AP Art History Unit 3 Flashcards

Date: 200-400 CE. (3rd-5th Century)

Period: Late Antique Europe

Location: Rome, Italy

Culture: Early Christians

Materials: Excavated Tufa, Fresco

Function: Was designed by its original founders to provide a burial place for members of the early Christian community.

Date: 422-432 CE. (5th Century)

Period: Late Antique Europe

Location: Rome, Italy

Culture: Roman

Materials: Brick and stone, wooden roof

Function: Used as a church.

Date: Early 6th Century CE.

Period: Early Byzantine Europe

Location: Vienna, Austria

Culture: Ancient Byzantine

Materials: Illuminated manuscript (tempera, gold, and silver on purple vellum)

Function: Painted manuscript that contains biblical scenes.

Date: 526-547 CE. (6th Century)

Period: Early Byzantine Europe

Location: Ravenna, Italy

Culture: Eastern Roman Byzantine Empire

Materials: The building was made of brick, marble, and stone veneer. The mosaic found inside was made of colored tesserae (pieces of stone or glass or other materials used to make mosaic), gold sandwiched between glass, silver, and mother of pearl.

Function: It was a Christian church dedicated to the martyr Vitalis, the patron saint of Ravenna.

Date: 532-537 CE. (6th Century)

Period: Early Byzantine

Location: Constantinople (Istanbul)

Culture: Byzantine Empire

Patron: Emperor Justinian

Designer: Athemius of Tralles and Isidorus of Miletus

Materials: Brick and ceramic elements with stone and mosaic veneer.

Function: A Holy Church of the Orthodox Christian Faith, a Mosque after the 1453 Ottoman conquest, currently a museum.

Date: Mid 6th Century CE.

Period: Early Medieval Europe

Location: France

Culture: Merovingian Dynasty

Artist: Barbarian Artisans

Materials: Silver gilt worked in filigree, with inlays of garnets and other stones.

Function:  Used as a pin or a brooch to fasten garments; it showed the prestige of the wearer.

Date: Sixth or early seventh century CE.

Period: Early Byzantine Europe

Location: St. Catherine’s Monastery, Mount Sinai, Egypt

Culture: Early Christ

Materials: Encaustic on wood

Function: Directing the viewer’s meditation and prayer to the incarnation of God in Christ through Mary.

Date: 700 CE. (8th Century)

Period: Early Medieval

Location: Lindisfarne Isles, England

Culture: Hiberno Saxon

Materials: Illuminated Manuscript (Ink, Pigments, and Gold, on Vellum)

Function: It’s a handmade illuminated manuscript, a copy of the “Gospels”(referring to the book in the New Testament) with the accounts of Jesus' life and teaching written by his disciples and followers, Matthew, Mark, Luke, and John. The manuscript was used for ceremonial purposes to promote and celebrate the Christian religion and the word of God. These pages were dividers intended to mark the transition between different sections of the book.

Date: 785-786 CE. (8th Century)

Period: Medieval Islamic

Location: Cordoba, Spain

Culture: Spanish Umayyad Dynasty

Patron: Abl-al-Rahman I

Materials: Stone masonry

Function: Muslim Mosque

Date: 968 CE. (10th Century)

Period: Islamic Spain

Location: Madinat al-Zahra, Al-Andalus (Muslim Spain)

Culture: Umayyad Dynasty

Artist: Possibly from Madinat-Al-Zahra workshop

Materials: Ivory

Function: An 18th birthday present to the son of the Calip, al-Mughira. (Inside are small silver containers of perfume left open so the aromas can be smelled through the room)

Date: 1050-1130 CE. (11th-12th Century)

Period: Romanesque Europe

Location: Conques, France

Culture: Romanesque

Materials: Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary).

Function: Pilgrimage Church

Date: 1066-1080 CE. (11th Century)

Period: Romanesque Europe

Location: Bayeux, France

Culture: English or Norman

Materials: Embroidery on linen

Function: The tapestry tells the story of the events surrounding the conquest of England by the Duke of Normandy.

