Western Art History

Hand Cave Painting, Aurignacian Culture, Upper Paleolithic, 40,000 B.C.E.

40,000 BCE

The cave paintings of the Aurginacian Culture in the Upper Paleolithic period are the oldest examples of art. Specifically, these cave painting are representational, meant to literally represent the images they create (i.e. ox painting represent a real life ox). The paintings were generally small, and these hand paintings were actual hand size.

Western Art History

Period: 40,000 BCE to 1700

Grotte Chauvet-Pont d’Arc, Aurginacian Culture, Upper Paleolithic

30,000 BCE

Painted in the cave wall of a limestone plateau in southern France, these paintings differ from the earlier representational paintings in that they are closer to abstraction. Specifically, they are figurative and have a larger stress on animals, like bears, horses, and bison. They also include intricate shading and composition to imply light and size.

Venus of Willendorf, Maker Unknown, Upper Paleolithic, 24000 B.C.E.

24,000 BCE

The Venus of Willendorf is one of the oldest art works to date. It depicts a large curvy woman. It was mistaken for the Roman goddess of love and Beauty, Venus, by the Austrian scholars who discovered it. It highlights the figure of a woman, while disregarding the face and other features of the body. This piece is a great example of a piece of artwork that says more about those who discovered it and their interpretations than the original intentions of the artist due to it being mistakenly named

Warka Vase, Urukian, Ancient Mesopotamia, 3100 B.C.E.

3100 BCE

This vase is yet another example of art displaying political power and rule. The vase was carved out of alabaster and features the goddess of love and fertility Inanna. The vase is a good example of the use of narrative form and registers, or the parallel bands that separate parts of the vase/story. In contemporary times, this piece was a part of the Iraq National Museum until it was stolen in early 2003, being returned via an amnesty program later that year.

Early Writing Tablet, Sumerians, Ancient Mesopotamia, 3000 B.C.E.

3000 BCE

The earliest discovered writing is from the Sumerians of Mesopotamian's, who used a stylus and clay to develop a language that was initially similar to hieroglyphics, but eventually evolved into representations of sounds. The piece pictured is a record of where beer was stored, and the panel visually resembles a comic strip. This piece also hold significance because of the debate it created within the art history community, specifically of art versus the artifact.

Palette of Narmer, Hierakonpolis, Ancient Egypt, 2920 B.C.E.

2920 BCE

This commemorative piece is a double-sided free-standing relief made out of chist. On the front, it depicts Narmer with the Red Crown of lower Egypt as well as the White Crown of Upper Egypt, leading historians to believe the the relief is making allusions to the unification of both Egypts via strength and power. This is shown by the physical body language of Narmer, as well as well as the many characters around him, but is ultimately supported by the weapons he is depicted to be holding.

Pyramids of Giza, Ancient Egypt, 2550 B.C.E.

2550 BCE

The Pyramids of Giza are argued to be one of the most famous architectural feats of their time. Built over the span of three rulers' reigns, the pyramids were meant to act as royal mortuaries, and featured smaller pyramids and tombs for other royal members. The construction of these structures is still hotly contested, with some historians even alluding to the help of extraterrestrials.

King Menkaure and queen, Ancient Egypt, 2490 B.C.E.

2490 BCE

This greywacke relief depicts King Menkaure and his queen standing side by side, both having one foot forward, each portraying their individual and paired power together. This relief, along with many other memorial reliefs, were found along the Pyramids of Giza, and were intended to aid rebirth in the afterlife. This focus of art for the afterlife is not unique to the ancient Egyptians, and it mimicked in many other ancient and contemporary cultures around the world.

Stele of Naram-Sin, Akkadian Empire, Ancient Mesopotamia, 2250 B.C.E

2250 BCE

The Stele of Naram-Sin is a stone relief that depicts a narrative in which King Naram-Sin towers over his enemies atop a hill. Its a great example of not only the historical significance of Naram-Sin, but also of art's place in politics and commemoration.

