art history

Virgin (Theotokos) and Child between Saints Theodore and George . Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood. BYZANTINE ICONS ARE HEIRS TO THE ROMAN TRADITION OF PORTRAIT PAINTING ON SMALL WOOD PANELS; BROKE FROM CLASSICAL MODELS VERY FEW ICONS SURVIVE ENCAUSTIC ON WOOD, PANEL PAINTING THAT DATES TO THE ROMAN EMPIRE THE TWO GUARDIAN SAINTS INTERCEDE WITH THE VIRGIN HAND OF GOD APPEARS FROM A LIGHT SHAFT THE FOREGROUND FIGRUES ARE STRICTLY FRONTAL AND HAVE A SOLEMN DEMEANOR The icon shows the Virgin and Child flanked by two soldier saints, St. Theodore to the left and St. George at the right. Above these are two angels who gaze upward to the hand of God, from which light emanates, falling on the Virgin. The painter selectively used the classicizing style inherited from Rome. The child sits on her ample lap as the mother supports him with both hands. We see the left knee of the Virgin beneath convincing drapery whose folds fall betwee...

Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532–537 C.E. Brick and ceramic elements with stone and mosaic veneer. ONE OF THE EMPEROR’S MOST IMPORTANT CONSTRUCTION PROJECTS; JUSTINIAN ERECTED AND RESTORED MORE THAN 30 CHURCHES OF ORTHODOX FAITH IN CONSTANTINOPLE; HIS MONUMENTS DEFINED BYZANTINE STYLE IN ARCHITECTURE CHURCH OF HOLY WISDOM IN CONSTANTINOPLE MATHEMATICIAN AND PHYSICIST DESIGNED IT (ARTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS) RIVALS MULTIPLE ROMAN STRUCTURES IN SIZE AND DESIGN ADMITS LIGHT FROM ABOVE

San Vitale . Ravenna, Italy. Early Byzantine Europe. c. 526–547 C.E. Brick, marble, and stone veneer; mosaic. DONATIONS TO PROCEED CONSTRUCTON BY WEALTHY PATRON NOT A BASILICA, CENTRALLY PLANNED DOME COVERED, CLERESTORY-LIT CENTRAL SPACE DEFINED BY PIERS ALTERNATING WITH CURVED, COLUMNED EXEDRAE HONORED SAINT VITALIS; PLANNED LIKE JUSTINIANS CHURCHES IN CONSTANTINOPLE, OCTOGONAL SHAPE MOSAIC AND MARBLE CLAD WALLS AND VAULTS

Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early Byzantine Europe. Early sixth century C.E. Illuminated manuscript (tempera, gold, and silver on purple vellum). OLDEST WELL PRESERVED MANUSCRIPT CONTAINING BIBLICAL SCENES  IMPORTANT IN BYZANTINE ERA, BEGINNING OF ICON PAINTING  WORK OF A CONSTANTINOPOLITAN/SYRIAN WORKSHOP; SHOWS STORY OF REBECCA AND ELIEZER FLATTENED AND WEIGHTLESS FIGURES EARLY BIBLE STORY MADE OF ANIMAL SKIN MADE BY HAND WRITTEN IN SILVER 

TIME PERIOD: EARLY BYZANTINE (500-726)  ICONOCLASTIC CONTROVERSY (726-843)  MIDDLE AND LATE BYZ. (843-1453)  EMPIRE BORN FROM A SPLIT IN THE ROMAN EMPIRE; TOO LARGE FOR ONE RULER  CONSTANTINOPLE WAS THE TRADING CENTER, ARTS PRODUCED FOR THE COURT  ICON PRODUCTION WAS BYZANTINE SPECIALTY; CHRISTIANS ATTEST THAT ICONS ARE IMAGES THAT ACT AS REMINDERS TO THE FAITHFUL, NOT ACTUAL DEPICTIONS OF THE SACRED PERSONS THEMSELVES HEATED DEBATE OVER ICONS; ICONS BECAME WORSHIPPED AS IDOLS; EMPEROR BANNED ALL IMAGE PRODUCTION, SACRILEGIOUS  ICONOCLASTS DESTROYED PREVIOUS WORKS; ALMOST ALL BYZANTINE ART IS COMPLETELY LOST THE CHURCH AND STATE WERE ONE; BYZANTINE BUILDINGS CROWDED WITH MANY RELIGIOUS WORKS  ROYAL HOUSEHOLDS INTERESTED IN LUXURY OBJECTS: IVORY, MANUSCRIPTS, AND PRECIOUS METALS  ART WAS FOR THE GLORY OF GOD; SIGNATURES REPRESENTED PRIDE; SINFUL; MANY ARTISTS WERE MONKS, PRIESTS, NUNS; ART AN EXPRESSION OF THEIR RELIGIOUS DEVOTION...