Date: 1145-1155 CE. (11th Century); Reconstructed 1194-1220 CE. (11th Century)

Period: Gothic Europe

Location: Chartres France

Culture: -

Materials: Limestone and stained glass

Function: Worship with an emphasis on the Virgin Mary

Date: 1225-1245 CE. (13th Century)

Period: Gothic Europe

Location: Paris, France

Patron: Queen Blanche of Castille (royal family)

Materials: Illuminated Manuscript

Function: Depicted the Old and New Testament episodes with explanations of their moral significance through illustrations and writing.

Date: 1300-1325 CE. 

Period: Late Medieval Europe

Location: Rhineland, Germany

Style: Gothic Art

Materials: Painted Wood

Function: Create an emotional response in the viewer

Date:  Chapel- 1303 CE. (14th Century); Fresco- 1305 CE (14th Century)

Period: Late Medieval Europe

Location: Padua, Italy

Artist: Giotto di Bondone

Patron: Enrico Scrovegni

Materials: Brick (architecture) and Fresco

Function: A chapel, place of worship

Date: 1320 CE. (14th Century)

Period: Late Medieval Spain

Location: Spain

Materials: Illuminated Manuscript

Function: A book containing the Jewish narrative of Passover and the ritual of the Seder as stated in the book of Exodus.

Date: 1354-1391 CE. (14th Century)

Period: Islamic Spain

Location: Granada, Spain

Culture: Nasrid Dynasty

Materials: Whitewashed adobe stucco, wood tile, paint, and gilding

Function: Fortified palatial complex of the Nasrid sultans and their families,  who occupied south Spain (modern-day Granada)

Alcazaba: Barracks for soldiers guarding the complex

Medina: residence and place of work for court officials

Date of Creation: c. 1427 - 1432 ce.

Original Location: Tournai, South Netherlands

Culture of Origin: Early Northern Renaissance 

Artist: Workshop of Robert Campin

Material: Oil on wood

Function: Triptych, or three-paneled altarpiece, designed for private devotion (one of the first portable art) 

te of Creation: c. 1429 - 1461 ce.

Original Location: Florence, Italy. (Basilica di Santa Croce )

Culture of Origin: Early Italian Renaissance 

Architect: Filippo Brunelleschi

Patron: Commissioned by Andrea Pazzi

Material: Masonry (construction of individual units like bricks, stone, or concrete blocks) (use of pietra serena, a grayish stone used to contrast with the white washed walls to accentuate the basic design of the structure)

Function: Created to be a “chapter house”, a meeting place for monks (this is why there is a bench on the wall), also a burial site for the Pazzi family members; a physical representation of the Pazzi family’s power, wealth, generosity, and status.

Date of Creation: c. 1434 ce.

Original Location: Bruges, Belgium

Culture of Origin: Early Northern Renaissance 

Artist: Jan van Eyck (Flemish painter)

Material: Oil on wood (one of the first oiled paintings) 

Patron: Merchant Giovanni di Nicolao Arnolfini

Function: Theories:

1. Traditionally assumed to be a wedding portrait of Giovanni Arnolfini and his wife.

2. A commissioned painting by Giovanni Arnolfini in memory of his wife who died giving birth to their child in 1433.

3. Arnolfini may be conferring legal and business privileges on his wife during an absence.

4. An alliance between two wealthy mercantile families, a ceremonial betrothal (contract) reflecting social and legal conventions of the time with the artist as one of its witnesses with his reflection and signature in the convex mirror on the wall. 

* Arnolfini was an italian merchant who worked in Bruges

Date of Creation: c. 1440 - 1460 ce.

Original Location: Florence, Italy

Culture of Origin: Early Italian Renaissance 

Artist: Donatello

Material: Bronze

Patron: Cosimo de Medici

Function: Commissioned by Cosimo de Medici for the Palazzo Medici courtyard

Date of Creation: c. 1450 ce.

Original Location: Florence, Italy

Culture of Origin: Early Italian Renaissance 

Architec: Leon Battista Alberti

Patrons: Rucellai family 

Material: Stone, masonry

Function: City residence of the Rucellai family, created as a 

Physical representation of the family’s wealth, status, power, and importance

 (The bottom floor was used for business; the family received guests on the second floor,

the family’s private quarters were on the third floor, and the hidden fourth floor was for the servants)

Date of Creation: c. 1465 ce.

Original Location: Florence, Italy

Culture of Origin: Early Italian Renaissance 

Artist: Fra Filippo Lippi

Material: Tempera on wood

Patron: Medici family

Function: Commission by Medici family as a decorative piece, 

to show wealth and piety. 

