jill's art history blog

The Gothic style is one that many are familiar with, but most do not know the origins.  Many of the great stone churches that we see in and around Western Europe are from the Gothic era.  This era lasted from the middle of the 12th century to the 16th century.  However, the geographical origins of this art style go back to France.  More specifically, Northern France and the royal families who resided there.  When I learned this and when I looked at the pictures of the huge cathedrals that are associated with the Gothic art style, I recognized that the churches are very grand and very detailed with its architecture; almost like a castle.  Politics and art almost went hand-in-hand at this point.  At the beginning of the Gothic era.  Abbot Suger was a close religious and political advisor, as well as close friends with the ruler of France at the time: Louis VI.  Suger is credited to be the creator and the orchestrator of the Gothic art style.  Perhaps this is the reason as to why the royal architecture and the architecture of the churches and cathedrals are very similar.  Soon after the Second Crusade, Suger was named abbot of Saint-Denis; the first bishop of Paris and the patron saint of France.  When he passed away, he was buried in the same ground as the royal family.  I find that this encourages my theory as to why the architecture of the cathedrals and castles are similar.  

There are many elements that make up the architecture of the Gothic era.  Rib vaults, piers, flying buttresses, and pointed arches.  Are found almost everywhere.  However, these are very basic elements.  Something that comes to mind for me is the intricately stained glass windows.  In Figure 13.6 on page 202 of the textbook, There is an image of a stained glass window in the Chartres Cathedral, early 13th century.  In looking at this image, I immediately thought of the stained glass windows that are shown at the beginning of the 1991 Disney film, Beauty, and the Beast.  To be honest, this immediately clicked with me.  The art styles were the same and Beauty and the Beast took place in France: the birthplace of Gothic art.  

Similar to other eras of art, many pieces of art depict religious stories or themes.  In later developments of Gothic architecture, the cathedrals became more detailed and intricate.  Similar to the stone sculptures discussed chapter 9: Ancient Rome, There are humanoid stone sculptures both in and out of the buildings.  An example of this is depicted in figure 13.14 on page 208 of the textbook.  It is an image of the Royal Portal of the west facade, Chartres Cathedral.  This contains figures of Old Testament kings and queens.  So, this is not a religious depiction, but rather a political one; just another piece of evidence as to how religion and politics come together within the art.

The Gothic style is very consistent throughout the years of its life.  In other areas of Western Europe such as Germany and England.  The basic elements of architecture as discussed earlier are found in those cathedrals, as well.  The Salisbury Cathedral in England and the Cologne Cathedral in Germany are excellent examples of this.

The time period of which Romanesque Art developed was around the eleventh and twelfth centuries.  This art style developed from a broad range of styles.  It embraced regional variants such as Western Europe.  Romanesque art is more stylish rather than historical in the sense that it related to medieval art and Roman art.  When I hear this, I imagine patchwork found in medieval works of art combined with realism often found in Roman art.  This style of art is called “Romanesque” due to the fact that it is tied to Roman styles and aspects, but it is not entirely Roman.  This style is a combination of many different art styles: medieval, Byzantine, and Roman.  Those three styles are the most prominent ingredients in Romanesque art.  However, there are notes of different cultures and styles within each piece found meanwhile this style was current.  

Much like other art styles, many pieces were made to symbolize religious stories, sacred objects, and people due to the fact that Romanesque art was brought to life by monasteries and religious pilgrimages.  I think the reason as to why a lot of art depicts religion is due to the fact that the people wanted to spread certain religions and tell stories in a way so that individuals viewing the art would be able to understand it better by putting an image in their heads.  Also, manuscripts were very popular during the time of Romanesque art.  This brings me back to the Anglo-Saxon manuscripts with art on the pages and intricate border art to amplify the text found on the page.  

