works that also show subjects as ideal, perfect or flawless. Often used to depict rulers (Augustus) or heroes (Michelangelo, David), and widely used in Greek art. 

Composition--The arrangement of the parts of a work of art--how the elements of a work of art are ordered or arranged.  The basic arrangement of the parts or the overall design.

Symmetrical Composition (Formal Composition)--Works that are equally balanced on     both sides of the central axis (imaginary line down the center of the work).  Both sides     have equal weight, although the two sides do not have to be exactly the same.

Asymmetrical Composition (Informal Composition)--Compositions that have more     weight on one side or are more visually important on one side.  The center is often     empty, but no part of the composition seems too heavy or out of balance.     

Open Composition--Compositions that involve the viewer or the viewer’s space.  Parts     often appear to extend beyond the frame or pedestal into our space or figures make     contact with us through a glance or gesture. Ex.: Augustus. 

Closed Composition--Self-contained compositions that do not extend into our space.      Figures do not make eye contact with us and may be enclosed within the work with     framing devices that lock the figures into the space of the work. Renaissance and Egyptian works are usually closed.

Medium (plural=media)--The material a work of art is made of.

Registers--Bands or divisions used to break a work of art into sections, stories, scenes or episodes.  Ex.: Palette of Narmer.

Linear--An adjective used to describe works of art that depend heavily on lines.  These works have crisp, clear outlines that clearly define forms. Ex.: Jan Van Eyck’s Man in a Red Turban,  Assyrian Dying Lioness.

Stylized, Stylization--Forms are simplified, often to basic geometric shapes.  Fine details are eliminated and universal characteristics are stressed.  Sumerian  worshippers are stylized.

Warm colors--Reds, yellows, oranges and all related colors.  These are active colors that appear to advance toward us.  They draw our attention and may suggest learned responses or association, e.g., red=blood, war, violence.  Red is also sometimes used symbolically to refer to the passion of Christ.

Cool colors--Blues, greens and related colors.  These are less active colors that appear to recede or go away into the distance.  They tend to suggest calmness and reduced action. Blue is also sometimes used symbolically to refer to Mary’s mourning or sorrow, ex.: Rogier, Depositioin. 

Hierarchic Scale--Compositions where the relative size of objects reflects their relative importance.  The most important figures are larger and often shown frontally and in the center.  Ex.: Palette of Narmer, Ajax and Achilles, Otto Enthroned. 

Surface Pattern--Pattern that seems to exist only on the top or surface of a painting, sculpture or building.  It is usually flat and decorative, repeating similar shapes.  Ex.: Assyrian reliefs or guardians (see the beards), Etruscan She Wolf.

Verism--Extreme truth to appearances, showing a preference for honest and ordinary depictions rather than grand, noble or perfect depictions. Ex.: Roman portraits.

Style--The shared, common, consistent characteristics in works of art that allow us to group them together into categories such as “Greek,” “Etruscan,” “High Renaissance” “works of  Leonardo,” “works of Michelangelo,” or the “early works of Michelangelo”.  Style is the repeated, consistent approach to things.  Use the word as you regularly do: Springsteen’s style of singing (the consistent qualities of his voice and delivery that allow us to recognize his recordings), car styles of the 1990s (the way the cars look).  STYLE REFERS TO THE WAY A WORK OF ART LOOKS AND IS NOT RELATED TO THE SUBJECT.

Subject--What is depicted.  The story, message, etc.  If a work depicts a vase of the flowers, it is a flower piece (or still life), etc.  There may be more than one level of meaning or interpretation in the subject, though.  If the flowers are red roses, for example, they may refer to love. 

Picture Plane--The surface on which a picture is painted.  It is the flat surface of a painting.  A plane itself is any flat surface; a picture plane is the flat surface of a picture (painting).

Relief Carving--Sculpted images which are attached to a background surface.  They are not free-standing pieces of sculpture.  Ex.: Assyrian relief carvings, coins, Code of Hammurabi. 

Fresco--True fresco refers to pigment mixed with water applied to wet plaster.  Characteristics of true fresco include muted color and reduced detail, because artists must work quickly.  Fresco done on dry plaster is not considered true fresco, but is sometimes referred to as fresco secco (or just called dry fresco).  Egyptian frescos are done on dry plaster, Italian Renaissance frescos are done on wet plaster. 

Frieze--A continuous band of decoration.  Ex.: Parthenon frieze.

Ground-line--Line dividing earth and sky, used to establish where the ground is in a picture.



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