Date of Creation: c. 1484 - 1486 ce.

Original Location: Florence, Italy

Culture of Origin: Early Italian Renaissance 

Artist: Sandro Botticelli 

Art Movement: The painting reflects the ideas of Neoplatonism

Material: Tempera on canvas 

Patron: Medici family

Function: It is unknown exactly what purpose this image was made for, but perhaps it was used on a wedding celebration, or perhaps it was for educational and mythological purposes 

Date of Creation: c. 1494 - 1498 CE.

Original Location: Monastic Refectory in Santa Maria delle Grazie, Milan, Italy

Culture of Origin: High Renaissance 

Material: Oil and tempera 

Artist: Leonardo da Vinci 

Patron: Ludovico Sforza, Duke of Milan 

Function: Painted for the refectory, or dining hall, wall of an abbey of friars (a relationship is drawn between the friars eating and the biblical meal). Monks would watch silently at the painting while eating

Date of Creation: 1504 CE.  

Location: Germany

Artist: Albrecht Dürer

Material: Engraving (an intaglio printmaking process in which lines are cut into a metal plate in order to hold the ink)

Period: Northern Renaissance

Date of Creation:

Ceiling frescoes: c. 1508 - 1512 CE.

Altar frescoes: c. 1536 - 1541

Original Location: Vatican City, Italy

Culture of Origin: High Renaissance 

Material: Fresco

Artist: Michelangelo 

Patron: Michelangelo began to work on the ceiling frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars from when the Sistine Chapel was erected from 1473 through 1481. 

Later Pope Paul III commissioned the altar frescoes. 

Function: The chapel was the place where popes were elected and where the papal services took place. The name derives from Pope Sixtus IV, who was the patron of the building. The chapel was erected between 1473-81 by architect Giovannino de Dolci for Pope Sixtus IV della Rovere. It was built to renew the face of Rome

Date of Creation: 1509 - 1511 CE.

Original Location: Apostolic Palace, Vatican City, Italy

Culture of Origin: High Renaissance 

Material: Fresco

Artist: Raphael

Patron: Pope Julius II

Function: Commissioned by Pope Julius II to decorate his library, as a complex program of works (4 paintings in total) to illustrate the vastness and variety of the Papal library:

• Painting originally called Philosophy because the pope’s philosophy books were meant to be house on shelving below

Date of Creation: c. 1512 - 1516 CE.

Original Location: Tournai, South Netherlands

Culture of Origin: Early Northern Renaissance 

Artist: Matthias Grünewald 

Material: Oil on wood

Function: Sculpted wooden altar, created as an object of devotion for the monastery of St. Anthony. 

- Commissioned for the monastery of St. Anthony, this 

hospital treated patients with severe skin diseases (Leprosy). The altar related and gave hope to the patients with its glory imagery. 

Date of Creation: 1525-1528 CE.

Style: Mannerism

Original Location: Capponi Chapel, Santa Felicita, Florence, Italy

Artist: Jacopo da Pontormo

Material: Oil on wood

Function: Altarpiece for the Capponi family chapel

Date of Creation: c. 1530 CE. 

Original Location: Germany

Culture of Origin: Northern Renaissance 

Material: Woodcut and letterpress

Artist: Lucas Cranach the Elder

Patron: Ludovico Sforza, Duke of Milan 

Function: Cranach, who was a personal friend and follower of the Christian reformer Martin Luther, created this print in 1530 C.E. to help spread the key teachings of Luther on the question of how Christians can attain salvation and eternal life after death.

Date of creation: c. 1538 CE 

Original Location: Urbino, Italy  

Artist: Titian

Culture of Origin: High Venetian Renaissance

Material: Oil on canvas. Artists opted for canvas, a more secure and lightweight surface that could maintain the integrity of a work for an indefinite period.

Patron: Guidobaldo II della Rovere, Duke of Urbino

Function: It was intended for private viewing, no specific function is known. May have been commissioned by the Duke as a wedding painting for Giulia da Varano.

Date of Creation: c. 1541-1542 CE.