During this time in history, the world was becoming more interconnected.  Trading and other forms of travel were increasing.  And with this, the spreading of art and religion was also increasing.  So, Romanesque art was the first art style to be spread all across Catholic Europe.  I think that this art style was very versatile.  It was able to be applied to a lot of different cultures and people, so this style was not only used by all of Catholic Europe, but it was also loved and appreciated by all of Catholic Europe because it could be molded to fit any culture.  

The Middle Ages lasted almost three centuries; however, it peaked during the decline of the Roman Empire.  A different region began to influence art - Islam.  Most of the Islamic art that can be found from this time period consisted of abstract paintings with floral or botanical elements.  Sculptures were seen to be the work of Satan, so they were nearly nonexistent at this time and place.  Not having sculptures seems bizarre to me - 3D works of art give more insight into the values and beliefs of the people during this time.  However, architecture flourished.  My mind goes straight to churches worshipping Muhammad (the prophet who founded the Islamic religion).  An example of religious architecture discussed at the beginning of chapter 11 discusses mosques.  A mosque is a place where a worshipper of Allah (God) would go to pray in front of Mecca (the place where Muhammad was born).  Before mosques were created, any believer would find a place in their home to pray that was oriented toward Mecca.  The Islamic religion did not believe in any sort of hierarchy, so any person was able to use a public mosque no matter his or her title.  In my opinion, no person should seem lesser than any other within a religious group.  Yes, there are teachers who educate others on the religion; but I do not believe that any person should be given the title of being closer to God or Allah than any other person.  The lack of hierarchy in this religion interests me.  

Mosques are basically Islamic churches.  A mosque is a place of worship and art.  The Great Mosque found in Cordoba, Spain is a wonderful example of the art found in Islamic religion.

Chapter 11 also talks about Northern European artwork, including Anglo-Saxon work.  Northern European artwork was heavily inspired by Islamic work, as well as Hellenistic Roman work.  When I think of Northern European work and Anglo-Saxon work, I think of Beowulf.  Beowulf is a German epic novel about Christian morality.  This epic novel uses metaphors and other literary tools to convey God and morals to the readers.  Literature pieces are important in art due to the words telling the readers about the people of the time and their ideas.  Hiberno-Saxon art is very similar to Anglo-Saxon work; however, it has more of an Irish influence.  Hiberno-Saxons used manuscript illumination as a method of creating art.  Figure 11.6 on page 175 of the textbook is an example of this method.  In my opinion, the knot border of the work of art has a very “Northern” look to it, differing it from Anglo-Saxon work.  In a nutshell, manuscript illumination is a way of decorating pages of literature.  So, this art style was usually found in books.  In Northern Europe, chapels were used as places of worship (usually Christian).  Chapels held places for prayer, workshops, offices, and other buildings.

Early Christian and Byzantine art are exactly what it sounds like.  Christian religion -- a religion that most Americans are familiar with -- find its way into the artistic world.  An increase in popularity of Christian religion in the first century A.D. dominated Western art, and it would for centuries to follow.  

Rome served as a hub for Christian-themed art and architecture.  The emperor Constantine became a prominent figure in the popularity of Christianity in Rome, so this time is often referenced to as the “Constantinian period”.  When I think of this period, I imagine the births of marvelous churches and realistic oil paintings of Christ and His many followers.  I also imagine marble statues of strong, religious figures representing things that may have taken place within the Christian religion.  A popular technique in Christian art was to use the Christ figure in series of different expressions and poses to convey different elements of the religion.  

One thing I notice in studying Christian religion is that after it became legal to practice, it flourished like nothing the world has ever seen before.  It was accepted almost everywhere.  Most of Christian and Byzantine art is much like Greek and Roman art in the sense that it depicts religious stories such as tales about “Jonah and the Whale” as well as “John the Baptist”.  

The Justinian and Byzantine style emerged during the fifth century when the western part of the Roman Empire was overrun by Germanic tribes from northern Europe.  The Ostrogoths overtook the Italian city of Ravenna until it was recaptured by Byzantine emperor Justinian in A.D. 540.  Eastern Europe then rose to political and artistic prominence.  The art style during this time was very similar to that of Christian art.  There is a pattern in painting depictions of religious figures and tales in order to communicate the religion.  Also, churches and other architectural points were erected for religious reasons.  In Justinian and Byzantine art, mosaics were very popular.  In this practice, artists would arrange colored pebbles on the floor in order to create images.