Capitoline She-Wolf, Ancient Rome, 500 B.C.E.

500 BCE

This lost-wax casted bronze statue depicts a she-wolf, symbolic of the city of Rome, with Remus and Romulus below being saved by her milk. The process, one of which was used by the Romans frequently, involves a multistep process of molding clay, then wax with detail, then making vents and reinforcements and using clay once again. The piece is then heated to melt the wax out, and then the bronze is poured in, with the final step being breaking off the mold and polishing.

Drinking Cup, Villa Giulia, Ancient Greece, 470 B.C.E.

470 BCE

The drinking cup, or Kylix, was a terra cotta pottery piece that served both art and function . The piece features a clothed woman holding a long stick with one hand and presenting a plate with another. It has a white background with the details painted in, which differs from the black-figure process in which the glaze is diluted and incised to create a silhouette effect, as seen in Exekia's Amphora. Both of these pieces signify the detail and care the Greeks were capable of with their pottery.

Riace Warriors, Ancient Greece, 450 B.C.E.

450 BCE

Both of these sculptures are examples of Greek aesthetics when it comes to the body and man. They show not only a romanticized version of the Greek male, but also shows immaculate attention to detail and proportion, of which the Greeks were masters at. In one way, the sculptures show proportional depictions of the male figure, down to the pose and hair throughout the body. However, these were unrealistic depictions, similar to contemporary depictions of the human form in fashion media.

Parthenon, Ancient Greeks, Ancient Greece, 447 B.C.E.

447 BCE

Built during the 5th century in Ancient Athens, the Parthenon represents not only the architectural advancements of the Ancient Greeks, but also the advancements of political systems, specifically democracy. It is adorned with reliefs of the greater Greek gods and goddesses like Poseidon and Aphrodite. The structure, dedicated to Greek goddess Athena, was a publicly funded project that resulted in a masterful use of architecture and geometry.

Pantheon, Marcus Agrippa, Ancient Rome, 118 B.C.E.

118 BCE

The Pantheon is an example of Roman excellence in the arts and sciences. The building itself is built out of concrete, which is distributed through the arches and pillars of the front facade and roof, a common characteristic of Roman Architecture. The weight of the dome pushes outwards onto the massive cylinder it sits on. The innovation of concrete not only allowed solid pillars to be built, but also the dome. The Pantheon worships many gods, and was also a sign of the Roman Empire's power.

Fresco of Priapus, Artist Unknown, Ancient Rome, 62 A.D.

62

The Fresco of Priapus is a wall painting on textile. It depicts the Roman God of fertility Priapus whose penis, which is the size of his leg, seems to be placed on a scale. Though quite comical nowadays, the story of Priapus was one of male sexuality and impotence. The wall painting was discovered in the House of Vetti in Pompeii, which was preserved very well due to the famous explosion of Mt. Vesuvius.

Church of Hagia Sophia, Byzantine Empire, 537 C.E.

537

The Church of Hagia Sophia, which translates to “holy wisdom” (derived from the root soph-), was the largest structure ever built when it was constructed. It utilized many magnificent architectural techniques such as pendentives, which uses triangles and arches to support the dome and roof as a whole. It also featured a plethora of Early Byzantine artwork, such as mosaics and calligraphy. The church itself was built as a reconstruction of the burned church, signifying the passing of power.

Kabba, Many Artists, Islamic Art, 608 C.E.

608

The Kabba is a unique square religious structure with covered with decorated cloth. It is the place of pilgrimage, or hajj, for the religion of Islam. Dedicated to Muhammad and the rite of pilgrimage, this unique structure does not retain many of the facets of Islamic architecture and artwork. Yet, the Kabba is rich both in its contemporary and historical importance to the religion of Islam.

Virgin and Child between Saints Theodore and George, Early Byzantine, 650 C.E.

