Study Sheet – Test 2 – Chapters 5, 6, 7, 8 – 5th Edition
Chapter Five – Art of Ancient Greece
Plates: 5-1, 5-2, 5-20, 5-21, 5-26, 5-29, 5-35, 5-36, 5-37, 5-42,
5-45, 5-52, 5-53, 5-54, p.148 (theater), 5-64, 5-65, 5-66, 5-67
Periods/Cultures: Geometric, Archaic, Classical, High Classical, Late Classical,
Hellenistic
Artists: Exekias, Polykleitos, Iktanos and Kallikrates, Pheidias, Praxiteles,
Lysippos
Vocabulary: black-figure pottery, red-figure pottery, white-ground, column, shaft,
capital, fluting, entasis, Greek orders (Doric, Ionic, Corinthian),
triglyph, metope, frieze, caryatid, pediment, kouros, kore,
contrapposto, agora, hollow (lost-wax) casting, acropolis, tholos,
stele, tondo, orthogonal/grid plan, canon (of proportion), theater,
pathos (evoking empathy or sympathy with one who is suffering),
verism (truth without idealism), sculptor’s aerial perspective (in
relief sculpture, the degree of relief is reduced for forms that are
farther away)
Concepts:
-Development of Greek figurative art from Archaic through Hellenistic
-Greek pottery and vase painting
-Greek architecture and orders
-Humanism, reason, idealism/idealization
-Perikles and the Acropolis
-Roman impact on our understanding of Greek art
-Greek religion as expressed in their art
Chapter Six – Etruscan and Roman Art
Plates: 6-4, 6-8, 6-9, p. 170 (Pont du Gard) 6-19, 6-30, 6-39, 6-47,
6-49 & 50 & 52, 6-57, 6-62, 6-65, 6-68
Periods/Cultures: Etruscan, Roman Republican, Roman Imperial (Early, High,
Late Empire)
Vocabulary: podium, Tuscan order, composite order, verism, aqueduct,
Roman vaulting systems (arch, barrel vault, groin vault, dome), voussoirs,
keystone, concrete, forum, basilica (nave, apse), atrium, engaged
column, mausoleum, cameo, intuitive perspective, atmospheric or aerial
perspective, (distant objects become indistinct in color and tone)
intuitive perspective, triumphal arch, amphitheater, rotunda, coffers,
oculus, mosaic, tesserae, equestrian, tetrarch, diptych
Concepts:
-Etruscan art: characteristics, large scale ceramics, tombs
-Technical advances in architecture due to concrete, Roman arch
-Greek influence on culture of Etruscans and Romans
-Pompeii, Herculaneum, and Vesuvius – what happened, what has it
taught us about life in ancient Rome?
-Roman verism vs. idealism
-Roman painting and illusionism
-Roman art as propaganda
-Public works projects: aqueducts, public baths, forums, basilicas,
amphitheaters…
-Constantine and the rise of Christianity
Chapter Seven – Jewish and Early Christian Art
Plates: 7-1, 7-3, 7-7, 7-8, p. 225 (Old Saint Peter’s), 7-20
Periods/Cultures: Jewish, Early Christain, Byzantine
Artists: Anthimius of Tralles and Isidorus of Melitas, Andrey Rublyov
Vocabulary: menorah, synagogue, torah, cathedral, chi-rho (ΧΡ combined, first
two Greek letters of “Christ”), icthus (fish symbol), orant, syncretism,
catacomb, loculi, cubiculum, nave, apse, clerestrory, aisles, atrium,
ambulatory, sarcophagus, crucifixion, cruciform, putti,
crypt, scriptorium, scribe, manuscript, codex, scroll, parchment, vellum,
Concepts:
-Syncretism – some examples
-Catacombs
- Importance of the Edict of Milan
-Basilica-plan vs. central-plan churches
-Glass wall mosaics
-Iconography of images
-Plain exterior vs. lavish interior
Chapter 8 – Byzantine Art
Plates: 8-2 & 3 &4, 8-8 & 9, 8-13, 8-28, 8-31, 8-35
Vocabulary: pendentives, squinches, naos, mandorla (light encircling a holy
person), icon, iconostasis, iconoclasm, Pantokrator, Anastasis, psalter,
trompe l’oeil (trick of the eye), tondo, triptych
Concepts
-Division of Church into “Eastern/Byzantine” and “Western/Roman
Catholic”
-Iconoclastic controversy and its impact on art
-Characteristics and conventions of Byzantine images, and how they differ
from classical images