History of Art

Works for Particular Consideration on the Final Exam

 

13-19+*  Madrasa-Mosque-Mausoleum of Sultan Hasan, Cairo, Mamluk, Egypt, 1356 CE

13-21+*  Mosque of Selim II, Sinan, Ottoman Empire, Turkey, 1568-1575 CE

16-6        Ornamental page, Book of Lindisfarne, Hiberno-Saxon, Ireland, 698-721CE

16-13      Saint Matthew, Ebbo Gospels, Carolingian, France, 816-835 CE

16-17+    Palatine Chapel of Charlemagne, Aachen, Carolingian, Germany, 792-805 CE

16-23+    Abbey Church of Saint Michaelšs, Hildesheim, Ottonian, Germany, 1001-1031 CE

16-29      Otto III Enthroned, Gospel of Otto III, Ottonian, Germany, 997-1000 CE

17-1+*    Saint-Sernin, Toulouse, Romanesque, France, 1070-1120 CE

17-6+*    SantšAmbrogio, Milan, Romanesque, Italy, circa 1100 CE

17-9+      Saint-Étienne, Caen, Romanesque, France, 1115-1120 CE

17-23      Prophet Jeremiah trumeau, Saint-Pierre, Moissac, Romanesque, France, 1115-1130 CE

17-25*    Last Judgment, Saint-Lazare, Gislebertus, Romanesque, France, 1020-1135 CE

17-36*    The Vision of Hildegard of Bingen, Hildegard of Bingen, Scivias, Romanesque, Germany, 1050-1079 CE

17-39      Eadwine the Scribe, Eadwine, Canterbury Psalter, Romanesque, Britain, 1060-1170 CE

17-40      Funeral Procession to Westminster Abbey, Bayeux Tapestry, Romanesque, France, 1070  CE

18-1+      Choir, Abbey Church of Saint-Denis, Early Gothic, France, 1140-1144 CE

18-7        Laon Cathedral, Laon, Early Gothic, France, 1160-1205 CE

18-4+*    West facade, portals & statues, Chartres Cathedral, Early Gothic, France, 1145-1155 CE

18-12+*    Nave, transept, choir, & jamb statues, Chartres Cathedral, High Gothic, France, 1194-1230 CE

18-18+    Amiens Cathedral, Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont, High Gothic, France, 1220-1288 CE

18-24      The Visitation (jamb statues), Reims Cathedral,  Reims, High Gothic, France, 1230 CE

18-25+    Saint-Chapelle, Paris, High Gothic, France, 1243-1248 CE

18-28      West facade of Saint-Maclou, Rouen, Late Gothic, France, 1500-1514 CE

18-34      Abraham and the Three Angels, Psalter of Saint Louis, High Gothic, France, 1253-1270 CE

*             Christine de Pisan in her study, Cite des Dames, Late Gothic, France, 1405 CE

18-53      Röttgen Pieta, Late Gothic, Germany, 1300-1325

18-56      Orvieto Cathedral (west facade), Orvieto, Late Gothic, Italy, (begun) 1310 CE

6-1          Steatite Bust, Mohenjo-Daro, Indus Valley Civilization, Pakistan, 2600-1900 BCE

6-2          Lord of Beasts seal, Mohenjo-Daro, Indus Valley Civilization, Pakistan, 2600-1900 BCE

6-5+*      Great Stupa, Sanchi, Early Andhra, India,  10 CE

6-15        The Buddha preaching the first sermon, Sarnath, Gupta, India, circa 475 CE

6-12        Bodhisattva Padmapani, Cave 1, Ajanta, Gupta, India, 475-500 CE

6-18        Siva Mahadeva, Elephanta, Early Post-Gupta, India, circa 525 CE

6-24        Dharmaraja Ratha, Mahabalipuram, Pallava, India, circa 700 CE

6-21+      Visvanatha temple, Khajuraho, Chandella, India, circa 1000 CE

*             Quwwat al-Islam mosque, Delhi, Slave dynasty, India, 1195-1200 CE

*             Tomb of Ghiyas al-Din Tughluq, Delhi, Tughluk dynasty, India, circa 1325 CE

*             Tomb of Humayun, Delhi, Mughal, India, 1565 CE

13-27      Taj Mahal, Ustad Ahmad, Agra, Mughal, India, 1632-1647 CE

 

We will expect you to know all the images in the book and on Platošs Cave for each item.

* indicates also images on Platošs Cave                        + indicates more than one illustration in text

 

The examination

 

For each of these works, you should know (1) the title, (2) the artist(s), encompassing structure, or site, (3) the style period, and (4) the provenance (by regional culture, except in some instances where it is more useful, local site),  (5) the date(s) within a half-century. 

 

Besides this minimum identification you should be able to offer a simple discussion of the art historical significance of each work as Gardner and I offer it.  That is, an account of how its form and content fit it into the historical period and cultural style within which it was created.  Since Gardner and I will offer different accounts in some cases, it is particularly important that you follow the lectures attentively to know where and how we differ.  I will make a point of these differences in class.

 

Your test will take the same form as the previous one with six simple image identifications and two image comparisons, including discussion of art historical significance.  The use of BCE will be mandatory on this exam, CE will be optional.

 

Final Essay

 

In the last week of the course we will consider the art of South Asia, or as it has traditionally been called, India, over the period covered by our survey, from the Neolithic revolution up to the Mughal period.  This time I will ask you to consider how the art of India and the history of Indian art, matches up with the art and history of the traditional survey of Western European art.  For this section you will have to go to my lectures on the web and to Platošs Cave for illustrations, as I will offer a more extensive look than chapter in the book.

 

Write between 750 and a 1000 words on the following two topics.  (1) Give us one concrete example of an interesting similarity or parallel between the art of South Asia and the art discussed earlier in our survey from the period before 500 CE, and then give one example from the period between  500 and 1300.  (2) Tell us what the India-based discussion of the Taj Mahal (in the lectures) explains about its forms, that the Islamic-art-based discussion (in our textbook) cannot?  Include both specific details about the structure and a generalization about the limits of a religious versus a fuller cultural vision of esthetic development.