Arth 103 Survey of Western Art Prehistoric to Gothic

Curriculum guide: Survey of Western Art ane: Prehistoric to Gothic

Magdalenian, Bison licking its dorsum, 15th to 10th millennium BCE. Paradigm and original data provided by Erich Lessing Culture and Fine Arts Archives/Art RESOURCE, N.Y.; artres.com/

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Survey of Western Art 1: Prehistoric to Gothic
Nancy Minty, Ph.D, Collections Editor, Artstor
This curriculum guide covers a comprehensive introduction to early western fine art (approximately thirty,000 BCE through 1300 CE), presenting the iconic monuments of European and Mediterranean civilisation, including architecture and the built surround, paintings and sculpture, manuscripts and the decorative arts, likewise as archeological sites and materials. The extensive range – both geographic and historic – coupled with a focus on key works, will establish a foundation in art history and a betoken of difference for farther study (assuming this course is followed by its companion – Survey of Western Art 2: Renaissance to Postmodern). Students volition larn to interpret works within their cultural contexts, developing both visual acuity and descriptive vocabularies. Readings will center on the standard texts with a sampling of specialist articles.

Department ane: Prehistoric: Paleolithic to Bronze Historic period
The Prehistoric Era (about 30,000 BCE through 200 CE) is documented across continental Europe, into Asia and throughout the United Kingdom from the Paleolithic menses through the Fe Age. The option includes the earliest enigmatic carved human and animal figures such as the Venus of Willendorf, cavern paintings from Lascaux, Altamira, and other locations, the excavation and megaliths of Stonehenge, as well equally other sites, and culminates with the refined tools and objects of the Celto-Galic Fe Historic period.
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Section 2: Aboriginal Near-Eastern: Mesopotamia to Persepolis
The ancient history and culture of the Virtually East from Mesopotamia to Persepolis (8000 BCE – ca. 330 BCE) are illustrated through images of the settlements at Ur and beyond – from architectural monuments and artifacts, to diminutive Neolithic plaster figures and coveted golden objects, to the basalt stele of Hammurabi and the glazed brick reliefs of the Ishtar Gates.
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Section 3: Egyptian: Predynastic to Ptolemaic
Egyptian art and civilisation are presented from the early dynastic menstruation of ca. 3000 BCE until the turn down of the New Kingdom, around 1200 BCE. Tomb complexes like the Great Pyramids at Giza and the burial site at Deir el-Bahri are among the monuments surveyed, along with accompanying objects and artworks, including wall paintings, relief sculpture, and free-standing statuary in a variety of materials.
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Department four: Aegean: Cycladic to Mycenaean
The arts of the Aegean are illustrated from the early Cycladic to Mycenaean periods (6000 BCE to 1100 BCE), including views of a atomic ivory sculpture, frescoes from Thera, and Mycenaean gold. The Minoan flow is revealed through the report of the palace at Knossos and associated objects – wall paintings, statuaries, and ceramics.
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Section 5: Ancient Greek: Geometric to Hellenistic
The creative heritage of Greece from the Geometric period to high Classicism and Hellenism (1000 CE -100 CE) is represented by the architectural complexes at Paestum, the Acropolis and Pergamon, as well as sculpture, including the kouros and kore figures, and classics like the Kritios Boy, the bronze Boxer, the Victory of Samothrace, the Dying Gaul, and the Venus de Milo. Vase painting, mosaic, and metalwork are also presented.
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Section half dozen: Etruscan: Villanovan to Classical
The arts of the Etruscans, who occupied modern 24-hour interval Tuscany and surroundings from near 700 BCE- 200 BCE, are predominantly represented past funerary artifacts – wall paintings, sarcophagi, relief sculptures, as well as statuary and sophisticated objects of daily life.
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Section seven: Roman: Republican to Belatedly Empire
The Romans dominated territory from Africa and the Middle East to the British Isles from about 27 BCE through 500 CE. Their innovations in applied science and compages are presented in views of aqueducts, the Colosseum, the Pantheon, various fora, and triumphal arches, amid other monuments. Their adherence to the sculptural tradition of the Greeks is traced in masterworks like the Farnese Hercules, while innovations in portrait busts are documented alongside developments in wall painting, notably at Pompeii.
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Section eight: Early Jewish: Solomonic to Majestic
The traditions of early Jewish art are documented beginning with tribal times through the Roman period (ca. 1000 BCE – ca. 400 CE). Architecture includes Solomonic and Herodic sites. Wall paintings from the synagogue at Dura-Europos are featured forth with sculpture and decorative arts.
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Section 9: Early Christian: Pre-Constantinian to Imperial
The emergence of early Christian iconography is traced from nearly 300 CE to 500 CE, when pagan motifs of previous cultures were adapted to new purposes. The pick includes compages – the basilica churches of St. Peter's and Sant'Apollinare – sarcophagi and relief carvings, ivories, mosaics, and illumination.
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Section 10: Early Byzantine: Constantinople to Kiev
Byzantine art is chronicled from the earliest time when classical influences prevailed to the rise of Constantinople under Justinian and its conquest by the Ottoman Turks in 1453 (500 CE to ca. 1450 CE). Churches and monasteries are featured – Hagia Sophia, San Vitale (Ravenna), St. Marker'due south (Venice), Hosios Lukas (Boeotia), and Santa Sophia (Kiev) – including views of their dazzling mosaics. Ivories, manuscripts, and icon paintings are too illustrated.
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Section 11: Early on Islamic: Umayyad to Ottoman
The ambition of Islam's caliphates is documented in architectural views of palaces and mosques built outset under the Umayyad dynasty and through succesive lines upwardly to the Abbasid dominion (ca. 650 CE – ca. 1400 CE) – the Dome of the Rock, the palace from Mshatta, the mosques of Isfahan, the Alhambra, and others – while the finesse of workmanship is brought out by examples of calligraphy, ceramics, ivories, mosaics, and glass leading up to the Ottoman catamenia.
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Department 12: Early on Medieval: Celtic-Germanic to Ottonian
This paradigm group documents the artistic output of monasteries and other circles throughout Medieval Europe from the Hiberno Saxons upwards to the time of Charlemagne and later, to the Ottonian dynasty (650 CE – ca. chiliad CE). The ecclesiastical complexes at Aachen and Hildesheim are shown, along with the output of the Christian communities: manuscripts – The Volume of Kells and the Gospel of Ebbo, among others – ivories, and reliquaries.
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Section 13: Romanesque: Monastic Europe 1050-1300 CE
The churches and cathedrals at Compostela, Cluny, Pisa, Speyer, Durham, and Autun provide cloth witness to the prolific output of Europe'south Christian communities along with their production in the allied arts: relief sculpture as, for instance, that of Giselbertus; illumination; the crafting of reliquaries; wall painting and needlework, exemplified here past the extraordinary Bayeux Tapestry.
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Department fourteen: Gothic: Paris to Padua
The Gothic era is captured in architectural images beginning with Saint Denis in Paris, taking flight at Chartres and Sainte-Chapelle, and spreading across Europe to Italy, Germany, and Great Great britain. Architectural sculpture and stained glass are documented along with ivories and reliquaries. The associated arts – illumination, as practiced by Jean Pucelle – and tapestry – the Angers Apocalypse past Nicolas Bataille – are too included. The seminal developments of Italian painting, innovations of Cimabue, Duccio, Giotto, and Lorenzetti provide the foundation for Renaissance artists.
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Source: https://www.artstor.org/2014/10/28/curriculum-guide-survey-of-western-art-1/