The Justinian and Byzantine Empire was situated in most of the land surrounding the Mediterranean, so it is safe to say that this was a popular religion at the time of A.D. 550.  Similar to how the United States has portraits of each president the country has had, the Justinian and Byzantine Empire has had painted portraits of important members of the church such as Saint Peter.  

The Balkan Peninsula was the southernmost peninsula of Europe.  This area included most of Slovenia, Croatia, Serbia, Bosnia, Herzegovina, Montenegro, Albania, Macedonia, continental Greece, Bulgaria, European Turkey, and southeast Romania.  These “states” were all a part of the Ottoman Empire.  There were great differences between religion and races, which created an interesting combination of art styles.  The art styles that derived from the Ottoman Empire relate closely to Ancient Greece and the Byzantine Empire.  

In reading about Ancient Roman art at the beginning of chapter nine, it sounded as if the people began to create art right from the beginning.  It was almost as if they were establishing their own culture and aesthetic before anything else.  Of course, certain aspects of the art style had changed with each king, but the overall look of it remained the same.  Architecture was a focal point of Rome’s art.  Glorifying the empire as a whole as well as accommodating a growing population was something of a challenge; however, the Romans had architectural techniques that killed two birds with one stone.  Arched roofs doubled as passageways in some cases and the domes atop of some buildings allowed more space inside.  By the end of the first century B.C., there was a common housing format that was used among most (wealthy) Roman citizens.  There were multiple bedrooms, slave accommodations, wine cellars, and storage space surrounding a foyer or entrance hall of sorts.  In the middle class, the housing was held above shops and other facilities.  Multiple families lived above the facilities in separate areas, but they shared some accommodations like kitchens.  Other public buildings, like the Basilica Ulipa were treated as public art in a sense.  The Basilica was a huge roofed building used for law.  The building has different areas for different purposes and it was also adorned with marble and bronze, which brought beauty to the building.   The Coliseum is one of the most recognized architectural pieces within Rome.  It may appear as a giant arena for games and other competitions.  But what most people don’t see are the passageways within the arena and the maze-like structures underneath the center playing field (referencing to figure 9.13 on p. 135 of textbook).  The unseen intricacy in Roman architecture is an art in itself and the Coliseum is a great example of that

After reading Chapter 11, Etruscan art struck me as intelligence-based and very detailed. Greet, Ancient Roman and Italian Renaissance art were inspired by this period of creation.  Many works during this period were based on myths and tales depicted by different cultures around the world.  Also, the art created during this time was not specific to one place; however, it did differ depending on each culture.  However, it can be agreed upon that Etruscan art was influencing artists all over the world to incorporate deeper meaning and detail into his or her work.  For example, there are many statues that display this attention to detail and mythological tales.  The chimera of Arezzo is a detailed bronze depiction coming from Greek mythology.  Another example if Michelangelo’s frescoes in the Vatican.  His work in the Sistine Chapel connects to religion and the image of God and the Heavens.  Most work during the Etruscan period showing the connection to stories, myths, and tales allows people to have a better understanding of either the meaning of the story or the story itself.  I, myself am familiar with the story that goes with Chimera of Arezzo, but when I am told about a creature comprised of a snake, a lion, and a ram; there are endless possibilities of how the creature looks.  Detail within paintings, statues, and sculptures is what stands out to me the most when I see art from the Etruscan era.  In humans and animals, bones, tendons, muscles, and hair tend to be emphasized and similar to real-life examples.  Using Chimera of Arezzo as an example once again; the ribcage of the lion’s body, as well as the lower spine and hip bones, are visible, so are stretched and flexed tendons based on the position of the lion’s body and the head of the ram, the face of the lion has an open mouth and wrinkled nose as if it is in mid-roar.  Details within art brings the piece(s) to life.  In the Vatican, Michelangelo used specific methods of applying the frescoes to emphasize different textures.  The clouds upon the Heavens are light and fluffy, the skin of the cherub angels looks soft and smooth, the men with their arms extended towards one-another have sharper angels to highlight chiseled muscles and masculinity.