650

This encaustic on wood depicts the Virgin Mary and the baby Jesus between two saints and in front of two angels. This piece's content, along with other pieces during the Byzantine era, reflect Emperor Constantinople's adoption of Christianity. The figure of Mary and the baby are recreated again and again throughout cultures of art from then on. Additionally, the iconography of the gold halos, symbolizing some type of religious importance, appears frequently in Byzantine art moving forward.

Saint-Philibert de Tournus, Artist Unknown, Romanesque, 875

875

This cathedral is a good example of Romanesque cathedral architecture, but also of the history of pilgrimages that took place during this time period. With the popularity of Christianity on the rise, and the fear of the doomsday as well, many people took religious pilgrimages across Europe to Santiago de Compostela in Spain to show their devotion. Many cathedrals would house religious relics that people would visit. As a result, the cathedrals were built with good crowd flow in mind.

David Composing the Psalms, Macedonian, Byzantine, 900 C.E.

900

This piece depicts King David composing the Psalms around some people and animals right outside a village. As part of the Paris Psalter, a large book telling storied about King David in a somewhat religious fashion, these painting included many uses of religious iconography, such as the halos around people's heads. The Paris Psalter also represents the clash between Pagans and Christians, making this not only a religious art piece, but a political one as well.

Master of Taüll, Catalonia Region, Romanesque, 1123

1123

This piece is located in the apse of the Church of San Clemente. It features Jesus Christ and the Virgin Mary, as well as others, all adorned with a new variation of the familiar halo around their heads. Their features are elongated, which rather than signify a lacking of ability in scale and realism, points to the progression of artistic experimentation. Like many Romanesque pieces, this painting is clearly Christian in context.

Church of Saint-Denis, Abbot Suger, Gothic, 1140 C.E.

1140

This church exemplifies many aspects of Gothic architecture. Birthed out of a space for creativity and risk taking within architecture, this church made use of pointed arches, which allowed for a reduction in size of support pillars because of the way the weight was distributed. This also allowed for more light to be let in by the addition of bigger windows, which in turn led to the decoration of said windows with ornamentation, carvings, and staining.

David, Donatello, Renaissance, 1446 C.E.

1146

This rendition of David from the biblical story of David and Goliath reveals the tenets of the Early Renaissance. It shows the gradual return to the interest in the human form and body, as shown by David's nudity and posture. The focus is not just on the human form, however, given the presence of his helmet, sword, and shield. Later on, during the High Renaissance, Michelangelo's rendition of David will show a more direct, but idealized view of the human form.

Seated Figure, Djenné, African Art, 1200

1200

Found in present day Nigeria, this terra-cotta sculpture shows a figure sitting down slightly contorted. The spine is accentuated, almost resembling a dinosaur. Not much is known about the function or the culture it came from, which sheds light on the place of colonialism in art as well as history.

Shrine Head, Yoruba, African Art, 1300

1300

This terra-cotta bust depicts someone of importance with a high amount of detail and humanistic realism. The lines across the face may indicate scarification, supporting the idea that this is a sculpture of someone of importance. Though the hair is missing, some historians believe that the piece was adorned with a type of headpiece.

Virgin and Child Enthroned, Giotto di Bondone, Gothic, 1305 C.E.

1305

This piece uses many formal techniques of painting to signify the importance of the characters within the canvas. It uses symmetry and hierarchical scale to place importance on the people in the center, with lesser importance on the others. However, given the gold circle around everyone’s head, they all have some holiness or religious importance. The use of perspective also adds a sense of realism to the painting, which is an added characteristic in gothic art from earlier art periods.

Reims Cathedral, Jean d'Orbais, Gothic, 1340

1340

This cathedral features many facets of Gothic architecture, while also lending itself to it's history in the style of its jamb relief sculptures atop and outside the cathedral. Other than the typical use of stained and decorated glass, pointed arches, and large windows, this cathedral features many religious narrative sculptures about the Virgin Mary and others. Though they resemble the style of classical Roman sculpture, the slight exaggeration and facial expressions shows itself as gothic.