Original Location: Viceroyalty of New Spain (This was the name given to the territories of the Spanish Empire in North America. It comprehended the area that today is Central and Southern Mexico, the capital city of the Viceroyalty, was in Mexico City) 

Culture of Origin: Colonial Americas       

Material: Ink and color on paper   

Artists: Aztec artists (Spanish annotations were made by priests)

Patron: Charles V of the Holy Roman Empire

Function: The book was intended as a history of the Aztecs for Charles V, although he never received it. This page is an illustration facing the title page of the book. The book was used to record information and history of the Aztec empire; the information from the organization and foundation of the capital (Tenochtitlán), the lords, etc. and paid tribute to the Aztecs 

Date of Creation: Church: 16th century CE; Facade 1568-1584 CE; Fresco and stucco figures: 1676-1679 CE

Original Location: Rome, Italy

Artist/Architect: Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist)

Style: Early Baroque

Material: Brick, marble, fresco, & stucco

Patron: Cardinal Farnese, he had his name placed directly over the cartouche (carved scroll with rolled-up ends) with Jesus’s name

Function: Another result of the reform movement within the Catholic Church was the establishment of new religious orders. One of the most ambitious and energetic was the Society of Jesus, or Jesuits, founded by Ignatius of Loyola and promoted by Pope Paul III. He approved the order in 1540; by 1550, the Jesuits were planning their own church, Il Gesù in Rome.

Date of Creation: 1565 CE.

Original Location: Antwerp, Belgium

Culture of Origin: Northern Renaissance (Flemish Renaissance) 

Artist: Pieter Bruegel 

Material: Oil on wood

Patron: Niclaes Jongelinck, a wealthy banker from Antwerp

Function: Commissioned to be placed in wealthy Antwerp merchant’s home. One of a series of six paintings representing the labors of the month - this winter scene is November/December. Bruegel’s paintings offered them a view of the world of the peasants

Date: 1568-1575 CE. (16th Century)

Period: Ottoman Empire

Location: Edirne, Turkey

Culture: Islamic

Architect: Sinan, one of the greatest Ottoman architects

Patron: Sultan Selim II

Materials: Brick and stone and polychrome Iznik tiles

Function: For religious and communal services. Its architecture and location were used to impress visitors of the Ottoman Empire’s greatness. It was also an opportunity for self-promotion.

Date of Creation: c. 1597–1601 CE

Original Location: Contarelli chapel, San Luigi dei Francesci, Rome

Culture of Origin: Italian Baroque

Artist: Caravaggio

Material: Oil on canvas

Patron: Contarelli family

Function: painting to portray the story of The Calling of Saint Matthew, Spiritual awakening *From the New Testament (one of three paintings illustrating the life of Saint Matthew in a chapel dedicated to him by the Contarelli family)

Date of Creation: 1621-1625 CE      

Original Location: Paris, France 

Culture of Origin: Flemish Baroque                

Material: Oil on canvas    

Artist: Peter Paul Rubens

Function: Part of a set of 24 monumental canvases of Marie de Medici’s life and reign, commissioned by herself to retell the story of her life after her husband king Henry IV died, to be placed in her home, the Luxembourg Palace, in Paris France 

Patron: Marie de’ Medici

Date of Creation: 1636 CE

Original Location: Holland 

Culture of Origin: Dutch Baroque

Artist: Rembrandt van Rijn

Materials/Technique: Etching

Function: Self portrait, marriage portrait. For private purposes( not for general sell) 

Date of Creation: 1638-1646 CE.

Original Location: Rome, Italy
Culture of Origin: Italian Baroque
Architect: Francesco Borromini 

Material: Stone and stucco

Patron: Spanish trinitarians

Function: This structure is a church that was made for the Spanish Trinitarians. The founding intention of the Trinitarians was so they could free Christians that were held captive by people that didnt believe in God. (Trinity→Refers to the central mystery of the Christian faith; the mystery is that God exists as a communion of three distinct and interrelated Divine Persons: FATHER, SON AND THE HOLY SPIRIT.)

Date of Creation: c.1647-1652 CE

Culture of Origin: Italian Baroque 

Location: Rome Italy (Cornaro Chapel, Church of Santa Maria della Vittoria)

Artist: Gian Lorenzo Bernini (Architect & Sculptor)

Material/Media: (sculpture) marble, (chapel) stucco and gilt bronze  

Function: Serve as a visual representation of the moment St. Teresa was awakened and brought to god. The mystical experience of Saint Teresa

*The work promoted ideas associated with the Counter Reformation

Patrons: Cornaro family 

ate of Creation: 17th century CE.