“How do these essays make you think about the discipline of art history?”

I believe that art around the world is inspired by different pieces.  Each place in the world may have different styles of art and different cultural adaptations; however, inspiration is a massive aspect of art.  Each art style is inspired.  For example, Buddha was a piece of Chinese culture before India adapted to the ideas of Buddhism.  Western and Eastern art differ, but there are similarities between the two styles no matter how different that may appear to be.  The essays also made me realize that the discipline of art history is slowly dying.  There are fewer schools, instructors, and students studying this topic.  If there is less appreciation for art history, then there are fewer questions being asked/answered.  Art and expression bring different countries and people together from the beginning of mankind.  Humans have always found ways to express themselves and art is the outlet to be used.  The study of the “why” and “how” is more important than people realize.  The study needs to continue to be studied and appreciated.

“What issues does Cotter raise that you were previously unaware of?”

According to his article, I gathered that museums may not have as much diversity as individuals may think.  Less funding equals less diversity in artwork origins.  In the article, Cotter used Africa as an example and the scarcity of African work in western art museums.  I had also once thought that art-based museums were “rolling in the dough” in the sense that they had an excess of funding in all areas.  Apparently, there is much less funding than I had anticipated.

“How will this impact how you view art or museums in the future?”

I had always been selfish in the sense that I do not usually donate to different organizations and corporations.  Cotter’s article opened my eyes to the reality of funding and finances for large corporations/people such as museums and artists.  Also, if I attend an art museum in the future, I will make an effort to observe the origins of different pieces (if given), as well as research the artist and read into his or her social standings, as well as their progression into the art industry.

“What do you think your role of responsibility is, as it relates to the study of art history?”

Chapter 5: Ancient Egypt

Ancient Egypt has many different components to the culture and its art style.  One of the factors going into these two topics were the Pharos.  Pharos was Egypt’s version of a king, and this king had absolute power over everything the Egyptian government, said, did, and even the personal values of the current Pharaoh would be implemented.  Each Pharaoh that served would be respected highly because, in the Egyptian culture, the Pharaoh was seen as godlike -- similar to a Pope.  When the Pharaoh had a queen, her art style and personal preference were taken into consideration and this eventually led to a more artistic element within the hierarchy.  However, throughout history, Egypt has fallen under different rulers.  The change in authority also meant a change in culture, lifestyle, and art style.  For example, Egypt fell under Persian rule twice throughout history.  When it was under Persian rule, the art style resembled that of Persia.  

An example of Egyptian art depicting the importance of Pharos is seen in The Palette of Narmer.  This piece links between divine and earthly power.  This piece dates back to the beginning of pharaonic rule.  On one side of The Palette of Narmer, King Narmer (thought to be the Menes, the first pharaoh) is the biggest figure pictured.  His size is to identify his importance.  His pose, in which the head and legs are in profile view and the view of his eye and torso in frontal view, is an Egyptian convention.  The entire figure is flat.  Narmer wears a tall white conical crown of Upper Egypt and threatens a kneeling enemy with a mace.  He holds the enemy by the hair, symbolizing conquest and domination.  There are also two additional enemies who appear to already be dead in the lowest register of the palette.  Behind Narmer on a suspended horizontal strip is a servant whose small size identifies a lesser importance.  The servant holds Narmer’s sandals indicating that he is on holy ground.  In front of Narmer is Horus, the falcon god of the sky at the end of a rope.  From the back of the figure stands six papyrus plants, which represent Lower Egypt.  The image of Horus dominating these symbols parallels Narmer, crowned as the king of Upper Egypt and subduing an enemy.  At the top corner of each side of the palette is a serekh containing the king’s name in hieroglyphs as a flattened representation of the royal palace.  There are also frontal heads of the horned cow goddess, Hathor, who guards the king.