Mosaic Mihrab, Madrasa Imami, Islamic Art, 1354 C.E.

1354

This a feature of mosques that indicated the direction of Mecca for which Muslims will pray towards. Usually a minor recess into a wall with some tile decoration, the Mihrab is a critical part of mosque architecture. Two other commonalities in all mosques are a Sahn, or courtyard for prayer, and the Minaret, or tower. Islam's spread around the world was vast, and the variety in mosque architecture and design reflects one that, but these are common internationally due to their essential function.

Baptism of Christ, Andrea del Verrocchio and Leonardo, Renaissance, 1470 C.E.

1470

This painting is both an example of the Early Renaissance and the High Renaissance. It depicts Christ being baptized next to two angels.The piece shows an understanding of light and the body, and the depictions of these figures are very human. The halos are used to signify holiness or religious importance. The angel on the left is painted by Leonardo, and highlights his style he would perfect later in his career. His angel looks more elegant in her pose, typical of High Renaissance pieces.

Gloucester Cathedral, Abbot Serlo, Romanesque, 1499 C.E.

1499

This cathedral highlights the extensive use of geometry, symmetry, and stone that dominates Romanesque architecture. The large stone pillars seem to dominate the space, and the use of barrel-vaults required more indoor lighting. This distinct style, along with the use of frescos, and sculptures, helped the religion of Christianity develop a form of visual communication, similar to the main tenets of mosques in Islamic Art.

Memorial Head of an Oba, Benin, African Art, 1500

1500

In the kingdom of Benin, artwork was commissioned by royalty, and used expensive materials like brass, elephant ivory, and gold. The sculptures were usually of the royal or religiously important, and presented noble, powerful depictions of said figures. This piece was made using the lost-wax casting technique.

David, Michelangelo, Renaissance, 1504 C.E.

1504

Possibly one of the most famous pieces of Renaissance Art by one of the most famous Renaissance artists, this marble statue accentuates many of the features of artwork during this time period. First off, the male figure is idealized heavily, but also anatomically correct. During this time, there was a stress on anatomical and visual realism and perspective. This understanding of the human body is characteristic of the High Renaissance.

Crucifixion of St. Peter, Caravaggio, Southern Baroque, 1600

1600

This painting confronts the viewer with the essence of Baroque art: theatricality. The painting shows St. Peter being crucified upside down. The crucifiers are in the midst of raising him, alluding to the motion and reality of crucifixion. Additionally, the high key dramatic lighting adds to the serious and solemn mood of this biblical story. The emotion is also shown through the detail in St. Peter's face, specifically in his expression and posture, in between sitting up and lying back.

The Crowning with Thorns, Caravaggio, Southern Baroque,1602

1602

This painting shows the advancement of realism and the dramatic from the Renaissance to the Baroque. It depicts Christ having crown with thorns forced onto his head. The postures of everyone depicted are very dramatic and emotional, which is accentuated by the theatrical lighting from the top left. While there is an attention to human form, there is more stress on the emotional qualities of figures.

David, Gian Lorenzo Bernini, Southern Baroque, 1624 C.E.

1624

Bernini’s sculpture shows David in the midst of pivoting to throw a stone at Goliath. Where the Renaissance focused on the mathematical and realistic accuracy of the structures and figures, Baroque art focused on the theatricality and emotional aspect of the subject. This rendition of David lends itself to the Donatello's David, rather than Michelangelo's, which focused on the human form.

Taj Mahal, Ustad Ahmad Lahauri, Islamic Art, 1643

1643

The Taj Mahal is a famous royal mausoleum in Agra, India. Though it is in a largely Hindu country, the history of the Taj Mahal lends itself to the historical presence of Islam in most of India. This relation to Islam can also be seen in the architecture, such as the use of minarets, which are frequently used in mosques. The Taj Mahal also raises issues with the term Islamic Art. Though a simple umbrella term, it disregards the vast cultural and regional differences between the people of Islam.