Original Location: La Paz, Bolivia

Culture of Origin: Colonial Americas

Material: Oil on canvas. 

Artist: Master of Calamarca (La Paz School)

Inscription: Asiel Timor Dei means “Fear God”

Function: 

One in a series of angel drummers, buglers, standard bearers, and holders of sword. In this one the angels with guns will represent the power of the spaniards over the indigenous people and the protection offered to faithful christians.

Form:

An androgynous angel with a stylish sense of fashion carrying a type of gun called arquebus.

The elongated hat with feathers is a feature of dress of Incan nobility.

Indigenous people favored gold embroidered on fabric. 

It is standing in a military pose- derived from European engravings of military exercises. 

The figure is graceful and almost looks like a dancer. The extended lines of the angel’s body recall the Mannerist style still preferred in the Americas in the seventeenth century

Date of Creation: c 1656 CE

Original Location: Madrid, Spain

Culture of Origin: Spanish Baroque

Material: Oil on Canvas

Artist: Diego Velazquez, the first painter to the king

Function: meant to be hung in King Philip IV’s study
Patronage: King Philip IV

Date of Creation: c 1664 CE 

Original Location: Holland

Culture of Origin: Dutch Baroque

Artist: Johannes Vermeer

Material: Oil on canvas

Date of Creation: Begun 1669

Culture of Origin: Southern Baroque 

Original Location: Versailles, France 

Architect: Louis Le Vau and Jules Hardouin-Mansart 

Material: masonry, stone, wood, iron, and gold leaf (architecture), marble and bronze (sculpture); gardens 

Function: Demonstrates King Louis XIV power. Used to court King Louis family, friends, servants, and soldiers

Patron: King Louis XIV

ate of Creation: late 17th-early 18th century

Culture of Origin: Colonial America

Original Location: Mexico

Artist: Unknown, but it was made locally

Material: tempera and resin on wood, shell inlay

Patron: Viceroy of New Spain, Jose Sarmiento de Valladares.

Function: Most likely to be placed on display inside of the viceroy of New Spain’s new palace in Mexico City. Each side of the biombo was intended for different audiences. The side with the battle would have been intended for the viceroy, and important individuals coming to visit him. Essentially, people he’d bring into his reception room. This would have had a political use as an expression of his power. This particular viceroy had come from Spain to rule over this colony so this would assert the dominance of the Habsburg in Mexico.

Date Of Creation: c. 1698 CE. (based on original from the 16th century)

Original Location: Basilica of Guadalupe, Mexico City (the original from 16th century) 

Culture of Origin: Colonial Americas

Material: Oil on canvas on wood, inlaid with mother-of-pearls (enconchado).

Artist: Miguel González  

Based on the Original Virgin of Guadalupe from the 16th Century

Function: used to portray and worship the Virgin of Guadalupe  in Mexico 

* The image was in demand, many were made to export around New Spain.

Devotion to the Virgin of Guadalupe increased dramatically during the 17th century with the publication of a book printed in her honor

Date of creation: 1711 CE 

Original Location: Amsterdam, Holland

Culture of Origin: Dutch Baroque

Artist: Rachel Ruysch; she usually specialized in flowers

Material: Oil on wood

Style: Vanitas- collections of objects symbolic of the inevitability of death and the transience and vanity of earthly achievements and pleasures; it exhorts the viewer to consider mortality and to repent.

Date of Creation: 1715 CE. 

Original location: Mexico

Material: Oil on canvas

Culture of Origin: Colonial Americas

Artist: Attributed to Juan Rodríguez Juárez. 

Function: Spanish colonists commissioned these works to be sent abroad to show the caste system of the New World. These weren’t considered as art pieces, but as illustrations of ethnic groups. Part of  set of 16 paintings, consider informative or historical art, made with the purpose of explaining a historical period, most of colonial art had this purpose

Mestizo- a person of mixed race, especially one having Spanish and indigenous descent.

Date of Creation: 1743 C.E. 

Original location: England, London

Material: oil on canvas

Movement: Rococo

Artist: William Hogarth

Function: Was used as a model for prints that Hogarth was planning to produce and sell to the middle class and upward.