On the other side of the palette stands Narmer wearing the red crown of Lower Egypt.  His sandal-bearer is behind him and he is preceded by standard-bearers.  At the right, ten decapitated enemies lie with their heads between their feet.  Two felines, roped by bearded men, are found in the central register.  Their necks frame a circle similar to those that held liquid for mixing eye makeup.  This one, however, is larger than the ones used in everyday life.  This is most likely ceremonial.  In the lowest register, a bull, a manifestation of Narmer, dominate the enemy.  

In chapter four, The Ancient Near East, it describes the “Cradle of Civilization”.  Around this time in history, writing came upon the world thanks to the Sumerians.  The development of writing sets the difference between “history” and “prehistory”.  While I am a lover of history, knowing that the development of writing sets a difference helps me understand the difference between the two time periods.  When the chapter describes that the study of “prehistory” is full of guesswork, it is due to the fact that there was no written work, just images and other pieces of art that the people studying “prehistory” were required to attempt to deduce the meanings of the art and the values and behavior of the people who created it.  Trying to figure out the exact meaning of a piece of art without any words behind it is a difficult task to complete.

Not only was writing a major development at this point in time, but there were also cultural advancements.  One of these advancements included the making of laws.  The first laws made known to mankind at this point in time is Hammurabi’s Code.  The Code of Hammurabi is a well-preserved Babylonian code of law of ancient Mesopotamia.  This code exists on a 7.5 foot stone stele and consists of 282 laws.  One of the punishments includes “an eye for an eye, a tooth for a tooth.”  Even now, in the 21st century, this punishment/law is believed to be something that people either follow or believe that our governments today should follow.  There are also some economic-type laws inscribed on the stele such as wages for different jobs people may have had.  

Other than Hammurabi’s Code, there were a number of architectural advancements.  One main example is the urban center of Uruk.  This city was most influential between 4100 and 3000 BCE.  It was not only the hub of trade and administration, but numerous artifacts from Uruk can be found at almost every excavated site throughout Mesopotamia.  This means that these artifacts were being traded in an out of Uruk and Mesopotamia for a very long time.  Due to the information found, it can be deduced that Uruk had 50,000 - 80,000 residents living in the walled city.  This means that it was the largest city in the world at the time it was around.

Humankind was also developing in the sense that they now had religion.  Religion was mostly used to answer scientific questions like how people came into existence, why the Earth is the way it is, why there are lush grass and livestock, as well as how the sky came to be, as well as the wind blowing in the air.  Not only did religion contain stories and tales; but they also had pieces of art such as statues depicting what they believe their gods looked like as well as entire temples dedicated to religion.  This practice of religion began at this time period, but it never stopped.  Even today, a majority of the world’s population practices some type of religion.

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“Hammurabi's Code: An Eye for an Eye.” Ushistory.org, Independence Hall Association, www.ushistory.org/civ/4c.asp.

Woman of Willendorf, possibly the earliest depiction of the human body in art, and referred to as the “Venus of Wilendorf”.  This piece of art dates back to around 24,000 - 22,000 BCE.  The statue may appear to be large; however, it stands a mere 4 3/8 inches high.  This piece was found by Josef Szombathy in an Aurignacian loess deposit near the town of Willendorf, Austria (hence the name).  Thie piece is carved out of limestone, which is not found in the Willendorf region.  Thus, it can be deduced that this piece was not made where it was found.  

Venus of Willendorf was most-likely carved out of tools made of flint around the same time as the cave paintings found in France.  At the time, the art made was primarily patriarchal.  The statue is a woman and it is now perceived as derogatory.  The form of the woman is bulging and grotesque and also comes off as if the woman is the embodiment of fertility.  Woman of Willendorf is seen as the woman from which all women descend; an Ur-Eve identity.

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